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Doctor Strange director Scott Derrickson on creating those jaw-dropping visual effects
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Screenshot: Doctor Strange
Whether you loved every aspect of Marvel's Doctor Strange or, like our critic, were somewhat underwhelmed by the origin story at the heart of the film, there's no denying the film's visual effects are a marvel of CGI artistry. Wizardry of the technological kind broke the film out of the mold of the standard Marvel movie and turned the tale of Doctor Strange's supernatural awakening into a breathtaking spectacle, ranging from ever-shifting urban geographies to a high-speed multidimensional flight that can leave audiences almost as short of breath as the film's protagonist.
Credit for this innovative visual storytelling belongs to director Scott Derrickson, who tackled the massive comic-book property after a pair of indie horror flicks, Sinister and Deliver Us From Evil. It's actually the second time Derrickson has gone from two smaller horror films to a big-budget studio tentpole: He did the same thing in 2008, following up Hellraiser: Inferno and The Exorcism Of Emily Rose with the troubled production The Day The Earth Stood Still. Prior to the digital and Blu-ray releases of Doctor Strange on February 14, The A.V. Club spoke with Derrickson about the differences between these two filmmaking experiences, the profound changes in CGI technology, and being starstruck by Tilda Swinton even after bonding with her during filming.
The A.V. Club: This is actually the second time you went from making a couple of lower-budget horror films to a massive Hollywood spectacle. Could you talk about the difference in your experiences making these two projects?
Scott Derrickson: They were night and day. Part of that is because of the studios I was working with, and part of it's because of where I was at as a filmmaker, and part of it's the story I was telling. I think the biggest difference is recognizing the need to vet things as early as possible and as harshly as possible in preproduction, and get as much work done as possible, and get the script in the best possible shape that you can, but then to be very, very flexible in the process of making the movie, and to be very fluid. I carried a Bruce Lee-symboled notebook for all my notes, and the little thing that says "Be water." Just to remind myself to be very fluid in the process, and not to be too rigid. I'm overly prepared all the time, and I'm constantly finding myself needing to jettison my ideas for better ideas.
I think a lot of it is Marvel, to be honest. I learned it's no coincidence they've made such an unprecedented string of really well-reviewed hit movies. It ultimately comes down to their incredible passion for movies themselves—that it's all about the movie first, not anything else, and that there's no ego involved. The best idea wins. So if you, as a filmmaker, check your ego at the door, everybody always wants someone else to have a better idea. You're always looking for a better idea, wherever it can come from. And that process just became very synergistic and thrilling to do. They were so supportive of the vision that I came in with. I wanted to make a mind-trip action movie about one man overcoming himself through these spiritual ideas. They were just 1,000 percent supportive of that vision all along, and they never shied away from any of the boldness, whether it was in the visuals or in the ideas. That's why it was such an amazing experience. And—I think—why it turned out to be a decent movie.
AVC: You mentioned Bruce Lee and being fluid. Is part of it just the fact that this was your second time around, where you didn't have to go through as steep of a learning curve?
SD: On The Day The Earth Stood Still, there were so many reasons [there were issues]. We had a writers' strike right before, four or five weeks before we started shooting. So a lot of the problems on that movie were the result of the fact that we couldn't continue to work on it. We suddenly got locked into a script that we all knew wasn't ready. But the train had left the station. It was really kind of a strange situation. A bit of a perfect storm. Nonetheless, I think it still did prepare me for how to integrate my passion and my vision for the movie with the interest and desires of the studio.
But in this case, there just wasn't conflict, there wasn't that. We were all swinging for the fences on the movie. I expected more pushback on how weird I was trying to make things, and to my surprise, the only real pushback I would get from Kevin [Feige, executive producer] would be like, "This can be weirder," which was just wonderful. I loved it. And I think also, recognizing how the visual-effects pipeline works, and having a better idea of how to creatively manage the logistics of a production like that. You kind of have to—it's a trial by fire the first time you do it, and you learn a lot of things the wrong way. I learned a lot of things by making a lot of mistakes on The Day The Earth Stood Still. For that reason, of all the movies I've made, that's probably the movie that I value the most as a filmmaker, because it's definitely the one I learned the most from.
AVC: In taking on a huge CGI-heavy film—which, by the way, congratulations on the Oscar nomination for Best Visual Effects—what did you experience that struck you the most in terms of what had changed, effects-wise, in the almost decade-long gap between these two movies?
SD: So much, you know? What can be done, it's growing every year. I don't think we could have made Doctor Strange five years ago, maybe not even three years ago. The progressive leaps are happening all the time. But I did have enough experience with effects, not just on The Day The Earth Stood Still, but, you know, when you work in horror, you end up doing a lot of visual effects. A lot of them are more subtle, but you're dealing with effects all the time. So I do think I've developed a really good visual-effects eye.
For me, for this movie, it was always my mantra—spoken repeatedly, to the visual-effects crew and the production designer—that the visual effects needed to reinterpret magic in a much more tactile way. I didn't want amorphous light, I didn't want amorphous smoke. I didn't want the kind of signature imagery that usually tells an audience we're dealing with the mysteries of magic and mystical powers. I wanted to get away from all those things, and create surrealism, magic as surrealism through physically tactile, recognizable textures. So the audience doesn't feel like they're looking at CGI, they feel they're looking at something that's really physical, even though it's bending and moving and doing things that are impossible, because it's so textural. And I think that that was the philosophical approach to the effects.
Victoria Alonso, the head of Marvel post-production, one of the producers of the movie, she said—talking about the major vendors, Luma and Industrial Light And Magic and these big vendors that were working for us—that they want to be inspired, they want to be inspired to innovate. I really went out of my way to build my connection with those vendors personally and inspire them and push them to come up with better ideas. I had a lot of visual material that I presented everyone with, in terms of concept art and even YouTube videos about fractal movements and stuff like that. But I was always telling everybody, "Bring me ideas. This is the time to innovate. There are no boundaries. The whole goal is to create a new type of visual-effects movie that is not about destruction, but that is about magical creativity." I think they all caught the fire, because I think they all got behind it. And I think seeing the cuts come in, and how good the actors were, I think that everybody got an extra dose of inspiration, and everybody contributed so much to it. And that's why it earned the nomination, because of how much all of those people tried to push the boundary.
AVC: You mentioned the philosophical bent behind the effects. It seems like the material you were working with almost forces you to think of new and inventive ways to utilize visuals. In coming up with the story, was there a feeling of needing to break the mold, spectacle-wise?
SD: Oh yeah. Before we broke the story, a starting point for me was that, no matter the number of set pieces we're going to have in this movie, I don't want any of them to feel like set pieces we've seen before. Every set piece in this movie should feel like the weirdest set piece in any other movie. And that was the starting point. I remember saying things like, "I want a finale where you're fighting forward in time but reversing time, and instead of trying to close a portal, I want to go through a portal into another dimension. Turn some of those Marvel clichés on their heads. The mirror dimension chase, I want to be inside an Escher painting." I say "I," meaning the audience. It was the starting point, coming up with these super surreal, maximum-weirdness set pieces. My biggest rule of thumb was originality and to not just create destruction and on-screen stimulus, but to have it be magical creativity.
I think that audiences, they get stimulated by typical big-budget visual effects, but they're so often variations on the same kind of explosions and gun fights and mass destruction. A Doctor Strange movie just has to be something different. The material cries out for it. The comics were like that. The comics were the bible. It all goes back to Stan Lee and Steve Ditko. The incredible imagination of some of those images—which in my opinion are still state-of-the-art when it comes to comic panels and visual design—they're still progressive.
AVC: With that as your source material, were there any worlds or characters that you took as inspiration from that and wanted to take a crack at bringing to life early on, but that didn't make it to the final script? It's such an open universe that Ditko and they made.
SD: No. I mean, I think that we landed pretty early on the big ideas. Those basic set pieces are present in some form, I think all of them, from the very first draft. You know, the astral fight comes straight out of a later graphic novel of Doctor Strange called The Oath. When Strange is on an operating table with Christine Palmer trying to save his life and he astral-projects out of his body and tries to help her, it's not a fight scene, but I wrote that scene and storyboarded that scene before I was hired for the movie. That was one of the scenes where I demonstrated, "This is the kind of thing that we can do." It's straight out of the comics. That one was essentially realized before I even got the job. The other ones came through a lot of concept work that turned into storyboards that I would do and discussions with John Spaihts, the first writer, and Stephen Broussard the producer, and Kevin and Victoria and Louis D'Esposito. It was all a group effort to try to push boundaries and get out there as far as we could go. It was hard at first. I kept feeling like I was running up against limitations of imagination. And then, it was almost like we collectively started doing some things that were so outrageous that we became un-handcuffed and just went for it. That's when the movie started to work.
AVC: In terms of source material and inspiration, you've talked about the comics as the bible, but in terms of cinematic inspirations—people obviously reference Inception and The Matrix and other similarly innovative special-effects films—but what other sources of creative inspiration did you personally draw from? 2001 seems like it was probably in the mix.
SD: 2001 was in the mix. Jodorowsky's movies, I watched those a few times when I was working on it, not for specific imagery but for just psychedelic boldness and tone. Enter The Void for the same reason. German expressionism. Dr. Caligari. That movie and the physical weirdness power, that movie is still shocking when you watch it. But there was also a lot of surrealist photography that I looked at, modern surrealist photography, really interesting and bold things being done with that, and kind of the usual suspects of the art world—Escher, Dali, and even Goya in places. Probing through YouTube looking for fractal work and looking at a lot of commercial technologies. The cutting edge of visual effects is really usually broken in commercials. I did a lot of research there as well, looking for textural possibilities that I could then integrate into storytelling in these visual-effects sequences. The end scene is all inspired by a single 1971 Doctor Strange blacklight poster that I keep over my desk. I was just like, "I want the Dark Dimension to look like this!" It was a hodgepodge of inspiring sources, really.
AVC: Are there specific commercials or videos that stand out, in terms of something that really did start breaking new ground, that you drew on?
SD: Oh gosh, I don't remember any of them. That was over two years ago that we collected a whole bunch of material and got together and watched them all together. I remember a car commercial that I saw was dealing with optical illusions and part of the mirror-dimension chase is a more ambitious, actual visual optical illusion, which I had not seen in a film before. Monument Valley was even a source of inspiration for that. When you see that bridge, there's a giant tracking shot across the street where suddenly the world separates, and that was very inspired by Monument Valley. Because that kind of motion has not been in a motion picture before. It seemed like it was suitable to that chase scene.
AVC: Could you pick out a memory, a day on set that personally stands out when you look back on the actual filming?
SD: For me, it's always performances. It's always watching great actors bring something to life, especially when it's something that you've written, and watching actors breathe life into it that goes far beyond even what you envisioned. As a director, that's always the most satisfying thing to see, because in the end—there's all these bells and whistles and visual effects and stimulation and imagination and magic—but in the end, people watch people. They watch characters, and your movie is only as good as your characters. So for me, the argument scene between Stephen Strange and Christine Palmer, that fight scene in the apartment—even to this day, every time I watch the movie, it feels like, "How did I get this scene from this gritty little indie film into this Marvel movie?" [Laughs.] Because they're so committed, and he's such an asshole in that scene. We dared to let him be that awful. To my surprise, people appreciated that and respected that, because we've all been there, we've all lashed out at people we love when we're in pain. It's just a human thing to do. And then also the death scene of the Ancient One. Filming that and seeing Tilda bring real soul to very wavy lines and making them work, that was really rewarding. Those are the moments that I carry with me the most, for sure.
AVC: So you definitely had the "Holy shit, Tilda Swinton is saying these words that I wrote" moment?
SD: Yeah. That happened a lot. Because she's so unassuming, and she's in costume, but she goes out and she starts performing, and it's just electric. She's the person I became personally the closest to, probably, in the making of the movie. But then, when we were out on the press tour, and she'd come in with her glamorous fashion weirdness, I'd be like, "Oh my God, it's Tilda Swinton!" I'd definitely be starstruck even though I've been on set with her. She just kind of has that effect on you.


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Amfiregulin, takođe poznat kao AREG, je protein koji je kod ljudi kodiran AREG genom.

Funkcija
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On je autokrini faktor rasta kao i mitogen za astrocite, Švanove ćelije, fibroblaste. On je srodan sa epidermalnim faktorom rasta (EGF) i transformirajućim faktorom rasta alfa (TGF-alfa). Ovaj protein interaguje sa receptorom epidermalnog faktora rasta (EGFR) i promoviše rast normalnih epitelijalnih ćelija.

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Estradiol i progesteron uglavnom indukuju izražavanje amfiregulina da bi posrdovao razviće kanala mlečnih žlezda. Za amfiregulin je utvrđeno da je esencijalan za razviće mlečnih kanala, što je dokazano odsustvom rasta kanala kod amfiregulinkih nokaut miševa. To je slično sa fenotipom EGFR i ERα nokaut miševa, koji isto tako pokazuju odsustvo razvića kanala.

Klinički značaj
Mutacije u kodiranom proteinu su vezane sa psorijazi sličnim fenotipu kože.

Reference

Literatura

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redpajama_set_name: RedPajamaWikipedia


Is Open Adoption the Best Choice for You and Your Baby?
If you are pregnant and thinking about placing your child for adoption, you may want to consider open adoption. Different from a closed adoption which involves zero ongoing contact with the baby and the adoptive parents, an open adoption involves photos, letters, phone calls, emails and even in-person visits. At Angel Adoption, Inc, we want both birthparents and adoptive parents to be happy with the type of adoption and amount of openness involved. Consider these facts about open adoption before deciding if open adoption is the best choice for you and your baby.
Even though an open adoption involves things such as photos, letters, phone calls and visits, there are still limits. Choosing an open adoption doesn't mean birthparents get to visit the adoptive family whenever they please. It does not necessarily mean that birthparents are integrated into the adoptive family, either. Before the official placement of your child, your case worker will discuss the levels of openness with both the birthparents and adoptive parents and choose a system that is best for everyone. Once the adoption is finalized, there will be no altering or changing of the agreement. If at any point both the birthparents and adoptive parents wish for more openness, it will need to be discussed with your adoption case worker.
In an open adoption, the birthmother or birthparents have a sense of control with the ability to review, interview and select parents for their child. This offers the birthparents security, empowerment and control, while giving them confidence and comfort that the adoptive parents are a good fit for the child. With an open adoption, many birthparents have an easier time dealing with the adoption because the ability to communicate with the adoptive family eases them back into everyday life without guilt or regret. Additionally, one of the most precious things about an open adoption is that the child will always have a sense that his birthparents wanted to be apart of his life.
The open adoption experience differs with each family – but birthparents should also consider the benefits and advantages open adoption offers the adoptive parents. An open adoption can be beneficial to the child's health because the adoptive parents are medically informed and are able to continue to obtain new medical information about the birthparents over a course of time. An open adoption is also beneficial to adoptive parents because there is an opportunity to develop an on-going relationship with the birthmother or birth families. Additionally, in an open adoption adoptive parents receive affirmation and gain confidence in knowing they were hand-picked by the birthparents to become the adoptive family.
Placing a child for adoption is a difficult decision, but with the help of Angel Adoption, Inc you have options. If you are unsure if open adoption is right for you and your baby, the Angel Adoption staff can help you explore closed adoption and semi open adoption. Should you have any questions or just need support, please contact us anytime.


Our love for food can sometimes take us to extreme edges. Some of us might travel far and wide for the right dish while others might patronise a particular restaurant or a particular chef for the right dish. Some special people, though, love to express their love for food by getting their favourite dishes inked. On the occasion of World Tattoo Day today, here's a look at some of the most inspiring food tattoos on the Internet. What do you think of these? Let us know in the comments below.
4. We can't decide whether this person likes candy or not. What do you think?


MTA is a leading developer of DFCS for major military weapon systems including the Digitized M119A3, Paladin, M777A2 and M150/151 Mortar Fire Control System. Our domain experience in the development of Systems and Software has provided advancements, improvements, and solutions for Artillery Ballistics, Muzzle Velocity Calculations, Message Parsing, Message Composition, Message Decomposition, Navigation, UTM Coordinates, Latitude and Longitude (Lat/Long) coordinates, True North coordinates, Soldier Machine Interface development (displays and control), and Ammunition Selection processing. In addition, MTA has extensive experience with both hardware and software interfaces for Army Radio Network Communication. This involves Systems Engineering to determine requirements and Software Engineering to design, develop, and integrate with the DFCS and to interoperate with Advanced Field Artillery Tactical Data System (AFATDS). MTA has developed leading solutions for DFCS.
MTA has vast domain experience in developing the software and formal testing of Digital Fire Control Systems. MTA currently develops and maintains the LHMBC Computer Based Trainer, related Web-Site development and management, and related software programs and training documentation.


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Man Implants Car Key in Hand to His Unlock Tesla with a Simple Wave
By Spooky onDecember 27th, 2019 Category: Tech
A self-described cybernetics enthusiast from Utah recently made news headlines after having his Tesla 3 key embedded in his hand, allowing him to unlock it just by holding his hand close to the car.
Ben Workman has four computer chips embedded in his hands that allow him to perform different actions, from locking and unlocking his Tesla and the doors at his workplace, to logging into his computer and even sharing contact information. He has always been fascinated by technology and was eager to become a real-life cyborg as soon as the option became available, but he had trouble finding someone willing to perform the procedure at first. He was turned down by a veterinarian, a doctor and a piercing studio for his first two implants, so he eventually convinced a family member to do it.

redpajama_set_name: RedPajamaCommonCrawl


Description: The client (the largest and oldest University in Chile) wanted to have a new media to send all of his pre graduate careers info to all high schools, so that prospective students would choose them. This was the first interactive CD programmed and distributed in Chile, putting us, in the dilemma of how should it look like, how should it be programmed and distributed. We discovered we could'nt work beyond 256 colors, on a 640 x 480 screen and that we would have to make it so lightweight so that we could copy it into 7 3.5 diskettes (since 98% of school in 1995 didn't have a CD reader). A CD version was also burned.


A new finding has cast doubt on the theory that ancestors of modern humans interbred with Neanderthals over thousands of years. Scientists have re-dated fossil bones from two sites in southern Spain and discovered they are much older than previously thought.
According to the new evidence, it is unlikely Neanderthals and modern humans ever lived together in the region. Researchers now think the Neanderthals had long gone before the arrival of the first Homo sapiens.
Since the 1990s experts have believed the last Neanderthals sought refuge in the Spanish peninsula and died out around 30,000 years ago. That would have provided easily enough time for the Neanderthals to mix their DNA with that of modern humans, who are believed to have colonised Spain more than 10,000 years earlier.
But the new research from Oxford University, reported in the journal Proceedings of the National Academy of Sciences, using an improved dating method indicates that the Neanderthal occupation of Spain only lasted until around 45,000 to 50,000 years ago.
Interbreeding has been suggested as the reason why traces of neanderthal DNA can be found in people living today, especially Europeans.
However, the issue has divided experts. Some believe the genetic link is due to Neanderthals and modern humans having a common ancestor which may have lived in north Africa.
Neanderthals and modern humans are distantly related sub-species of ancient human. Both are thought to have emigrated to Eurasia from Africa, but at different times.
Robin McKie talks to geneticist Svante Pääbo, who has identified the Neanderthal lurking in many of us – and turned paleontology on its head.


Two law enforcement sources familiar with the investigation confirmed to NBC News the suspect's name is 24-year-old Mark Anthony Conditt.
Authorities had zeroed in on Conditt in the last 24 to 36 hours and located him at a hotel on Interstate 35 in the suburb of Round Rock, Austin Police Chief Brian Manley said at a news conference. They were waiting for ballistic vehicles to arrive when his vehicle began to drive away, Manley said. Authorities followed the vehicle, which stopped in a ditch on the side of the road, the police chief said.
When members of the SWAT team approached, Conditt detonated an explosive device inside the vehicle, the police chief said. The blast knocked back one officer, while a second officer fired his weapon, Manley said.
Conditt, who suffered significant injuries from the blast, was killed.
Authorities said it was too soon to say if Conditt worked alone. They also said they don't know his motive.
"AUSTIN BOMBING SUSPECT IS DEAD. Great job by law enforcement and all concerned!" President Donald Trump soon after a police news conference.
Chief Manley also tweeted, "I can't thank the men and women of #AustinPD or our Federal partners enough for their tireless work in restoring peace to our community."
On Tuesday, a bomb inside a package exploded around 1 a.m. as it passed along a conveyer belt at a FedEx shipping center in Schertz, northeast of San Antonio and about 60 miles southwest of Austin. One worker reported ringing in her ears and was treated at the scene.
The Schertz blast came two days after a bombing wounded two men Sunday night in a quiet Austin neighborhood about 3 miles from the FedEx store. It was triggered by a nearly invisible tripwire, suggesting a "higher level of sophistication" than agents saw in three package bombs previously left on doorsteps, according to Fred Milanowski, the agent in charge of the Houston division of the U.S. Bureau of Alcohol, Tobacco, Firearms and Explosives.
Authorities have not identified the two men who were hurt Sunday, saying only that they are in their 20s.


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Metro business owners worried as Jackson and Cass counties become COVID-19 hot spots
by: Deneysha Richard
Posted: Aug 10, 2021 / 07:08 PM CDT / Updated: Aug 10, 2021 / 07:08 PM CDT
KANSAS CITY, Mo. — Patrick Froman is a co-owner of Fetch, a store located in the West Bottoms with eclectic knick-knacks and vintage clothing.
Froman said the start of the pandemic hit them hard and things were just starting to get back to normal.
"This could be worse than what we saw in 2020," he said.
Froman said tourists who typically visit the store may fear coming into the county, now that it has been deemed a hot spot.
"Now we are seeing a downward spiral in traffic and footsteps because of the new insurgency," Froman said.
Both Jackson and Cass counties have been dubbed a "hot spot" by the Missouri Department of Health and Senior Services.
COVID-19 Hotspot: Missouri issues advisories for Jackson, Cass counties
With only a little over 40% of people vaccinated in both Kansas City and Jackson County, Froman and his co-owner fearing for the worst.
"It sucks because if we got this right the first time, we wouldn't be in this problem again," he said.
Cass County Health Director Andrew Warlen said COVID-19 cases now are almost double from what they saw this time last year.
"The Delta variant has seemed to change things quite a bit," Warlen said. "We have gotten more loose with our social distancing, gotten back to normal with activities, not wearing a mask."
Cass County records show that data is not the worse it's been throughout the pandemic, there were about 234 confirmed cases as of Tuesday. That's down from 301 cases a week before.
But county leaders say they are still on edge.
COVID-19 cases rapidly on the rise in Cass County, health department says
"Just because we have a decline doesn't mean we are anywhere out of the woods," Warlen said.
As both counties work to handle the new threat of the delta variant, Froman is hoping the danger stops here.
"I just hope we don't get back into the lockdown situation, the closure situation, but we will have to be prepared like we were before," he said.


This call for proposals aims at contributing to achieving the objectives of the European e-Justice Strategy 2014-20183.
This call for proposals will support projects promoting Union citizenship, in particularfacilitating the exercise of the right to free movement and the electoral rights derivingfrom the citizenship.
The overall objective of the action is to ensure a better understanding of the functioning of theinternal market from a consumer perspective, thus improving the evidence base for EU policy.
To improve civil protection preparedness and response to all kinds of disasters, including marine pollution, chemical, biological, radiological, nuclear emergencies, as well as combined disasters and disasters simultaneously affecting a number of countries (inside or outside the participating states of the Mechanism) by providing a testing environment of established and/or new operational concepts and procedures of the Mechanism and a learning opportunity for all actors involved in civil protection assistance interventions under the Civil Protection Mechanism.


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Wife, Teenage Daughters Strangle Man With Dupatta After Suffering Years of Abuse in Noida
The man's wife and daughters were upset with him for drinking regularly and not mending his ways, leading them to strangulate him to death, according to officials.
Published: November 1, 2020 5:40 PM IST
By India.com News Desk Email
Edited by Priyanka Email
NOIDA: The wife and two minor daughters of a sanitation worker were apprehended on Saturday for allegedly killing him, a day after his body was found in a park here, police said. Also Read - Delhi-Noida Wakes up to Dense Fog, Cold Wave Across North India
The man's wife and daughters were upset with him for drinking regularly and not mending his ways, leading them to strangulate him to death, according to officials. Also Read - Mild Intensity Earthquake Jolts Noida, No Damage Reported so Far
The woman said that the accused, who was a drug and alcohol addict, allegedly worked as a sweeper and had been harassing his teenaged daughters — aged 14 and 16 — for the past few years. Also Read - Noida Cop Hitchhikes Ride in 2 Strangers' Car, Loots Duo on Gunpoint; Suspended
The body of Anil Kumar, 50, was found lying on a cot in the park next to a slum near Morna village around 7.30 am on Friday by locals, with the police earlier suspecting he died of liquor consumption.
However, a probe was taken up in which it emerged that the wife and two minor daughters of Kumar had strangled him. They were upset with his alcoholism and some other bad habits which is the reason they decided to kill him, Deputy Commissioner of Police, Noida, Rajesh S said.
The dupatta used for strangulating Kumar has been recovered and his wife Pika Devi has been arrested, the officer said.
His two minor daughters were apprehended and produced in a juvenile court, the DCP added.
An FIR has been lodged at the local Sector 24 police station under Indian Penal Code section 302 (murder), police said.
daughters strangle manMorna villagenoidawife kills man
Published Date: November 1, 2020 5:40 PM IST


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NOVEMBER 18th – ECO POLITIC: Survey: More than half of Romanians believe situation in their country worse than in 1989
by strategic | Nov 21, 2022 | 2022, Media eng
ECO POLITIC: More than 50% of Romanians believe that the situation in their country is worse than in 1989, according to a survey carried out by INSCOP Research as part of the their Romania – Agenda 2050 project commissioned by the Strategic Thinking Group and...
NOVEMBER 18th – ACTMEDIA.EU: Survey: More than half of Romanians believe situation in their country worse than in 1989
ACTMEDIA.EU: More than 50% of Romanians believe that the situation in their country is worse than in 1989, according to a survey carried out by INSCOP Research as part of the their Romania – Agenda 2050 project commissioned by the Strategic Thinking Group and...
NOVEMBER 18th – PRESSONLINE.RO: Survey: More than half of Romanians believe situation in their country worse than in 1989
PRESSONLINE.RO: More than 50% of Romanians believe that the situation in their country is worse than in 1989, according to a survey carried out by INSCOP Research as part of the their Romania Agenda 2050 project commissioned by the Strategic Thinking Group and...
18 November 2022 – STIRIPESURSE.RO: More than half of Romanians believe situation in their country worse than in 1989 (survey)
STIRIPESURSE.RO: More than 50% of Romanians believe that the situation in their country is worse than in 1989, according to a survey carried out by INSCOP Research as part of the their Romania – Agenda 2050 project commissioned by the Strategic Thinking Group...
18 November 2022 – ROMANIA JOURNAL: More than half of Romanians believe situation in their country worse than in 1989 (survey)
ROMANIA JOURNAL: More than 50% of Romanians believe that the situation in the country is worse than in 1989, according to surveys carried out by INSCOP Research, within the Romania Agenda 2050 project, commissioned by the Strategic Thinking Group, launched on...
18 November 2022 – ZIARUL PROFIT.RO: More than half of Romanians believe that the situation in their country is worse than in 1989 (survey)
ZIARUL PROFIT.RO: More than 50% of Romanians believe that the situation in their country is worse than in 1989, according to a survey carried out by INSCOP Research as part of the their Romania – Agenda 2050 project commissioned by the Strategic Thinking Group...


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After the Fall from Innocence the Legend beginsApr 19, 2019- Explore astonwilson's board "Legends of the fall quotes", followed by 163 people on Pinterest
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My name is Dev and I am a 21-year-old magician based in Christchurch, New Zealand.
Before I started taking lessons from Aaron I had been learning and performing magic for about 4 and a half years. In those years I had learned and performed a lot of different sleights and tricks (most of which involved cards) in various environments (social gatherings, schools, university, restaurants, coffee shops, malls) both professionally and 'not-professionally'. Apart from the initial few months, I like to think that I was successful more often than not in these performances and would very rarely feel like I didn't do a good job. Spectators, almost always, seemed to enjoy what I was showing them and were very supportive. I believe that is the reason why I love performing magic (it makes people and me happy!).
However, despite receiving great reactions to my tricks and plenty of encouragement and support from my audiences, a lot of the time I would receive comments such as 'you're really good with your hands', 'you're so fast with the cards' or 'you have great sleight of hand'. These were all meant to be compliments but they bothered me because I never wanted the spectators to think that I was doing sneaky things with my hands and the cards, I wanted them to believe (even if just for a moment) that they were witnessing real magic. I wanted them to experience that incredible feeling of seeing a miracle happen right in front of their eyes.
Looking back, I am certain the reason this happened was because of the way I approached the process of learning and performing magic. Back then, my approach to magic was quite straightforward, you learn the method behind a trick -> you practice it until you feel confident enough to perform it -> you perform it. I always added a little bit of my own touch and presentation to these tricks but I never spent too much time thinking about the other different elements that make up an effect such as structure and misdirection.
Adopting Aaron's Miracle Man Method (3M) has changed that and consequently helped me get closer than ever to create that feeling of real magic in my spectators' minds.
When I began taking lessons from Aaron, I thought that I was already in the 'Intermediate' or 'Expert' category when it came to learning and performing sleights. I thought that I had already 'mastered' sleights such as the Double Lift the Pass, the Classic Force etc. I believed that card controls such as the Overhand Shuffle control, switches like the Side Glide and forces such as the Criss-Cross force were just for beginners and I didn't need to use them at all. How wrong I was!
Aaron wasted no time in helping me understand the importance and usefulness of these core moves. He not only explained the moves and how to do them in incredible detail, but also taught me some mind-blowing effects and routines that can be achieved just using these moves, the Chicago Stunner and Thought Crimes to name a couple.
In fact, I loved the Thought Crimes routine so much that I performed my slightly modified version of it for a local close-up magic competition and won first place! Seriously, I performed a routine that involves just the Overhand Shuffle control system and the Criss-Cross force and floored a room-full of magicians. All thanks to the Miracle Man Method.
As mentioned before, I didn't really spend a lot of time thinking about Misdirection before working with Aaron. Honestly, I didn't really even understand how misdirection truly worked and thought that it was necessary only in tricks which involved hiding an obvious secret move (such as the top change in 2 card monte). When in reality, the principles of Misdirection can, and should be applied to every single trick that you perform. I realized that there are so many more things that the audience shouldn't be seeing or thinking about when you are performing a trick for them for example, getting a break. Writing this, I cannot believe I thought it was okay for the audience to see me getting a break.
Aaron taught me how to perform an amazing coin vanish that involves almost no sleight of hand, but just uses principles of Misdirection like the Gaze and Attention Jacking to achieve the effect. I believe that this effect alone has helped me attain a deep understanding of misdirection, I am certain that I couldn't have achieved this if it wasn't for Aaron. Applying the principles used in the coin vanish has helped me employ them in every other trick that I do and truly helped reform these tricks into real miracles.
Understanding structure and how it is essential in creating a magical effect was a major element in my transformation from a 'trickster' to 'magician'.
Before working with Aaron, fortunately, bulk of the tricks I performed had decent structure. I think this was because I subconsciously applied some basic principles of structure to my tricks, because otherwise, the trick wouldn't feel 'right'.
However, when Aaron taught me a sponge ball routine, I truly understood how and why structure was such a powerful element of the effect compass.
The effect of the first phase of the routine is - two red balls are introduced as siblings who cannot stay apart from each other, then one ball is placed into the spectators hand and the other in the magicians pocket, the magician then asks the spectator to guess which one he/she is holding, the boy or girl?, once the spectator is done guessing he/she is asked to open their hand to reveal that both balls are in the spectators hand.
The beauty of this phase in the routine is that it creates the effect of a ball vanishing from a magicians pocket and appearing in the spectators hand, when in fact there was no actual vanish done! The trick was structured in such a way that all the focus of the spectator was on the fact that an extra ball had appeared in his/her hand that the fact the he/she didn't see the first ball actually vanish wasn't even an issue.
Understanding structure in this way has made me appreciate its value and apply its principles in every trick that I do.
Since a very early stage in my life as a magician, I considered presentation to be essential when doing a trick. I didn't enjoy watching magicians perform with little or no presentation. What I enjoyed even less, was watching a magician perform with no presentation and get amazing reactions from the audience. I held a firm belief that for a trick to be good, there had to be a lot of presentation involved.
While training with Aaron, I noticed that some tricks that he performed had great and lovely presentations, whilst some didn't and yet they were wonderful to watch and definitely created that feeling of real magic. That's when I realized the actual purpose of presentation, and that is to cover up the different elements of the effect compass. In many tricks, having a nice presentation will achieve that (like in the case of the sponge ball trick, where the magician asks the spectator to guess which ball is he/she holding on to), however, there are also a number of tricks in which having a presentation might not only hinder the effect but also ruin it completely. Understanding that has helped me greatly reduce the fat from a lot of my tricks and enhanced the effect by a great deal.
As I mentioned in the Introduction, I often received 'compliments' from my audiences such as 'you're really good with your hands', 'you're so fast with the cards' or 'you have great sleight of hand'. This always bothered me as that was not the impression that I was trying to create for the audience. I didn't want them to think of me as just a guy with skills. A major reason for this was that I didn't understand the difference between a 'trick' and 'effect'.
I was performing 'tricks' for people without really thinking about the 'effect' it created in their minds. A trick is merely the technique being executed without much consideration for misdirection, structure and presentation. When these aspects are combined together with the technique, a magical effect is created. Adopting the Miracle Man Method has helped me understand the different aspects of an effect and how they must work together to create a truly magical experience for the audience.
Working with Aaron and his 3M system has completely transformed my perception of magic and how it should be done for the better. It has gone a long way in helping me transform from being a 'trickster' to being a 'magician'. My magic is now focused more on misdirection and structure than it was before.
It doesn't matter if you have been doing magic for 5 months or 15 years, I can say for sure that your magic will change for the better if you adopt the Miracle Man Method. I can say this so confidently as I cannot imagine understanding and being able to apply the principles of Misdirection, Structure, Presentation and Technique the way I do now if it wasn't for Aaron and the 3M system.
If you want your audiences to experience what it would be like to see real magic, adopt the Miracle Man Method.


text:
MP asks whether it would be possible to 'suspend devolution' to avoid Covid 'confusion'
06 Jan 2022 3 minutes Read
Rob Roberts. Picture by David Woolfall (CC BY 3.0).
An MP elected as a Conservative has asked whether it would be possible for "devolution to be suspended temporarily" as a result of the Covid pandemic.
Speaking in the House of Commons, Rob Roberts, who now sits as an independent after a 12-week suspension for sexually harassing a member of his team, said that his constituents were finding the differences in Covid regulations between Wales and England "confusing".
He said that under the Wales Acts, devolution could be suspended at a time of national crisis and he asked the Attorney General whether she had advised it.
"Over the past 18 months, my inbox has been full of people who are frustrated and confused by the differences between the England and Wales covid rules, my constituency being close to the border," he said.
"As part of the devolution settlement, under the Wales Acts, there is provision for devolution to be suspended temporarily during times of national crisis in order for decisions to be made by Westminster for the whole of the United Kingdom.
"Will the Attorney General confirm whether she gave any advice to the Government along those lines? If not, what would a national crisis that would trigger such a clause be?"
The Attorney General, Suella Braverman, answered that the UK Government "must respect the arrangements set out in each of the devolution settlements", but agreed that "sometimes the rules of other Administrations can be confusing".
"This week, for example, under Welsh Government guidance it is okay to go to the pub, but not to the office," she said.
"The vaccine roll-out and the immense financial support provided by the UK Government are two outstanding examples of what can be achieved when we work together as one United Kingdom, co-operating for the good of the Union."
'Mystifying'
Conservatives at Westminster, including the Prime Minister, have aimed sustained fire at Wales' Covid restrictions this week.
The stricter rules introduced in Wales from Boxing Day mean that groups of no more than six people could meet in pubs, cinemas and restaurants.
Meanwhile, outdoor events are limited to 50, while 30 people allowed indoors, leading to many sporting events being cancelled or played behind closed doors.
Yesterday Prime Minister Boris Johnson described the restrictions in Wales as "baroque eccentricities".
The Welsh Secretary Simon Hart also said the Welsh Government was guilty of a "huge number of mystifying and contradictory positions".
Mark Drakeford announced on the 30th of December last week that the rules would stay in place for another week, as the situation in Wales had "deteriorated in the last week as the omicron wave has arrived".
"We have seen a marked rise in cases of coronavirus – the majority are likely to be caused by the omicron variant," he said.
"This is similar to the position in the rest of the UK."
A further update is expected today or tomorrow.
Surely the inbox of this sex pest has been full of emails begging him to resign?
The only thing that needs suspending is Knob Roberts
Barry Pandy
That fat old pervert hasn't got anything to say worth listening to other than 'I resign'.
Aled Rees
And we should listen to this perverted sychophantic idiot?
Kerry Davies
Andrew RT Davies has seen this irrelevance and gone one better with the irrelevance of God Save the Queen. Do these pathetic excuses for human beings have anything to say about child poverty or the myriad failings they are elected to rectify?
Y Cymro
So this Tory deviant Rob Roberts wanted to suspend devolution but not the Brexit transition & negotiations which occured during the height of the first wave of Covid-19 that killed tens of thousands. The man's vulgarity knows no limits.
Last edited 9 days ago by Y Cymro
Grayham Jones
Kick that idiot out of wales 🏴 it's time for a new wales 🏴
I thought his leader had said it was almost all done now and back to normal ?
Where has he been ?
Opps I've just remembered 😩
Chrissy lee
What? Please go away!
Last edited 9 days ago by Chrissy lee
Who watches the watchers. Should Westminster be suspended because Downing Street has been holding Christmas parties during lockdown?
Yes it makes sense to have a common four nation approach to Covid, but who determines which one is correct? Granted I am not happy with the current restrictions imposed by Drakeford, and feel that they are unnecessary, but in general he has handled the pandemic far better than Boris.
I will repeat was has been said over and over again, Labour is the problem NOT devolution.
Notta Bott
Desperate because he knows he is losing his seat
Rhosddu
Reply to Notta Bott
I tempted to believe that these Tory MPs are coached beforehand to raise these questions in the HoC which has now been weaponised as a locus of anti-devolution verbal attacks. I'm also inclined to believe that Roberts' in-tray is NOT overflowing with letters from "confused" Flintshire people unaware of the current restrictions in Cymru as a result of Omicron.
But this'll get him back in with the important people in his party, at least until election time…
GarethW
Suspending this sex pest by the nuts sounds more appropriate
Erisian
More proof there is no such thing as a Welsh Tory.
Just Tories in Wales.
that huge financial support would have been enabled by Welsh taxpayers' money and it would appear it's only the tory types that have an issue in understanding Welsh government rules, are they all twp?
Gareth Wyn Jones
Looks like he's been given a way back to the CONservative party in statements like this…. Not found many people in Mold that wants the English model of 'pile them high' maybe they are 'confused' as why the English government would rather let people die in the name of 'business' and not protecting health. Anyway why waste time on this idiot
Stephen Owen
What contusion? Don't people which country they are in?
Another Tory showing us why he and his party can not be trusted to run our country.
Dafydd
It is the media that is largely responible for any confusion – which underlines just how little they are aware of or care for us here in Wales.
and despite the dangers posed by pandemic conditions, the Tory's at Wasteminster and elsewhere are happy to muddy the waters.
We really need to do in our power to create and sustain independent Welsh media outlets catering to the people of Wales.
DaWag
Ahh! the perverted Blobby Gammon Roberts
Another idea-turd plopping from his mind.
Quornby
We need no advice from a sex pest.
Robert Hodges
Is this what happens when your desire to be English causes you physical pain?
Cai Wogan Jones
Here's the legal problem. Section A1 of the Wales Act 2017:- "(1) The Assembly established by Part 1 and the Welsh Government established by Part 2 are a permanent part of the United Kingdom's constitutional arrangements. (2) The purpose of this section is, with due regard to the other provisions of this Act, to signify the commitment of the Parliament and Government of the United Kingdom to the Assembly and the Welsh Government. (3) In view of that commitment it is declared that the Assembly and the Welsh Government are not to be abolished except on the basis of a… Read more »


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providing tickets from ICWF funds to deserving cases to avoid any delay in their departure.
Q: My relative is being deported by Qatar. What kind of assistance can the Indian Embassy provide to prevent this deportation?
Deportation can be done by Qatari authorities when a foreigner violates the immigration laws of Qatar. In most cases, the Indian Embassy will not be able to intervene in preventing such deportation for violation of immigration laws. However, in cases where the Indian national concerned may not be at fault or feels he is being unfairly deported, this can be brought to the notice of the Indian Embassy, so that it can be taken up with the local immigration authorities concerned, by bringing the relevant facts to their attention.
Financial assistance provided to file or to fight a case, but only where the concerned person is not able to meet the expenditure for the purpose.
Interpreter facility may be provided where language is a barrier.
Indian Mission may suggest empanelled NGOs, which provide assistance/consultation in litigation process.
Q: Does the Indian Embassy fight court cases on behalf of an overseas Indian?
No, Indian Missions/Posts do not fight court cases on behalf of Indian nationals. In a few countries, Indian missions have arrangements with empanelled local NGOs to assist overseas Indians for litigation processes. For more details on this, it is advisable to directly contact the Indian Embassy.
Q: Does the Government of India have any scheme for providing legal or financial assistance to Indian Women deserted by their Indian/Foreigners spouses abroad?
Yes, the Ministry of External Affairs has such a scheme. Please click the link below for details of the scheme: www.mea.gov.in/legal-and-financial-assistance. The Embassy can also provide limited assistance on a case-by-case basis, subject to a needs assessment.
Q: Can OCI card holders purchase property in India?
OCI card holders can purchase residential and commercial properties in India. But they are not permitted to purchase agricultural land, including farmland or any kind of plantation property.


Disclaimer: This is a sponsored conversation written by me on behalf of Homestead Bloggers Network And FoodSafety.gov . The opinions and text are all mine.
The holidays are here and that means you are either doing a lot of cooking or going someplace where a lot of cooking is being done, so understanding these important food safety tips is essential.
Often holiday meals are leisurely with the food being served buffet style.
Most people do not think twice about food safety and focus instead on their guests conversations.
Sometimes food is left sitting out for hours at regular room temperatures and this is when problems can start.
Then when you do begin to clean-up the leftovers there is the problem of what to do with all of it.
Sending food home with your guests is a great idea but keep in mind this means the food is setting out even longer at warmer temperatures since most of us do not carry a cooler filled with ice in the trunk of our car.
Food poisoning is a serious public health threat to our country, according to FoodSafety.gov.
The CDC estimates that approximately 1 in 6 Americans (or 48 million people) will suffer from food poisoning this year, resulting in roughly 128,000 hospitalizations and 3,000 deaths.
If your family is anything like mine, then you're used to having the same problem every time you have a big dinner — and that problem is finding space in your refrigerator to put up all that leftover food.
While dreaming up ideas for turkey sandwiches and leftover pie, remember that mishandling leftovers creates opportunities for the food to become contaminated with bacteria.
When it comes to leftovers, following a few simple tips can go a long way towards preventing potential foodborne illness, so keep these food safety tips in mind.
How Many of These Food Safety Tips For Dealing With Leftovers Do You Follow?
Leftovers should be refrigerated or frozen in shallow containers. Whole roasts, hams and turkeys should be sliced or cut into smaller pieces or portions before storing them in the refrigerator or freezer. This encourages rapid, even cooling.
Throw away all perishable foods, such as meat, poultry, eggs and casseroles, left out at room temperature for more than two hours. This also includes leftovers you bring home from a Thanksgiving meal at a family or friend's house. Some exceptions to this rule are foods such as cookies, crackers, bread and whole fruits.
Turkeys are smoked for flavor, not so you can keep them around until New Years. Store a commercially smoked turkey in the refrigerator, unopened, no longer than a week. Once the package is opened, use or freeze the bird within 3 to 4 days.
Reheat solid leftovers to at least 165 °F, as measured by a food thermometer. Reheat liquid leftovers to a rolling boil. Do not taste leftovers to check and see if they've spoiled – bacteria that cause illness do not affect the taste, smell, or appearance of food.
While we are on the subject of food safety, how much do you know about turkey myths and tips?
I know I learned a few things I didn't know, so please read on.
Myth: Washing the turkey before cooking makes it cleaner and safer. FALSE It's impossible to wash bacteria off any poultry, not just turkey, because pathogens live inside the meat itself. Instead, juices that splash during washing can transfer bacteria onto kitchen surfaces, other foods and utensils. The only way to destroy bacteria on your turkey is to cook it to a minimum internal temp 165 °F; at this temperature bacteria are killed.
Myth: Stuffing turkey the night before is a safe way to save time. FALSE. Harmful bacteria can multiply in the stuffing and cause food poisoning when a stuffed bird is refrigerated. The ingredients for the stuffing, wet and dry, can be prepared and refrigerated separately the night before. Stuff the turkey just before you put it into the oven.
Myth: If one turkey takes 3 hours to cook, two will take 6 hours. FALSE In fact, cooking two of approximately the same weight takes no longer than if there were only one bird in the oven. However, make sure to allow a few inches of space between each one to allow the hot air to circulate. A whole turkey is safe when cooked to a minimum internal temperature of 165 °F as measured with a food thermometer.
Myth: Thawing on the counter is the best way to defrost your bird. FALSE Thawing on the counter is unsafe for turkey or any meat, poultry, and other perishable food. There are three safe ways to safely thaw a turkey— in the refrigerator, in cold water, or in the microwave oven. It will take 24 hours for every 4 to 5 pounds of weight to thaw in the refrigerator. To thaw in cold water, submerge the bird in its original wrapper in cold tap water, changing the water every 30 minutes. Refer to your owner's manual for microwave defrosting. The USDA recommended method to thaw a turkey is in the refrigerator.
Myth: Smoked turkey lasts longer. FALSE Turkeys are smoked for flavor, not to extend the time you can keep them refrigerated. Store a commercially smoked turkey in the refrigerator, unopened, no longer than a week. Once the package is opened, use or freeze the bird within 3 to 4 days.
For more safe food handling info and leftover tips, visit FoodSafety.gov.
You can also access "Ask Karen," an online database with 1,500 answers in both English and Spanish to specific questions related to preventing foodborne illnesses.
Or, you can also call the USDA Food Safety Hotline at 1-800-535-4555 available from 10am to 4pm Eastern Time, Monday through Friday.


Adding a touch of continental chic, café style shutters make a real difference in property styles found throughout Windsor. The word "shutters" is sometimes used with either "plantation" or "window" in front, and can apply to a range of furnishings, both inside and out.
Giving a strong visual appeal, they are also easy to keep clean and maintained, also providing insulation and light control. Considering revamping the style of your home or business premises? A fresh choice of window covering can be a good place to start. Helping to enhance a variety of interior designs, at Shuttercraft Henley we work closely our customers, to help them find the right shutter for their space. You can either call us on 01491526300 or fill in this quick form to book a free survey. We take your requirements and design choices into account, helping you get your property or workplace looking just the way you want.
How can café style plantation shutters transform my place of business?
Popularised in cafes and restaurants, thereby gaining their name, café style interior shutters are an excellent way to stop customers feeling self-conscious. The louvres can be tilted to stop people passing from watching customers eat their lunch or drink a coffee.
As well as suiting eating establishments, other businesses that require a level of discretion can also benefit from shutters, for example places where confidential papers are handled. Places such as doctor's surgeries and dental practices may also suit the additional privacy that a shutter provides. But are there any other benefits beyond adding privacy? Quite simply, yes. Shuttercraft fit premium products from S:CRAFT, which can be coated with Hygienilac, an antibacterial coating used in some hospitals that kills over 99% of bacteria. This coating makes them a hygienic choice, as well as being easy to both clean and maintain.
So what differentiates café style window shutters from other types of furnishing?
With so many different products on offer, from bespoke fabrics through to off-the-shelf roller blinds, there are many possibilities for your interior furnishings.
Covering only part of the window, even when closed, café shutters still let in the full level of light through the top. For example, the louvres can be tilted to reduce the level of sunlight when needed.
Keeping prying eyes at bay, an interior shutter adds privacy to your property. Simply tilting the louvres helps to screen off your home from people passing by.
Whether in premium hardwood, durable MDF or waterproof ABS, we offer plantation shutters that are built to last. Panels can also be held in place with magnets, stopping them from flapping in the wind.
Working particularly well with existing window coverings such as curtains or drapes, the partial covering of the café style complements a variety of interior design choices.
Although other styles provide more insulation, they still add an additional layer to your windows, helping to reduce heat loss.
Need further inspiration to complete your renovation project?
Whether you are looking to create a contemporary or classic look, we provide a wide range of options to help you realise your vision.
From premium hardwood and waterproof ABS through to durable MDF, you can find a variety of materials with Shuttercraft to suit the needs of the space. Choose from 28 painted colours, 20 wood stains or a custom colour option to complement your interior design. If you're thinking of investing in your property, whether a house, cafe, or another type of business, then why not consider a top-of-the-range product based on your choices, crafted for the space, and built to last.


The city has a vision. A vision that once completed will bring £3 billion of investment, create 24,000 jobs and bring 5,000 new homes to the city by 2030 – and with £1.9 billion of investment committed or in the pipeline and a further £1 billion of additional investment, the city is achieving great things.
Southampton's relationship with the sea is long and prosperous and past and present plans will ensure this continues with proposed waterfront developments alongside other developments reconnecting the city centre to the waterfront. There's commitment to enhance the urban experiences of residents, businesses and visitors as the city grows economically and culturally.
It's an exciting time to be part of Southampton.
Information on commercial properties to rent or buy, including council owned property, can be found on the on-line commercial property database.
The team of experts at Southampton City Council are there to help businesses to invest and / or relocate to the city.
By working as a key partner with project teams, Southampton City Council can provide information and a comprehensive package of support. One call unlocks access to a network of skills, knowledge and assistance, resulting in a co-ordinated, tailored response to enquiries.


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text:
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Allardice, S. (Samuel)26
Scot, Robert, 1744?-182316
Seymour, Joseph H.16
Smither, James, 1741-17979
Hume, David, 1711-17767
Great Britain10
Great Britain--History10
Franklin, Benjamin, 1706-17906
Franklin, Benjamin, 1706-1790--Portraits6
Great Britain--Kings and rulers6
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1. Transactions of the American Philosophical Society, Held at Philadelphia, for Promoting Useful Knowledge. : Volume III
Early American imprints. First series ; no. 25103.
Philadelphia : Printed and sold by Robert Aitken and Son, numbers 22; Market Street., M.DCC.XCIII. [1793]
Evans Digital Edition Connect to full text, no. 25103
Philadelphia : Printed and sold by Robert Aitken & Son, no. 22; Market Street., M.DCC.XCIII. [1793]
3. The History of the British Empire, from the year 1765, to the end of 1783. : Containing an impartial history of the origin, progress, and termination of the American Revolution.
Philadelphia: : Printed for Robert Campbell and Company by Richard Folwell., M.DCC.XCVIII. [1798]
Philadelphia: : Printed for Robert Campbell & Co. by Richard Folwell., M.DCC.XCVIII. [1798]
5. The history of England, from the invasion of Julius Caesar to the revolution in MDCLXXXVIII. : In six volumes, illustrated with plates.
Hume, David, 1711-1776., author.
A new edition, with the author's last corrections and improvements.
Philadelphia: : Printed for Robert Campbell; by Samuel H. Smith., M.DCC.XCV[-M.DCC.XCVI]. [1795-1796]
Hume, David, 1711-1776.
7. Some account of the city of Philadelphia, the capital of Pennsylvania, and seat of the Federal Congress; : of its civil and religious institutions, population, trade, and government; interspersed with occasional observations.
Davies, Benjamin, author.
Philadelphia: : Printed by Richard Folwell, for the author., 1794.
Davies, Benjamin.
9. The history of England, from the Revolution to the end of the American war, and Peace of Versailles in 1783. : In six volumes. : Designed as a continuation of Mr. Hume's History.
Smollett, T. (Tobias), 1721-1771., author.
A new edition, with corrections and improvements.
Philadelphia: : Printed for Robert Campbell and Company by Henry Sweitzer., M.DCC.XCVI-M.DCC.XCVIII. [1796-1798]
10. The history of England, from the Revolution to the end of the American war, and Peace of Versailles in 1783. : In six volumes. : Designed as a continuation of Mr. Hume's History.
Smollett, T. (Tobias), 1721-1771.
Philadelphia: : Printed for Robert Campbell & Co. by Henry Sweitzer., M.DCC.XCVI-M.DCC.XCVIII. [1796-1798]
11. The Edinburgh new dispensatory : containing I. The elements of pharmaceutical chemistry. II. The materia medica; or, an account of the different substances employed in medicine. III. The pharmaceutical preparations and medicinal compositions of the latest editions of the London and Edinburgh pharmacopoeias. With the additions of the most approved formulae, from the best foreign pharmacopoeias. : The whole interspersed with practical cautions and observations; and enriched with the latest discoveries in natural history, chemistry, and medicine; : with new tables of elective attractions, of antimonial and mercurial preparations, &c. : And copperplates of the most convenient furnaces, and principal pharmaceutical instruments. : Being an improvement of the New dispensatory by Dr. Lewis.
The fourth edition; with many alterations, corrections, and additions: and a full and clear account of the new chemical doctrines published by Mr. Lavoisier.
Philadelphia: : Printed by Thomas Dobson, at the stone-house, numbers 41, South Second-Street., M,DCC,XCVI. [1796]
Philadelphia: : Printed by Thomas Dobson, at the stone-house, no. 41, South Second-Street., M,DCC,XCVI. [1796]
13. An history of the earth, and animated nature.
Goldsmith, Oliver, 1730?-1774., author.
History of the earth and animated nature
Philadelphia: : Printed for Mathew Carey, numbers 118, Market-Street., May 12[-Nov. 5], M,DCC,XCV. [1795]
Goldsmith, Oliver, 1730?-1774.
Philadelphia: : Printed for Mathew Carey, no. 118, Market-Street., May 12[-Nov. 5], M,DCC,XCV. [1795]
15. Some account of the city of Philadelphia, the capital of Pennsylvania, and seat of the Federal Congress : of its civil and religious institutions, population, trade, and government; interspersed with occasional observations. By Benjamin Davies.
Eighteenth century collections online. Part 2: New editions.
Philadelphia : Printed by Richard Folwell, for the author, 1794.
16. The history of England : from the invasion of Julius Caesar to the revolution in MDCLXXXVIII. In six volumes, illustrated with plates. By David Hume, Esq. To which is prefixed a short account of his life, written by himself. ...
Philadelphia : Printed for Robert Campbell; by Samuel H. Smith, M.DCC.XCV[-M.DCC.XCVI] [1795-1796]
17. The history of the British Empire, from the year 1765, to the end of 1783 : containing an impartial history of the origin, progress, and termination of the American revolution
Philadelphia : Printed for Robert Campbell & Co. by Richard Folwell, M.DCC.XCVIII. [1798]
18. The History of France, from the earliest times, till the death of Louis Sixteenth.
Philadelphia, : Printed for A. and J.G. Henderson, by Bioren and Madan., 1796[-1798].
Philadelphia, : Printed for A. & J.G. Henderson, by Bioren & Madan., 1796[-1798].
20. The history of England : from the Revolution to the end of the American war, and Peace of Versailles in 1783. In six volumes. Designed as a continuation of Mr. Hume's History. By T. Smollett, M.D. and others. ...
Philadelphia : Printed for Robert Campbell & Co. by Henry Sweitzer, M.DCC.XCVI-M.DCC.XCVIII. [1796-1798]
21. An history of the earth, and animated nature. : By Oliver Goldsmith. In four volumes. ...
Goldsmith, Oliver, 1728-1774.
History of the earth
Eighteenth century collections online. Part 1.
Philadelphia : Printed for Mathew Carey, no. 118, Market-Street, May 12[-Nov. 5], M,DCC,XCV. [1795]
22. The World displayed; or, A curious collection of voyages and travels
First American edition, corrected & enlarged, in eight volumes. Vol. I[-VIII].
Philadelphia. : Publish'd by Dobelbower, Key, and Simpson., 1795-1796.
24. Encyclopaedia; or, A dictionary of arts, sciences, and miscellaneous literature ...
The first American edition, in eighteen volumes, greatly improved.
Philadelphia: : Printed by Thomas Dobson, at the stone house, no 41, South Second Street., M.DCC.XCVIII. [1798] (Copy-right secured according to law.)


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