text:
Postoperative recovery in daysurgery: Evaluation of psychometric properties and clinical usefulness of a questionnaire in day surgery
Berg, Katarina
Linköping University, Department of Medical and Health Sciences, Nursing Science. Linköping University, Faculty of Health Sciences.
Background: Day surgery has increased during recent decades in many countries and represents approximately 50% of surgical procedures performed in Sweden. Day surgery implies that the patient is admitted and operated on during the same day and discharged without an overnight stay at the surgery unit. Undergoing a day surgical procedure thereby means that the major part of the postoperative recovery takes place in the patient's home, leaving the patient and his/her supportive network responsible for the postoperative care. Day surgery also implies that health care professionals have to adapt to outpatient care and find valid measurements for monitoring a patient's recovery progress after discharge.
Aims: The aim of Study I was to evaluate the psychometric properties of a translated version of the Post-discharge Surgical Recovery (PSR) scale in a Swedish day surgery sample in terms of data quality, internal consistency, dimensionality and responsiveness. The aim of Study II was to describe postoperative recovery on postoperative days 1, 7 and 14 after different orthopaedic day surgical procedures, as well as to identify possible predictors associated with postoperative recovery two weeks after surgery.
Methods: Six-hundred and seven patients who had undergone an orthopaedic surgical procedure (n=358), general surgery (n=182) or gynaecological surgery (n=67) were included. To assess postoperative recovery, the PSR scale and the emotional state, physical comfort and physical independency dimensions of the Quality of Recovery-23 (QoR-23) were used. In addition, patients' background data and self ratings of their ability to work or handle usual business and general health were obtained. Data were collected preoperatively and on postoperative days 1, 7 and 14. In Study I data quality and internal consistency were evaluated using descriptive statistics, correlation analyses and Cronbach's alpha. The dimensionality was determined using an exploratory factor analysis, and the responsiveness was evaluated through the standardized response mean (SRM) and the area under the receiver operating characteristics curve (AUC). In Study II, patients' postoperative recovery and general health were compared over time using Friedmann's ANOVA and between surgical groups of patients using the Kruskal-Wallis test. To determine predictors of recovery, a multiple linear regression analysis was performed with the PSR score on postoperative day 14 as the dependent variable.
Results: In Study I, two items were deleted from the Swedish version of the PSR scale. This was based on several low inter-item (<0.30) and item-total correlations (<0.40) and substantial ceiling effects (65%). After the deletion of two items, the Cronbach's coefficient alpha was 0.90 and the average interitem correlation was 0.44. According to the factor analysis, a single dimension was found explaining the common variance to 44%. The SRM (1.14) indicated a robust ability to detect changes in recovery. The AUC was 0.60 for the entire scale, but varied (0.58-0.81) when the PSR score on postoperative day 1 was categorized into three intervals. In Study II, the shoulder patients experienced significantly lower postoperative recovery and general health one and two weeks after surgery (p<0.001). Significant predictors of recovery on postoperative day 14 were age, perceived health and emotional status on postoperative day 1 and type of surgery, and explained the dependent variable to 33%.
Conclusions: The Swedish version of the PSR scale seems to be a consistent and valid instrument for the assessment of postoperative recovery at home in Sweden. The recovery process for orthopaedic day surgery patients differs, with shoulder surgery patients in particular showing poor recovery, which could be considered when day surgery patient education programmes are developed.
Linköping: Linköping University Electronic Press , 2010. , p. 40
Linköping Studies in Health Sciences. Thesis, ISSN 1100-6013 ; 112
URN: urn:nbn:se:liu:diva-59515ISBN: 978-91-7393-359-9 (print)OAI: oai:DiVA.org:liu-59515DiVA, id: diva2:351980
2010-09-28, Linden, ingång 65, Campus US, Linköpings universitet, Linköping, 13:00 (Swedish)
Unosson, Mitra, Professor
Idvall, Ewa, Professor
1. Psychometric evaluation of the post-discharge surgical recovery scale
Open this publication in new window or tab >>Psychometric evaluation of the post-discharge surgical recovery scale
Idvall, Ewa
Nilsson, Ulrica
Örebro University Hospital.
Franzén Årestedt, Kristofer
Linköping University, Department of Medical and Health Sciences, Division of Nursing Science. Linköping University, Faculty of Health Sciences.
Unosson, Mitra
Linköping University, Department of Social and Welfare Studies, Division of Health, Activity and Care. Linköping University, Faculty of Health Sciences.
Show others...
2010 (English)In: Journal of Evaluation In Clinical Practice, ISSN 1356-1294, E-ISSN 1365-2753, Vol. 16, no 4, p. 794-801Article in journal (Refereed) Published
Rationale, aim and objectives Day surgery patients are discharged after a short period of postoperative surveillance, and reliable and valid instruments for assessment at home are needed. The aim of this study was to evaluate the psychometric properties of a Swedish version of the post-discharge surgical recovery (PSR) scale, an instrument to monitor the patients recovery after day surgery, in terms of data quality, internal consistency, dimensionality and responsiveness. Methods Data were collected on postoperative days 1 and 14 and included 525 patients. Data quality and internal consistency were evaluated using descriptive statistics, correlation analyses and Cronbachs alpha. The dimensionality of the scale was determined through an exploratory factor analysis. Responsiveness was evaluated using the standardized response mean and the area under the receiver operating characteristics curve (AUC). The correlation between change score in PSR and change score in self-rated health was assessed using Pearsons correlation coefficient. Patients ability to work and their self-rated health on postoperative day 14 were used as external indicators of change. Results Six items showed floor or ceiling effects. Cronbachs coefficient alpha was 0.90 and the average inter-item correlation coefficient was 0.44 after the deletion of two items. The items were closely related to each other, and a one-factor solution was decided on. A robust ability to detect changes in recovery (standardized response mean = 1.14) was shown. The AUC for the entire scale was 0.60. When initial PSR scores were categorized into three intervals, the ability to detect improved and non-improved patients varied (AUC 0.58-0.81). There was a strong correlation between change scores in PSR and health (0.63). Conclusions The Swedish version of the PSR scale demonstrates acceptable psychometric properties of data quality, internal consistency, dimensionality and responsiveness. In addition to previous findings, these results strengthen the PSR scale as a potential instrument of recovery at home.
Blackwell Publishing Ltd, 2010
day surgery; postoperative period; psychometrics; questionnaire; recovery; validation study
urn:nbn:se:liu:diva-58188 (URN)10.1111/j.1365-2753.2009.01197.x (DOI)000279901700019 ()
This is the authors' version of the following article: Katarina Berg, Ewa Idvall, Ulrica Nilsson, Kristofer Franzén Årestedt and Mitra Unosson, Psychometric evaluation of the post-discharge surgical recovery scale, 2010, Journal of Evaluation In Clinical Practice, (16), 4, 794-801. which has been published in final form at: http://dx.doi.org/10.1111/j.1365-2753.2009.01197.x Copyright: Blackwell Publishing Ltd http://eu.wiley.com/WileyCDA/Brand/id-35.html
2. Postoperativerecovery after different orthopaedic day surgical procedures
Open this publication in new window or tab >>Postoperativerecovery after different orthopaedic day surgical procedures
Linköping University, Department of Medicine and Health Sciences, Nursing Science. Linköping University, Faculty of Health Sciences.
Orthopaedic day surgery is common. Postoperative recovery may differ according to surgical procedures and personal factors. We studied postoperative recovery up to two weeks after different orthopaedic day surgical procedures, and tried to identify possible predictors associated with recovery. Three-hundred and fifty-eight patients who had undergone knee arthroscopy or surgery on the hand/arm, foot/leg or shoulder were included. Data were collected preoperatively and on postoperative days 1, 7 and 14 using the Swedish Post-discharge Surgery Recovery scale, the emotional state, physical comfort and physical independence dimensions in the Quality of Recovery-23, and a general health question. A multiple linear regression was used to explore predictors of recovery. The shoulder patients experienced significantly lower postoperative recovery and general health one and two weeks after surgery compared to the other patient groups (p<0.001). Significant predictors of recovery were age, perceived health and emotional status on the first postoperative day, and type of surgery. Postoperative recovery after common orthopaedic day surgical procedures differs, and factors influencing it need to be further explored. The impact of a patient's emotional state on recovery after day surgery can be of particular interest in this work. Post-discharge planning needs to be tailored to the surgical procedure.
Day surgery, postoperative recovery, orthopaedic nursing
urn:nbn:se:liu:diva-59513 (URN)
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text:
A Dança das Virgens é uma dança que é dançada somente nas festas de Maio, da Nossa Senhora do Alto dos Céus, na Lousa, por raparigas solteiras.

Ligações externas

Dança de Portugal
Folclore de Portugal

redpajama_set_name: RedPajamaWikipedia


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Kohli has become only the second batsman after South Africa's AB de Villiers to attain the 900-point mark concurrently in both formats and one among only five to have crossed 900 points in both forms of the game.
Kohli thus moved ahead of Brian Lara in the all-timers list, having also overtaken him in the all-timers Test list last month. He is now seventh in the ODI list of all-time rankings that is led by Vivian Richards with 935 points.
Kohli's aggregate is the best since Brian Lara reached 911 points in March 1993.
India opener Shikhar Dhawan, who aggregated 323 runs in the South Africa series, is another notable gainer in the latest rankings even as a clutch of Indian bowlers made rapid strides in the latest rankings, including the wrist-spin duo of Yuzvendra Chahal and Kuldeep Yadav.
Leg-spinner Chahal has moved up eight slots to 21st position with 16 wickets in the South Africa series while Chinaman bowler Yadav's 17 scalps have helped him move up 15 positions to take the 47th position.
Bumrah's eight wickets have lifted him two places to take the joint-first position.
For South Africa, Faf du Plessis 120-run knock in the first ODI against India, after which he was ruled out due to an injury, has seen him gain one slot to reach eight position.


text:
Q: RESTful HTTP OPTIONS request content I'm  having trouble determining what I might put in the body of a response to an OPTIONS request? are there conventions? standards? What do you put? do you just provide a list of other METHODS? should you give the representation?

A: Check out RESTful web services By Leonard Richardson, Sam Ruby
Here's a link to page 98.  "There are no accepted standards."
The methods are part of the ALLOW header.  Not the body of the response.

redpajama_set_name: RedPajamaStackExchange


text:
When the Professor Got Stuck in the Snow is a novel by British author Dan Rhodes, a "rural farce" about a visit to an obscure English village by a fictional Richard Dawkins.

Publication
Rhodes initially self-published the novel in a run of 400 in February 2014, stating on his blog that he wanted to get the book out faster than conventional publishing allows, although it soon became apparent that formal publishers were loath to publish the novel for fear of legal action from Dawkins. Rhodes appealed repeatedly to Dawkins, a defender of satire and free speech, for permission to "publish and be damned" but received no response. The novel was eventually published by Aardvark Bureau in October 2015.

Plot introduction
Professor Richard Dawkins has been booked to give a talk at the village hall in the village of Upper Bottom to the All Bottoms Women's Institute on the subject of "Science and the non-existence of God". But his train becomes stuck in a snow-drift several miles short of their destination and he and his devoted though long-suffering assistant Smee are forced to spend the night in the home of the local Anglican vicar.

Reception

Helen Pidd writing in The Guardian praised the novel: "It is a zippy little farce, littered with bus-stop slang (the professor erroneously believes "bell end" to be a compliment) and amusing nods to popular culture. Alan Rusbridger, editor-in-chief of the Guardian, gets a brief mention, but is upstaged by a brilliantly surreal cameo from CBeebies favourite Mr Tumble.", she concludes, "The Dawkins character is a hoot: foul-mouthed, pompous, so certain of his beliefs that he will dissect a puppy in front of primary schoolchildren if it will disabuse them of the creation "myth" invented by the "dark forces of religion". If this enjoyable comedy has a message it is that you shouldn't believe all you read on the internet. And that in an age where the sum of man's knowledge is available in an instant via a fibre-optic line, we are perhaps more ignorant than ever we were, and just as likely to be duped as in Shakespeare's day."

Lettie Kennedy, also in The Guardian was positive: "Between delivering kittens and turning on the Christmas lights, the stranded professor gamely persists in trying to convert his captive audience to humanism, launching into Swiftian discourses on infanticide and cannibalism at every opportunity, to the growing disquiet of Smee. Rhodes's novel is gleefully irreverent, with a ribald wit and a truculent disregard for the legal niceties that caused it to remain unpublished for several years. There are, of course, a number of twists, all of which are delivered with very English eccentricity."

Herald Scotland comments 'Rhodes's portrait of the fictional Dawkins is on the far side of caricature, so rich in ridicule it makes a lampoon look limp. "My life would be so much easier if everybody was as clever as me," the professor sighs, meanwhile planning his series of children's books. The first will be called Your Parents Are Idiots, "aimed at children unfortunate enough to have been born into religious households"...'At times Rhodes bangs his drum too often and too loud, but he is such a vivid and elegant writer that is quickly forgiven, though perhaps not if your name is Richard Dawkins. Yet behind the mockery lie some deeper reflections: about how people should treat each other, the meaning of respect, and the ingrained need that everyone feels to make sense of our existence.'

Tim Martin in The Spectator believes the novel will become a classic, "Rhodes's book is satire of the broadest stripe: it is, in fact, the closest thing to a strip from Viz magazine that I've seen in novel form. The tone swerves hilariously between puerile double-entendre (there's a running sequence of gags about 'seeing Upper Bottom') and lacerating comedy about the atheist movement and its acolytes".

Notes

References

External links

Extract from the novel
Dan Coxon talks to Dan Rhodes about his latest novel, When the Professor Got Stuck in the Snow, and the difficult decision to self-publish.

2014 British novels
Works by Dan Rhodes
Self-published books
Richard Dawkins
Fictional professors


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A single bonded thought I offer from this verse: delight in the works of God motivates the study of the same, and the study of the works of God deepens delight in the same. Or theological delight incarnates in theological study, and theological study feeds theological delight.
The two are inseparable. Knowledge of God is not an end in itself. It must enter the heart and terminate in affections appropriate to the knowledge of the truth. Likewise, true delight in God is pursued in the study of God. As we behold Him, we can't but love and adore Him and His great works.
If we complain of joylessness, perhaps it is because we have wandered away from studying the Scriptures and the God who reveals Himself to us in them. Little delight may be the symptom of little study. What we need is a fresh delight in God, and this must turn us to the Scriptures wherein He has revealed Himself to us in the history and work of creation and redemption.
On the flip side, study that does not aim at delight is an errant study. So we can study until we are blue in the face with the knowledge of God, but if it is not translated into delight, if pleasure in God is not the goal of it, then our study is hollow, missing its blood and marrow. The study of God and His works are meant to result in pleasure and praise. Insofar as it does not, our study is incomplete.
Now, a word to those with little time. It would seem that little time means little study, which means little delight. While it is true that a person who has more time to study will, most likely, reap the benefits of that extended study, study needs to be nuanced beyond nose-in-book ideals. In other words, while the study and practice of the Scriptures will be primary and the most indispensable parts of your pursuit of delight in God, study is more nuanced than that. And understanding this opens up a world of possibilities to those who do not have eight hours every day to read and study the Scriptures.
1. As you read the Scriptures, take the verse that jumps at you and let it fill your thoughts throughout the day. Have a scrap piece of paper and jot down all the insights that arise from that verse or group of verses.
2. Memorize the Scriptures. If you memorize, you can take it with you. You can have the kids in the car and be studying the works of the Lord in this way.
3. If you have small windows of time, be sure to set the dial of your study to delight in God. Let that 5 minutes produce praise and thanksgiving to God.
4. Give up the notion of study as that which only happens behind a desk. Go outside with your two year-old and examine the trees and squirrels and ants, the sun and moon and stars, and let these things lead you into adoration for the Creator, your Redeemer — and to the evangelization of your two year-old. Just for balance against misconception here, though, get behind a desk and search the Scriptures! How we are to understand the elements of creation, yes even the ants, is subject to the Word of God.
5. Give up a compartmentalized worldview that says you must fit Bible study into a pocket of minutes or even a pocket of your life that does not transcend and pervade every minute and pocket of life. We were created with the capacity for infinite joy. Only God can satisfy this capacity. We have been saved such that God not only indwells us by His Spirit, but that God should reorient our view of the world, reorient the use of our time, rearrange our priorities, and absolutely consume all of our hearts, souls, minds, and exertions. We must allow the way we view all things to be colored by the biblical vision of God, of Christ, of grace, of the gospel, of glory. As we put our five minutes to practice in this way, we have our hearts continually set upon God and His Word, and delight in Him is ever near to us.
Sum: even as delight in God should never be set aside, neither should the study of God be left behind. Study is not about time, mainly. It is more nuanced than that. It is more exacting than that. It is more pervasive than that. While it begins in the Word of God, it is to stay with us throughout the course and activities of all our days.
At issue, then, is true study and true delight in God. If we languish in study, it is because the root of delight has dried up. And if the root has dried up, it is because it has ceased to be nourished by the steady stream of God's Word. The Christian armed with the Bible is like a tree planted by streams of water. As the roots stretch out for the water, so delight will strain for the Word of God. And as the roots are fed, so they will grow and deepen. Delight will increase. The pursuit of delight in God will exercise itself in biblical study, and this exercise, aimed at delight, will yield ever-deepening delight indeed. The two are inseparably bonded by God.
My two year old likes to sing. And when he sings, he sings with all his might. And, you know, he can carry a tune — for a two year old. And because he is two and can barely put sentences together, and because he has not been trained in the academy or raised for operatic genius, I would critique him quite differently than I would a professionally trained singer. The slightest error might be cause for a corrective and stringent critique towards the trained professional. But for my son, the slightest error is only part of a larger reality that he is putting words together and being excessively cute. And so that sort of critique would not exist. Critique might come, but it will come much more indirectly and softly, according to his ability to handle it. Depending upon the experience and training and ability and maturity of the singer, the critique will be more or less stringent. It might even address different things.
The issue in giving critique is to know the one whom you are critiquing. The better we know them and their abilities and their level of training, the better equipped we will be to offer appropriate and gracious criticism. I think we largely fail at this. The reasons for this suggested failure are manifold: perhaps, pride — we cannot stand to fathom that this person might be more gifted than me, so we have to knock them down a notch with our superior knowledge. Perhaps, extreme expectations, which is another way of saying gracelessness. This is the inability to consider room for growth. We tend to think of people in static terms. What they are now, that they will always be. So we are more inclined to criticize harshly, thinking that by our effort they might be transformed. Tangential to this, I think, is the lack of a truly pastoral heart. Again, a failure to understand sanctification and how best to bring others along to full maturity in Christ. Or worst of all, perhaps, a simple lack of love. This idea is underneath the others. Love seeks to edify, to build up. And don't misunderstand me. Direct and stringent and tight criticism can be edifying and has been necessary and useful in my own life as I have received it from others. I am not calling for the abolition of such critique. It can be done, it must be done in love. But a lot of what I have witnessed on this front is, ultimately, a failure to apply growth-inducing compassion. It requires the hard work of getting on the other person's level, understanding their foundation, trusting in the inward work of God's Spirit to transform, and offering edifying critique on those grounds.
An example and a final thought.
Example: My local church has an apprenticeship for men aspiring to the office of pastor, or missionary, or, very wonderfully, the biblically-informed and brave-hearted husband and father. Preaching a handful of short sermons is part of the course. While I am not in the apprenticeship, I sat in on one of the sessions a few months ago. One of the brothers preached for the rest of the men, about twenty-five of us. It was his first attempt at preaching before other human beings, much less a room full of present seminarians and future pastors and missionaries. And when he finished, he was critiqued — critiqued hard. One of the brothers used his knowledge of biblical Greek to criticize one of his points. What's the problem? Not that this brother desired to help this other brother see things a bit more clearly by means of New Testament Greek. But that a critique was offered by means of New Testament Greek to a brother who had not yet taken New Testament Greek. And a few other such critiques were offered. I have been in both shoes. By God's grace, I was able to see his discouragement. So afterwards, I went to him and mentioned a few things that he had said that were encouraging to me, that God really used to build me up in the faith. He had studied hard. He had genuine affections for the truth of the text. He had wrestled with it experientially. And he taught it with passion appropriate to the glory of Christ. He even used suitable illustrations (something I envy). And so I made these things known to him in order that he might be encouraged to continue to grow in his craft. Later, he sent me an email thanking me for the encouragement.
A final word: what this means is that while a critique may be true, a true critique may not always be wise. Again, know the person, know their foundation, give room for growth and sanctification, trust the working of God's grace, seek to build up, and before speaking, consider humility. It is not that they do not need to know the truth at the center of your critique. They do! It is rather the packaging of it. And the packaging of it usually shows the maturity of our own hearts. Do we only seek to be a corrective? Or do we also seek to offer affirmation? Do we hold them accountable for things beyond their current level of knowledge or ability or experience? Or do we package these things with understanding and an encouragement that looks to future growth in what they lack? If we approach criticism in the latter ways described, then our hearts are venting a shepherd's love. And at the end of the day, it is this shepherd's love that must serve as a guide to all of our conversation.
11) that discipline is not mutually exclusive with mercy. In fact, discipline carried out in love and for the sake of righteousness is a subset of mercy.
I'm positive there are more, but these are my most recent musings on the raising of the children that God has so graciously lent us for this season.
Originally part of a sermon, and recently posted at the Desiring God blog.
If you are a Christian and you are dealing with enslaving habits, it's not enough to say, "Bad Christian, stop it." And it is not enough to beat yourself up or merely try harder and harder and harder.
The real reason that you're having a problem with an enslaving habit is because you are nottasting God. I'm not talking about believing God or even obeying God, I'm saying tasting —tasting God.
The secret to freedom from enslaving patterns of sin is worship. You need worship. You need great worship. You need weeping worship. You need glorious worship. You need to sense God's greatness and to be moved it — moved to tears and moved to laughter — moved by who God is and what he has done for you. And this needs to be happening all the time.
Go here for the whole, really, really, really good excerpt on the enslaving nature of sin and the power of worship to set us free.
Sadly, children's ministry in the local church can often be seen as second rate ministry, not much more than crowd control and waiting out the clock. This can be seen on the occasions when members looking to move on to bigger and better things will see children's church or AWANA as merely something to cut their teeth on. Or when the church leadership, in a desperate attempt just to fill the volunteer gaps, will try and make children's ministry as burden-less and non-committal as possible. Then, of course, there are those who take a shift with the kiddos just because they feel like they have to do something to serve.
Truth be told, I've thought all these things at one time or another over the years. Only now that my wife and I have kids of our own have I realized the crucial role that children's ministry plays in the lives of the kids it serves, their families, and the church.
Go here for his 11 insightful reasons.
Apologetics is an answer to the "why" question after you've already given people an answer to the "what" question. The what question, of course, is "What is the gospel?" But when you call people to believe in the gospel and they ask, "Why should I believe that?" —then you need apologetics.
I've heard plenty of Christians try to answer the why question by going back to the what. "You have to believe because Jesus is the Son of God." But that's answering the why with more what. Increasingly we live in a time in which you can't avoid the why question. Just giving the what (for example, a vivid gospel presentation) worked in the days when the cultural institutions created an environment in which Christianity just felt true or at least honorable. But in a post-Christendom society, in the marketplace of ideas, you have to explain why this is true, or people will just dismiss it.
Go here for the first part of this blog series by Keller at City to City.
1. Establish the essentials of the faith.
2. Listen to the communion of the saints.
3. Distinguish between landing theology and launching theology.
4. Distinguish between the explicit teaching of Scripture and the application of scriptural principles.
5. Distinguish between church existence and church health.
Go here for his explanations of each.


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Moore is located 96km from north west Brisbane at the base of the Balfour Range between Esk in the Brisbane River valley and Yarraman in the South Burnett. The Brisbane River passes through Moore from north to south to the east of the town centre. The D'Aguilar Highway runs from the south to the north-west of the locality. The western end of the locality is within the Benarkin State Forest.
Moore was originally known as Stanley Gate and then as Mooretown. In July 1910 the town took the name of Moore from its railway station, which was named after John and William Moore, graziers of Colinton.
Moore Provisional School opened on 1 December 1904, becoming a state school in 1908. The school ceased operation on 31 December 2006 and was officially closed in December 2007. The school was sold for $77,000 in 2012.
Moore is home to the heritage listed Stonehouse which comprises three stone structures on the southern side of the highway between Moore and Nanango.


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Ultimate Beneficial Owners Register
As of the 16th of March 2021, according to both the European Union and the Cyprus Law, all companies which are duly incorporated under the laws of Cyprus, are obliged to keep a register of their beneficial ownership and companies which might not comply with the said obligation may face fines and/or penalties.
The European Union Law
On May 2015, according to the issued EU Directive 2015/849 (the "4th Anti-Money Laundering Directive"), EU Member States were required to keep a central register of the beneficial or true owners of companies within their respective jurisdictions.
In 2018, according to the issued EU Directive 2018/843 (the "5th Anti-Money Laundering Directive") which amended the 4th Anti-Money Laundering Directive, the EU Member States were required to launch publicly accessible registers of beneficial ownership of companies.
Cyprus Law
The 5th Anti-Money Launder Directive was transposed into Cyprus Legislation through the Prevention and Suppression of Money Laundering Activities Laws of 2017-2021 (the "Law") on the 23rd of February 2021.
According to the Law, companies incorporated in the Republic of Cyprus must obtain and hold adequate, accurate and current information on their beneficial ownership, including details of the beneficial interests held.
The Law provides the establishment of a central beneficial owner register of the companies, trusts, foundations and other such legal entities (the "Legal Entities"). The beneficial owner register is a centralized register that contains information about the beneficial owners of companies that fall under the Law.
Obligations of Cyprus Legal Entities under the Law as of the 16th of March 2021.
1. The Beneficial Owner Register:
Legal Entities are obliged to identify and record electronically in the beneficial owner register all relevant information of the beneficial owner(s) who own or control the Legal Entity – at least 25% of shares ownership.
In case where no natural person is identified as the beneficial owner of the Legal Entity based on the ownership rights or when there is doubt as to the person to be identified as the beneficial owner, the details of the senior management official or of the controlling person of the Legal Entity shall be submitted instead.
The Legal Entities are also obliged to always keep the beneficial owners register updated.
2. Timing of filings:
A period of 6 months, starting from the 16th of March 2021, will be given to all existing entities to submit their beneficial owners' data into the system (the "Interim solution period").
In case of a change in the information of a beneficial owner, the company and its officers must, within fourteen (14) days from the change, file into the beneficial register the information regarding the new beneficial owner or the change on the details of an existing beneficial owner.
Companies registered following the 16th of March (new entities), must, no later than thirty (30) days from the date of their registration, file electronically to the beneficial owners register, all information in respect of each of their beneficial owner.
3. Penalties (not applicable during the Interim solution period)
The responsibility for the true and accurate submission of the beneficial owner(s) information, lies with the Legal Entity itself and any of its officers.
Potential fines and penalties may be imposed to Legal Entities and their officers that do not comply with the Cyprus Registrar of Companies' Directives and the provisions of the Law regarding the recording of all requested beneficial owner(s) data to the beneficial owners register.
*During the Interim solution period no penalties will be imposed*
For further information and assistance, you may contact us here.
Permanent Residence 6.2 – A new Investments era in Cyprus
Προστασία οφειλέτη από εκποίηση, αναγκαστική πώληση ή και πλειστηριασμό ακινήτου σε σχέση με οφειλές οι οποίες προκύπτουν από Τραπεζικό δάνειο.
Let's Talk About Your Case

redpajama_set_name: RedPajamaCommonCrawl


Commissioned by UGA Office of the President.
Limited edition prints presented to Mrs. Coverdell and former President George H. Bush at the dedication April 7, 2006.
The Paul D. Coverdell Center for Biomedical and Health Sciences is the centerpiece of the University of Georgia's interdisciplinary biomedical enterprise. This state-of-the-art facility is one of two memorials to the late U.S. Senator from Georgia, whose career was distinguished by a commitment to education and the biomedical research enterprise. The 140,000 square foot Coverdell Center houses a dynamic, interactive mix of disciplines with a unifying focus on problems of biomedical importance.
Jill, You are a most talented artist and my daughter will be thrilled. Having gotten her undergraduate degree as well as her law degree from UGA, she was quite eager to have her grown up art to decorate her new office.


Fixed length steel pole with standard screw fitting tip. For use with screw fitting cage frames.
Fixed length steel pole with standard screw fitting tip. For use with screw fitting cage frames. Fixed length 1.2M or 4Ft. For use with push fit roller frames, purchase the Push - Pull Extension Pole Adaptor.


Tulika is an experienced management, L&D professional and Chartered Psychologist with a passion to work with individuals and organisations who want to get the best out of their people. Tulika has extensive expertise in designing and managing bespoke L&D training programmes. She has delivered experiential learning/training solutions from junior to senior managers.
As an experienced management consultant, she particularly enjoys combining psychology and pedagogically robust professional development learning approaches, with a very approachable teaching style. Experienced in leading successful L&D projects in higher education, commercial and government sectors, Tulika can provide the latest thinking, insight and recommendations for leadership development and psychology to drive organisational growth.


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U Surnames
V Surnames
X Surnames
Y Surnames
Z Surnames
Silverelk
[View Ancestors] [View Descendants]
(Jan 1905)
Nellie H. McConnell
Born: 13 Sep 1866 in Illinois, USA
Died: 16 Jul 1946 in Santa Clara, Santa Clara County, California, USA
Father: Joseph A. McConnell (1824 – 1899)
Mother: Sarah Fouts (? – ?)
Family #1
Spouse/Partner:	Emmor Bonsall Maris (1866 – ?)
Married: 5 May 1887 in Guthrie County, Iowa, USA
Child: Willis Leslie Maris (c. 1888 – 1889)
Child: Cecil W. Maris (c. 1890 – ?)
Child: Laura Belle Maris (1892 – ?)
Child: George Joseph Maris (1894 – 1920)
Nellie and Willis were twins. [History of Dakota Territory]
When she was 18, Nellie was working as a teacher in Iowa. [1885 IASC]
By 1920, Emmor and Nellie, along with son George (Joe), were living on a farm in Missouri. [1920USC]
This data was last changed on 11 Jul 2009, and is stored in datafile B.
Primary and Secondary Sources
(see About Sources)
1885 Iowa State Census
[applies to name, birth]
1910 U.S. Federal Census (Population Schedule)
National Archives and Records Administration. [applies to name, birth, marriage, notes]
National Archives and Records Administration. [applies to name, birth, notes]
History of Dakota Territory (Volume 5)
by George W. Kingsbury; Chicago: The S.J. Clarke Publishing Co., 1915. [applies to name, birth, notes]
Private (Spear Birth and Death Dates Notebook)
Handwritten pages, many hands, many inks. Fragile binding and paper, but with numerous names and dates of birth or death. [applies to name, birth]
Web: Ancestry Database (California Death Index, 1940-1997)
ancestry.com. [Original data: "California Death Index, 1940-1997"; State of California Department of Health Services, Center for Health Statistics; Sacramento, CA, USA. The original record can be requested from information in the index. (no document images)] [applies to name, birth, death]
Web: Ancestry Database (Iowa Marriages, 1851-1900)
ancestry.com. [Original data: "Dodd, Jordan, Liahona Research, comp.. Iowa Marriages, 1851-1900. Provo, UT, USA: The Generations Network, Inc., 2000; Taken from microfilm copies of the original documents. (no document images)] [applies to marriage]
Research Notes (source comments, unreliable information)
The 1910 U.S. Census seems to give Nellie's middle initial as N. However, most other sources indicate it was H and a private communication indicates the full middle name was actually Hedges. She died after trying to cross a busy street in San Jose, CA. [personal communication from <private> Keesling]
Check California death certificate #46-55356.
The California Death Index (and presumably the actual record) incorrectly gives her birth state as Iowa.
Was Nellie born in Geneseo, Henry County, IL? This is implied by the history of Joseph McConnell in [History of Dakota Territory].


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Announcing $100M Series B to Take Modular Commerce Mainstream
by Mari Ström
Today we announced $100 million in Series B funding led by Stripes, with additional participation from B Capital Group, Greycroft, and existing investors, including Norwest Venture Partners, Redpoint Ventures, and Sierra Ventures.
Closing only five months after our $43 million Series A funding, the new round will fund our global expansion aimed at helping thousands of more mid-size and enterprise B2B/B2C brands deliver exceptional e-commerce experiences as trillions of dollars in commerce shift online.
The Highlights: Between Series A and Series B
fabric is the only modular commerce platform designed to support scaling businesses that have outgrown the limitations of e-commerce solutions tailored for entrepreneurs and small businesses. This has led to unprecedented growth across many different areas of our company.
Since raising our Series A in February of this year, we have:
Achieved YoY revenue growth above 800%
Attracted top talent across the business, growing employee headcount by more than 400%
Earned a net customer retention rate of 230%
Signed leading commerce brands like BarkBox, Bodybuilding.com, GNC, and Restoration Hardware
Added industry leaders to our team like Tyler Nemiro, who previously managed enterprise sales in North America for Shopify Plus
Extended our modular, integrated suite of commerce APIs to include Subscriptions and Loyalty
The Vision: Why Brands and Investors Continue to Believe
Our rapid growth tracks the broader e-commerce boom unfolding across the economy. Global e-commerce will surpass $5 trillion in 2021, up from $3.5 trillion in 2019. B2B e-commerce, meanwhile, is expected to reach $20.9 trillion by 2027, a more than 70% increase from 2019.
Meanwhile, Amazon's market capitalization has increased to over $1.7 trillion. However, many retailers and B2B brands still struggle to meet their customers' e-commerce expectations, constrained by legacy commerce technology.
"Growing commerce brands are in desperate need of better technology to meet modern customer expectations in an almost impossibly dynamic marketplace," said Ron Shah, a Stripes partner. "fabric is ushering in a new era of headless commerce with a modular commerce infrastructure built to enable today's fast-growing businesses to truly thrive."
We believe their team, technology, and trajectory position them to become one of the next great e-commerce platforms of our time as the industry undergoes a once-in-a-generation modernization. – Ron Shah, Stripes partner
As trillions of B2B and B2C commerce dollars go online, brands like BarkBox, GNC, and Restoration Hardware turn to fabric to scale their customer experience.
fabric offers brands modern commerce technology and deep industry operating experience previously only available to the world's largest companies.
Closing just 161 days after our Series A, we will use the new funding to level the commerce playing field by enabling thousands of more brands to compete and grow in the Amazon era.
Check out our commerce platform to learn how you can build a scalable commerce solution that lets you own the customer experience, eliminate technical debt, and grow your business.
Mari Ström
Global strategy and field marketing @ fabric. Previously @ Suplari and Accenture.


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Home / Events / Music News: Rick Ross to Perform at MTV Africa Music Awards in Lagos, Nigeria
Music News: Rick Ross to Perform at MTV Africa Music Awards in Lagos, Nigeria
by Ladybrille Magazineon November 23, 2010 November 23, 2010 Leave a Comment on Music News: Rick Ross to Perform at MTV Africa Music Awards in Lagos, Nigeria
American rapper Rick Ross will perform at this years' MTV Africa Music Awards (MAMAs) to be held in Lagos, Nigeria. Details about Rick Ross and other updates on the event from the producers of MAMAs below.
"(Johannesburg/Lagos/Nairobi, (23) November 2010): As the countdown begins to the 2010 MTV Africa Music Awards (MAMA), four more awesome artists have been added to the performer roster for Africa's most exciting music event. USA hip hop star Rick Ross, Kenya's P-Unit, South Africa's Jozi and Nigeria's Wande Coal will join previously announced performers DJ Arafat (Ivory Coast), 2FACE (Nigeria), Daddy Owen (Kenya), Banky W (Nigeria), Fally Ipupa (DRC), Teargas (South Africa) and Cabo Snoop (Angola).
Visiting Africa for the first time to take part in the 11 December spectacular, US rapper Rick Ross has been described by the New York Times as "one of rap's most potent and creative forces". The tattoo-loving, six-foot, larger-than-life rap figure first came to attention with "Hustlin", his 2006 debut single. Influenced by artists like Luther Campbell and Notorious B.I.G, Ross, a.k.a. William Roberts, aimed to put Miami back in rap's national spotlight and went on to do just that with his 2006 album "Port of Miami", which went to number one on the Billboard album chart. Similar acclaim followed for "Trilla" (2007) and "Deeper Than Rap" (2009), while his 2010 album release "Teflon Don", which debuted at number two on the US Billboard 200, has garnered critical acclaim for its emotional depth, cinematic production, sleek, synth-heavy beats, and rich soundscapes. Ross is nominated in the Best International categoryatthe MAMA awards.
Making their first appearance at the MAMAs, Best Group contenders P-Unit are going head to head against Uganda's Radio & Weasle, South Africa's Teargas and multiple MAMA winners and Nigerian music phenomenon, P-Square. As well as performing at the 2010 show, former MAMA winners Jozi are also nominated in the Artist of the Year category, where they are pitched against 2FACE, P-Square and Fally Ipupa. Wande Coal faces a tough race in the Best Anglophone category, where Ghana's Sarkodie, Kenya's Daddy Owen and South Africa's Biz Nuz are also in the running.
The MTV Africa Music Awards with Airtel takes place on Saturday 11 December 2010 and will broadcast on MTV base (DStv Channel 322), MTV platforms around the world and partner TV stations from 18 December 2010.
The MTV Africa Music Awards 2010 is sponsored by Airtel in association with MasterCard. Arik Air is the official airline partner of the MTV Africa Music Awards with Airtel."
2Face Banky W Cabo Snoop Fally Ipupa Rick Ross Teargas
Previous ArticleThe Countdown Begins: The Future Awards Unveils Nominees December 5th!
Next Article6 Hours to Christmas London UK Premiere, Friday November 26th, 2010
Lagos Carnival: Governor Fashola Speaks on the Carnival and Carnival Logistics
EVENT: LEAP AFRICA 8th Annual Nigerian Leadership Awards November 24th, 2011 -ENGAGED FOR CHANGE!
amfAR 2009 Inaugural Gala, Milan
EVENT: For the Love of Arts in Nigeria, December 21st, 2011
THE NGO 2011 CALENDAR LAUNCH PARTY!
Antigravity's Bode Ojo and Temi Kolawole Launch Golden Icons Magazine


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package com.mattunderscore.specky.generator;

import com.mattunderscore.specky.model.SpecDesc;
import com.mattunderscore.specky.model.TypeDesc;
import com.squareup.javapoet.TypeSpec;

import static com.mattunderscore.specky.javapoet.javadoc.JavaDocBuilder.docType;
import static com.squareup.javapoet.TypeSpec.interfaceBuilder;
import static javax.lang.model.element.Modifier.PUBLIC;

/**
 * {@link TypeInitialiser} for abstract types.
 * @author Matt Champion on 10/07/2016
 */
public final class AbstractTypeInitialiser implements TypeInitialiser<TypeDesc> {

    /**
     * @return a type builder for abstract types
     */
    public TypeSpec.Builder create(SpecDesc specDesc, TypeDesc typeDesc) {
        return interfaceBuilder(typeDesc.getName())
            .addModifiers(PUBLIC)
            .addJavadoc(
                docType()
                    .setDescription(
                        typeDesc.getDescription() == null ?
                            "View type $L.\n\nAuto-generated from specification." :
                            typeDesc.getDescription())
                    .setAuthor(typeDesc.getAuthor())
                    .toJavaDoc(),
                typeDesc.getName());
    }
}

redpajama_set_name: RedPajamaGithub


text:
Johan Vansummeren (Lommel, Bélgica, 4 de febrero de 1981) es un ciclista belga que fue profesional entre 2003 y junio de 2016.

Biografía
Debutó como profesional a finales del año 2003 en las filas del Domo-Farm Frites.

Durante los dos años siguientes corrió en los filiales del Quick Step para en 2005 fichar por otro equipo belga, gran rival del Quick Step, el Lotto.

En 2008 participó en los Juegos Olímpicos de Pekín

En 2009 fue quinto en la París-Roubaix. En el Tour de Francia estuvo escapado en la llana 11.ª etapa, aunque sin éxito.

El 10 de abril de 2011 consiguió su mayor éxito como profesional al ganar la París-Roubaix.

En abril de 2014, durante el Tour de Flandes, Vansummeren sufrió un aparatoso accidente al impactar contra una mujer de 65 años que se encontraba en una isleta sin señalización situada en mitad del recorrido. El ciclista tuvo que ser ingresado en el hospital con heridas en la cabeza, mientras que la mujer, que cayó hacia atrás con gran violencia y que golpeó su cabeza con un bordillo, ingresó con pronóstico muy grave por múltiples lesiones.

En 2015 firmó un contrato con el equipo francés Ag2r La Mondiale. El 29 de junio de 2016 anunció su retirada del ciclismo tras catorce temporadas como profesional y con 35 años de edad debido a una anomalía en el corazón.

Palmarés
2002
 Zellik-Galmaarden
 Circuito de Hainaut

2007
 Tour de Polonia, más 1 etapa

2011
 París-Roubaix
 Dúo Normando (con Thomas Dekker)

Resultados en Grandes Vueltas y Campeonatos del Mundo

—: no participa
Ab.: abandono

Equipos
 Domo-Farm Frites (2002)
 Quick Step-Davitamon-Latexco (2003)
 Relax-Bodysol (2004)
 Lotto (2005-2009)
 Davitamon-Lotto (2005-2006)
 Predictor-Lotto (2007)
 Silence-Lotto (2008-2009)
 Garmin (2010-2014)
 Garmin-Transitions (2010)
 Team Garmin-Cervélo (2011)
 Garmin-Sharp (2012-2014)
 Ag2r La Mondiale (2015-2016)

Notas

Enlaces externos

 Página oficial
 Ficha de Johan Vansummeren (sitiodeciclismo.net)

Ciclistas de Bélgica en los Juegos Olímpicos de Pekín 2008
Ganadores de la París-Roubaix
Nacidos en Lommel


To take your business to the next level with a head-turning online presence on web, you need to get a website developed that speaks out your business voice. Today it is not complicated, time-consuming or expensive to have a good website. Thanks to Google who makes it easier for us by providing such helpful guidelines.
The most primary thing is to choose keywords. When you building a website – it is very important to be sure that it must be appear on the top searches in SERP's of google for your keywords. Choose the best and most appropriate keywords that reflects your business solely. For this, you can use "google adwords keyword tool" with your proposed keywords, get to know the amount of competition and various other data points.
. That contains one of your most punching keyword phrases, if possible. This will help you visible in search engine at top.
. If more than one word then separate each with hyphens.
. Not so complicated i.e. easy to remember.
After all this, register your desired domain name through a best domain registrar company like "GoDaddy.com".
While build a website, choosing best web hosting company is also an influent factor. Firstly, describing hosting – it's a place where your websites are actually stored. There are so many web hosting company, each one has its own set of services and payment criteria. Avoid unidentified, unreliable and untrustworthy.
"Hostgator.com" is one best web hosting company that highly meets all this specifications with an inexpensive package. Signup and choose your appropriate plan. After choosing plan, enter your already registered domain name, type your URL and click 'continue' and do complete the billing process.
Within few minutes, your hosting space will be available for your website files. This is not enough, you will get an confirmation mail from "HostGator" that proceeds you to change "nameservers". Follow all the instructions one by one, this helps your browser where to look the files in your website.
As URL works as your address, therefore hosting space is the raw land. In the same way, Word Press is like a Foundation of your house you're about to build. Word Press is one of the open source software or platform to build a website and for this it costs nothing. Also, it is best option for making dynamic website.
Word Press gave you large number of "themes" or "layouts" for web pages. There are also thousands of "plugins" online available for your help. You can use them according to your requirements. After that, add some useful content to get the traffic. Beware add 'valuable' content to your web pages as this is visible directly on your business page and if it's not sensible then the visitors couldn't stay there anymore and go back immediately. Upload your files but before publishing, take a look and check is everything is correct or not. If everything is fine, "publish" it. Now, your business is live on internet.
Using Word Press, you can update your content such as text , images, add more plugins and also change your theme at anytime without taking help of any designer. For this, simply login to your Word Press account with your username and password at www.your-web-address/wp-admin.
I am following a web designing degree, so your tips are really good to me when creating a website, because I am a beginner.
Perfect Tips! Really helpful for those who is creating there site for first time & don't have any idea about how to do it. You have explain each & every thing very perfectly. Thanks for sharing such useful information for all.


I understand too about the body that was once had in HS/College... the side benefit of working hard in the water. However, getting back in the pool and sticking with it (when we are older and more wise) is a different thing.
I noticed that on my first swim back in the pool, the first 50 felt awesome and then after that everything turned into JELL-O. My arms felt like I wasn't even pulling my body through the water. However, a week later... I just started doing light weights at home (I have shoulder probs from college so I have to be careful). This has completely helped me at masters practice, my arms hang in there for the entire practice. I lift every other day and add in crunches. Remember tubing? That would be an excellent way to start to tone up top! Hee!
Start off slow, work on technique! Please stretch before and after your warm-up.
Don't overdo it at first, you won't stick around for long.
Feel the water on each stroke you take, and listen to your body. I too, miss my "swimmer shoulders" and I can't wait to get them back.
Get yourself focused in the head... remember what it felt like back when you used to swim. It will get you psyched to get you back into the sport you loved and will love for the rest of your life.
Good luck! Hope something I said helped!
I'm only about 4 weeks back into training after a 10 year layoff. My advice is have fun, build slowly and be realistic with yourself. It will come back quicker than you think if you stay after it.


How much does your school spend, on average, per student?
Most principals and administrators can't answer that question. But changes brought on by the Every Student Succeeds Act means they will soon have to.
"Starting December 2018, districts receiving Title I funds will have to start accounting for all expenditures at the school level," said Michael Griffith, school finance strategist for the Education Commission of the States, at a recent conference for education journalists.
ESSA requires states to report per-pupil expenditures for every local education agency and school in the state on annual report cards. But in the vast majority of districts, spending is accounted for at the district level. Average teacher salaries, average per-pupil expenditures — they're all calculated districtwide.
This provision of the new Elementary and Secondary Education Act didn't get much attention in the debate over its passage, but it will amount to a significant change for many districts all over the country. Still, Marguerite Roza, director of the Edunomics Lab at Georgetown University and senior research affiliate at the Center on Reinventing Public Education, says the new requirements are a natural evolution from No Child Left Behind, when the school was identified as an important unit for measuring student outcomes.
Because of the way NCLB required states to report assessment results — by school as well as district — the diversity in student achievement within districts was not obscured by averages. Soon, the same will be true for spending in addition to test scores.
Roza's research has found considerable disparities within districts when it comes to spending. Often, that is because more senior teachers who have higher salaries concentrate in certain schools — those with lower concentrations of students in poverty, for example. And because salaries and benefits make up the lion's share of school expenses, that makes a big difference in per-pupil spending.
Right now, one way districts claim to be fair is by assigning an equal number of teachers to schools based on the number of students they're serving. If one school has 10 veteran teachers and another has 10 newbies, the first school will be spending far more per student — even though, when it comes to record-keeping, it is only obvious that both schools have the same student-to-teacher ratios.
The difference will be combining that dataset with others that may be on different computers or in different systems. States will also have to decide how districts should divvy up the cost of central office expenses, bulk technology purchases, and transportation. That might be hard, but Roza is already helping convene a working group of states and districts to develop a set of best practices when it comes to making these decisions.
And there is a powerful opportunity behind this reporting change.
If districts want to use their newly organized data as a tool for improvement, they can compare school-level expenses with student achievement and identify outliers. How well are schools serving their student populations, considering the amount of money they're spending?
She recommends districts get ahead of the reporting deadlines to get a handle on their internal numbers. Beyond being a useful tool, the new reporting requirements will bring funding disparities into sharp contrast, whether they're because of concentrations of veteran teachers or school-specific programs that end up boosting expenditures. Regardless of why they exist, administrators should not be caught off guard the first time these disparities show up on state report cards.


Sounds like a real prick.
You know what he sold me the gyakko.... And never shipped it to me. I'm on PayPal claim w him too.
I'm not worried too much though. PayPal will just refund us the money, 10 days the money should still on freeze period.
That's awful, I hope it gets resolved guys and good luck. Good you caught it early.
I'm really surprised to read all of this. I also bought the Gyakko statue from Athanasios, but sakurasos, when talking to him in PM, said he had already sold the statue, and that he had a friend that could sell it to me.
So I don't know what's going on but I had no problems with this dude. The thing is, when making the deal, he asked me to send him the money, that he didn't prefer paypal at first, but If I wanted he could create an account, and that's what he did, because I wanted to.
Sorry for you guys I hope this can help a little.
*DirectDK: I edited this because those pictures are huge and making everything go haywire, lol. Hope that's alright.
This just makes people on the board trust and buy from members that are well-known and post regularly. I have my doubts about buying anything from people that barely post here because they might turn out to be frauds.(yeah i have 14 posts myself , it`s hypocritical to say this but.. ) It really discourages people from trusting new members that sell pricey items..
the story he gave me is the other guy backed off at the end of deal and he offered me a good price. I was going to get this statue elsewhere but he keeps begging me to buy his and keep lowering the price. After over 20 to 30 emails with him back and forth I finally jumped into the hole. One day after I sent him money he stopped talking to me. On the 4th day I put the case up w PayPal and froze the transaction.
This mother fker deserves a good beat up, if I ever physically being next to him.
I can t understand people who are doing this.
Hope the paypal issue will be ok for you my friend.
This seems to happen all way to often. We need to get a Topic board(along side buying/selling) just for this reason. So we can post names etc for individuals the are scamming-*dont care if thats legal or not posting info*. Since this happen more than once from the same guy.. This crap is a joke!
yes iguess its important to post this info i mean this statues are not cheap! it hurts the pocket when this happens!!!
I want to thank you, directdk and admins for "penning" the scam posts to the top of the buying and selling.
Guys, I understand and I agree with you, the ones who are fooling others like this... Don't deserve any mercy.
It is fine. I've got burned more than 3 times and every time I can get my money back, especially these two years. The fund usually is holding by paypal for one to two weeks so buyer has enough time to react if anything negative come across.
Also always ask for invoice so you are completely covered as buyer.
Man that's a bummer , good thing for buyer protection . Really don't get see how some of these jerks get away with this crap so many times its ridiculous .
I just got my money back as expected.
Wish that sucker go to hell one day.
People will always get what they deserve- In the end, or sometimes sooner. He will, get what he deserves..
Or get me a Christmas statue? Euro version 20th anniversary.
hahaha once I got the gyakko true ver. And 20th euro on hand I will for sure take some badass pictures just for YA!
I'm sorry to hear this.....personally I actually had good dealings with this seller. He sold me the Euro 20th Anniversary and it came in perfect condition. In fact, because of my reputation and personal information, he sent the statue to me first and I paid him upon receipt to save us both fees/doubt. But everything on my end went smoothly.


text:
Main Gallery Disclaimer Search Contact
Concerts!
These are all the concerts I've ever been to in my entire life (that I've paid for). Click on a ticket stub for a set list. I compiled the set lists myself from memory or by taking notes unless otherwise noted.
This Depeche Mode concert rocked. These guys have been around, at least commercially, since 1981, and are still going strong. Opening were Stabbing Westward and Primal Scream. The concert was at the Blockbuster Pavillion in Glen Helen in the middle of nowhere. Aside from Dave and Martin singing and the whole synth ensemble, there were live drums and electric guitar, plus a video system and an animated background. The whole trip here from San Diego was a whole day-and-a-half thing.
The Spin Doctors also kicked ass, with their blues-rock style and everything. Opening, well, actually, all three bands were the main attraction, the others Cracker then Gin Blossoms, making this one of the best concerts I ever went to, to this day. They all rocked, and in the nice Greek Theatre at UC Berkeley, the entire show was one yet to be rivaled. During Cracker's segment, Adam Duritz from Counting Crows guest sang for one of the songs. Gin Blossom's lead singer Robin Wilson took Polaroids during their show and distributed (flung) them at the audience.
They Might Be Giants is in a class all by itself. This synth to hard rock band prides itself in its humor, quirkiness, and educational value(?). Opening for TMBG was Frank Black, formerly of the Pixies. This show also kicked ass, and was a lot of fun to attend. TMBG fans in particular, like me, love going to their shows. This show was at the Price Center Ballroom at UC San Diego, kinda small but up close and personal. They played at the Price Center main area (outside) earlier in the year, for the annual Sun God Festival (in honor of one of the monuments here at UCSD), where Brian DeWan, frente!, and No Doubt (before major label!) opened. This was definitely the best FREE concert I ever went to!
The Cranberries were a nice, wholesome band for the whole family to watch. If you like good music, they're the ones to see. Opening were MC 900 ft. Jesus, then Gigolo Aunts. MC was an interesting choice for an opening band, since they seem to have no relation to the rest of the acts. It was kind of a hip-hop alternative deal, but, hey, the DJ was really good. The Gigolo Aunts seemed like a good rock band. I liked all the songs they played here. Then the Cranberries showed their stuff. Ben keeps reminding me of how I cheated the two drink minimum with waters for the tables here at the Warfield in SF, but, hey, I was busy trying to keep a set list, like I always try to do. It was after this concert that I bought both the Cranberries' albums (from BMG, but anyway...).
Weezer cannot be defined, only shown by example. Maybe a milder version of Green Day, this rock band uses its power chords and awesome solos and lead singer Rivers Cuomo's unique voice to project their infectious melodies to any audience. This was a mild concert, not flashy, but good, with mild variations of the self-titled album's songs performed. Opening were Lutefisk, then Archers of Loaf. This concert was at Soma in San Diego.
This definitely has to be the best single-band concert I've ever been to. Oingo Boingo needs no opening act; it filled the 3 hours+ with their own brand of hard rock, ballads, and classic '80s tunes. This concert was part of the Farewell Tour, their last tour ever as a band, here stopping at the Open Air Theatre at San Diego State University before going on to the Universal Amphitheatre in Universal City for their final Halloween concert. They played everything from their early stuff to their harder rock self-titled album stuff, especially their hits, which are many! Great show, 'nuf said. There will never be another one like it.
I already saw Gin Blossoms with Spin Doctors, but once again they rocked. This time with songs from their second album, Congratulations, I'm Sorry. Opening were two other Tempe, AZ bands, The Refreshments, then Dead Hot Workshop. To us, the Refreshments sounded like a mini Gin Blossoms, but with a slightly different style. After the concert, my two roommates bought the album. Dead Hot Workshop was okay, maybe they should have gone first. All the bands were rockin', though, at the San Diego State's Montezuma Hall.
I didn't get to see Beck this time; I had to leave early because I had a Bio midterm the next morning (which I do believe I kicked butt on), but I hear from everyone that he rocked. I actually came to see the opening act, the Cardigans. That alone was worth the ticket. The set only consisted of nine songs, mixed from both their albums. The band rocked, and Nina's sweet sweet voice charmed the audience here at the RIMAC Arena at UC San Diego. Beck came here once before for a free concert, a TGIF, in the Price Center, with moderate response from the crowd, but then again, compared to this concert people paid for, it's no wonder he was received much better this time around for the real fans.
What can you say? It's *U2*, as they were with the ZooTV/Zooropa Tour, only now instead of several sets of screens, one huge video screen showing lots of different stuff (read the set list for details) a huge yellow arch, and other props. We were supposed to be in section A9, which is the front floor section all the way to the right. When we got there, there was no section A9, instead a staff member to trade our A9 tickets for *A3* tickets (shown below)! The opener Rage Against the Machine rocked at 7, playing a short set from their two major label albums. This was louder than the actual concert, but still kicked ass. We actually saw them from section A4 (dead center), then moved to our actual seats during Pride, so we still got to watch U2 get on stage via the catwalk. Of course U2 rocked as well, playing songs from various albums along with those from Pop. This show was on Monday (*doh*!), 28 Apr (my sister's birthday), the day before two midterms, at Jack Murphy Stadium (now called Qualcomm Stadium), home of the Chargers. This is the first US tour since the ZooTV tour. The Zooropa tour was only in Europe and Australia. I guess that album didn't do incredibly well in the US. But that tour was basically an extension of the ZooTV tour, with additional Zooropa songs. Another Bio test the next morning, but I think I kicked butt on that one too.
Sorry, no real set list because I didn't know the names of all the songs yet and can't find the info anywhere else. (Instead you'll see the Mirrorball track list, similar to the set we had.) It was a good but short concert, especially compared to her others on the same tour, so I hear, but still very nice. Sarah sang (of course) and played guitar or piano during her songs. Also playing were Abra Moore (who we missed) and Barenaked Ladies (fellow Canadians). BNL's set just about stole the show, though. Sorry no list for them either. But they're very entertaining on stage, a little like TMBG, but their own style, and a little more mainstream. All of their songs rocked, and they did their usual (I guess, it was also on San Diego's Star 100.7FM Jingle Ball '98 concert) medley of interesting covers, including Sugar Ray's Fly, Aqua's Barbie Girl, and I think Third Eye Blind too. Quite a contrast for Sarah's songwriting forte. A good concert, and yet another night-before-a-test concert, where I do believe I kicked butt on the Bio final the next morning! I like this pattern. Some of my tests have some major suckage. My new strategy: go to a concert the night before!
Once again, They Might Be Giants took to the stage, their "natural habitat," according to their latest (and only) live album, Severe Tire Damage, which was Rattle & Hum-esque with new studio tracks. Although part of a larger event for downtown San Diego and a short set, the ticket price was worth it just to see this band. Others were Dishwalla, No Doubt, and Edwin McCain. Their usual antics and humor abound. No tests this time, plus it's during the day.
My second time seeing dM, and quite a show this was, too. Here was another trip down memory lane of classic dM songs, played by none other than the band itself. This concert, also complete with live drums, may have rocked even more than the Glen Helen concert, especially going with other true dM fans again. I think we all sang with just about every song the whole time, which was, by the way, all dM, no openers! We still look forward to seeing them again. No tests, but I had to go to the next day at 6:00 in the morning (which eventually became a pseudo-half day).
Santana is one of those living legend bands, especially the rock and guitar icon himself, Carlos Santana. They played only songs from the last two guest-artist-packed albums, Supernatural and Shaman, plus two classic songs, Jingo and Samba Pa Ti, and one unreleased song, Supernatural Thing. Angelique Kidjo opened for Santana, and wrote and performed Adouma (featured in Shaman) with Santana. And in the middle of the show, the mayor of Hartford declared the day Carlos Santana Day. This was Timmy's first real live concert, and what a show for his first one. We went with two other families from Timmy's daycare, one of which invited us to go since we like Santana and tickets were $10 that day. The concert was still worth more than the real ticket price.
Dido rocks and raves too, with her awesome band with two percussionists, keyboards, and guitar and bass. She performed all the songs from the second album except one and about half the first album. It was a lot of fun, with her club dancing to her upbeat electronic songs, the audience singing along, and her "little conversations" with the audience. I bet she'd be fun to take clubbing in London, just that kind of person that would be cool to hang out with, but don't cross her or she'll write a song or two about you. Tom McRae opened for her with his "songs of misery and death" with himself on guitar and a cellist and keyboardist. He has a very unique voice, and the atypical cello (sometimes with effects) made the songs even more unique.
U2 rocks again, with the Vertigo Tour in support of their latest album, How to Dismantle an Atomic Bomb. Kings of Leon opened for them, but we came in the middle of their show. U2 started at 9:00 with a rockin' Love and Peace or Else, the song that I had in my head the most the days before the concert, probably my favorite song on the album. Pairing the songs with activism for social issues really makes the songs more meaningful. Bono dedicated the song "Miracle Drug" to Pope John Paul II, who passed away earlier the same day. They displayed the UN Declaration of Human Rights to cheers by the audience. They promoted the ONE organization to help end poverty. Overall, it was a rockin' and spiritually uplifting concert, as usual with U2.
Moby rocks and raves! Not only does Moby write his own songs, he plays them too, on guitar, bass, congas, and bongos. He also does good covers, and he has a great supporting band for concerts. In particular, Laura Dawn from MoveOn does the backing vocals and some lead vocals for the Hotel album, and she joined Moby on this tour. Moby played a good mix of new and old, with songs from the new album making a good chunk of the set. There were also a lot of Play songs and a few from 18. The classics he played were Go and Next Is the E. All the techno/disco songs he did were excellent, with such energy. And he proves he knows how to rock. And to see Moby and Laura Dawn in person (from 10 feet from the stage!) was awesome. Buck 65 opened for Moby. He's a DJ/vocalist/rapper who does his own scratching, with a backing vocal for the concert. Very entertaining.
Maureen and I had to go south with moderate traffic to get to Coors Amphitheatre in Chula Vista and get a decent spot on the lawn, but it was worth it! Black Mountain played a set at about 8, for about half an hour or so. We thought they might be a local band since they share a name with a pretty major street that goes from the south end of Mira Mesa up to Rancho Peñasquitos here in San Diego, but no, they're from Vancouver, BC. They were interesting. Every song had a different style. Coldplay came on about 9:15, opening with the first track of the new album X & Y, Square One, which has sort of a 2001: A Space Odessey sort of feel to it, and ended with Fix You. They played mostly songs from that and the previous album, with Yellow being the only Parachutes track. There was a screen in back of the stage with graphics and occasionally video of the band itself. The two screens on the sides weren't used at all, unfortunately, and they would have helped us vertically challenged people in the lawn. Anyway, they're solid performers (especially with Chris Martin's unique vocals) and showcased a good balance of mellow ballads and hard rock over 17 songs. Also, they're activists for fair trade, something I first learned about through them at a televised performance, with "Make Trade Fair" written on the piano.
dM always rocks, especially in San Diego (and So. Cal in general with its great, dedicated fan base), according to Kim (who saw an Exciter Tour show in DC with a just a lukewarm crowd). Kim joined me and the usual suspects (Ben, Bob, Natalie, Carl) as with last time, except that Ben wasn't there for the Singles tour, and Joanne and Susan also joined us this time. Pretty much the same set list between concerts on this tour, except that, according to Tita Fabbee, who went to two LA shows, her second show had "A Question of Lust" replacing "Somebody" (not a bad substitution). Also according to her (from an LA Times article), the new album's sales were double in So. Cal compared to its next market. No surprise, Playing the Angel is a good album, and Touring the Angel was a good show, typical high-energy fun from frontman Dave (shakin' it and showin' it off) and Mart (guitar riffs and sensitive vocals), the continuing tradition of live drums and a hi-tech-looking stage setup. The Raveonettes opened, good house-music band with possible New Order influences and two female leads.
In downtown San Diego, near Seaport Village, is the standing-room only (or, lawn apt for picnic blankets (until the main act arrives on stage)) Embarcadero Marina Park South, where Viejas Entertainment hosts Concerts @ Bayside. It really is right at the San Diego Bay. You could probably just boat over by the stage and hear the concert. It's there that I saw Radiohead for the first time, and probably not the last. This tour is a pre-release tour for the yet unnamed, upcoming album. (Ben believed the name to be the name of one of the new songs, Down Is the New Up, reflected in the T-shirts with downward-pointing white arrows set in upward-pointing black arrows (or barns/hangars/houses like in the shirt I bought); that title turned out to be one of the bonus disc tracks). The concert was a good mix of old and new except with nothing from the pablo honey album. It's at this concert that I realized how much Radiohead is influenced by jazz, since much of the music is about the mood and heavy on the bass and rhythm, with sometimes incomprehensible lyrics (electronically modified that way on purpose), where the sound of the words is more important for some songs. The rockin' songs rocked, and the groovin' songs grooved. Plus you get to see Thom Yorke wobble his head about and dance like Michael Stipe (as Ben noted). The highlights for me were the dynamic rockers "2 + 2 = 5," "Paranoid Android," and "Just," and the new songs sound like an extension of Hail to the Thief. But, of course, I also appreciated the grooves of the slow and deliberate electronic songs. The opening act was Deerhoof, experimental rock with a native Japanese female lead singer, like, I don't know, maybe the 5.6.7.8's fused with Sonic Youth or something. The concert T-shirts from w.a.s.t.e. (Radiohead's merchandiser) are made sweatshop-free in the USA from 100% organic cotton. Yea, progressive bands!
Not much to say different from what I said for the pre-album tour (i.e. before the release of In Rainbows. We had seats this time, interestingly in the same venue where we saw Coldplay. It was a very entertaining show, especially for the fans, but unfortunately I don't remember who the opener was. As a 58hours commenter noted, we got all 10 songs from the new album (not including deluxe disc 2), so big show for hardcore fans, plus "Talk Show Host."
Wow, it's been a long time since we've seen Gin Blossoms. They are visibly older now, especially Robin, but they still remember the magic. We hadn't yet seen Tonic live, so I checked out some of their albums so I could get familiar with the non-single songs. I own them now and know them pretty well, but I during the concert I couldn't quite construct an accurate set list, so my apologies. Good overall show, and I'd gladly watch either band again. Sorry about the lack of a ticket scan, but Ben got them at Will Call, so I didn't get the chance to see them before the show, or indeed after. Hmm.
I admit I hadn't heard Muse, let alone become a fan, until last year, several months before their last album came out. I borrowed all their studio albums and eventually bought them all too. They were all brilliant, especially after Showbiz, which still has some great tracks and showcases the band's talent. So I was well-prepared for their opus The Resistance, an ode to rock both classic and modern. The light show and stage dynamics (not just the band movement but actual stage movement) only highlight what a great live band Muse really is. Even new-wave revival band (with a little bit of MGMT-like funk), Passion Pit, got some good lighting work with their danceable rock set. We got some classics, though none from Showbiz, but most of The Resistance, including one of my favorite non-singles, "Unnatural Selection," a Queens-of-the-Stone-Age-esque rocker. That song and hard-rockers like "Stockholm Syndrome" and "Plug in Baby" made my neck hurt from head-banging, but it only started in the evening the next day. Hmm. Three days later, it's finally close to normal, but the experience of this spectacular performance is one I won't forget.
Below are the ticket stubs for all of the musical shows I ever watched.
Even after its long running for years, Andrew Lloyd Webber's The Phantom of the Opera finally came to San Francisco, at the Curran Theatre, and delivered its promised excellent show. But I shouldn't need to tell you, everyone knows what Phantom's about. If you don't, well it's kind of a retelling of Beauty and the Beast, with the story centered on an opera house where the Phantom resides, and his soul, and the people who perform there. A different version than the original Phantom story, with more emphasis on the emotion and the music than the humor. Great show!
Disney's play version of Beauty and the Beast has to be the most enjoyable musical I've been to; it's already my favorite animated film of all time, even to this day. The sets and costumes are very well done, as are the special effects. The only real story differences between this and the film are the absence of Philippe (Maurice's horse) and the mobility of Maurice's invention; he rides this toward the fair instead of the horse. Other set differences have to do with what you can physically do on stage and what you can draw on animation cels. The extra length (compared to the film) is due not just to intermission but to added dance scenes and new songs, all of which are very charming and nicely done. I highly recommend this to anyone who liked the film; hopefully it will still be around somewhere. It was a hot day, and the Shubert Theatre here in LA was air conditioned. It was chilly, though, but that didn't detract from the wonderful and inspiring show.
BeauSoleil isn't actually a show besides the music aspect; it's a band from Louisiana that's been around for 20 years playing Cajun music. But this concert was held at the California Center for the Arts in Escondido, CA, their first time here. I didn't know what Cajun music was like until I came here. I was pleasantly surprised. It sounded a little like country with French lyrics, but had an added twist with definite Louisiana jazz influence in it that I liked. The frontman Michael Doucet has to be the best fiddler I've ever heard. I don't think anyone can top him today. Given how long they played, about 2 1/2 hours, and the virtuosity of the players, and also the price of the tickets, it was a nice surprise of a concert.
Stomp is another show that's really a music group, but they play more of shows than concerts. They're a percussion group that uses ordinary items to make their beats, such as barrels, playing cards, tables, and car parts. The show has a set related to the music, and even directly involed with the music. They show that music can be made anywhere, and I believe music exists in nature if we just listen to it. This show is a good time for all ages and cultures.
The Forbidden Broadway series (Forbidden Broadway, Forbidden Broadway Strikes Back, and Forbidden Broadway Cleans Up Its Act) is satire of musical theatre on, well, Broadway. This particular show parodied Miss Saigon, Les Miserables, Cabaret, and The Lion King among others. My favorite parodies were the turntable of Les Mis and the octave for "Bring Him Home", the toy helicopter and kazoo-sax for Miss Saigon, and the over-the-top costumes for The Lion King. Most of it wouldn't make sense without seeing the original shows, though, but it's still a good time.
Fosse is a revue of musical dance numbers choreographed by the late, great Bob Fosse (1927-1987). It went through numbers in Chicago, Sweet Charity, Pippin, Big Deal, The Pajama Game, Damn Yankees, and various televised performances, ending with an extended version of Benny Goodman's "Sing! Sing! Sing!" This show won the 1999 Tony Award for Best Musical.
Star Trek: The Experience is an ongoing attraction at Las Vegas Hilton. It's more than just the ride, similar to Star Tours but with riders standing up. It involves a cast walking around just like extras on the set of one of the TV shows and features props and a really, really long timeline from (real) history to the present, and through to the "history" of events in the entire Star Trek universe from before the original series to beyond all of the movies and recent TV shows. Highly recommend for Trekkies like myself as well as "Trekkers" like my sister who don't want to be called Trekkies.
Disney's The Lion King is beautifully adapted to the stage, a bit like their Beauty and the Beast adaptation, but with a different musical style. More score and African melodies and beats dress the story well. Some of the new songs come from the album, Rhythm of the Pride Lands, which sets the film score to words and includes some great new songs like He Lives in You, used in the play.
Man of La Mancha is a musical retelling of the Don Quixote story. I didn't know much about it before I saw the show, but I was pleasantly surprised. This show featured Brian Stokes Mitchell as Don Quixote, Mary Elizabeth Mastrantonio as "Dulcinea", and Ernie Sabella as Sancho.
Thoroughly Modern Millie is a musical retelling of the film of the same name. I saw it with the original lead, Sutton Foster, who plays Millie, a girl from the country who arrives in New York in the 1920's to accomplish her dreams. Typical country-to-city migration story, but with added themes of feminism and our immigrant heritage.
Mamma Mia! is a fun show with a wedding story and its backstory set to the music of ABBA. It's set on a Greek Island in present time with a single mother, Donna, whose 20-year-old daughter, Sophie, is getting married. Sophie wants her dad to walk her down the aisle, but she doesn't know who he is, so she invites the three possibilities, according to Donna's diary. Many ABBA songs already have a feeling of being from a musical (especially "I Have a Dream," "The Winner Takes It All," and "Thank You for the Music"), so it all fits together. There were three encore songs, "Mamma Mia!" (reprise), "Dancing Queen" (reprise), and "Waterloo."