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BY Juliet Jacques	in City Report | 05 JUL 17
Dispatches: London
What might the late Mark Fisher have made of the UK's General Election? Suddenly the end of 'capitalist realism' feels not just possible, but almost inevitable
BY Juliet Jacques in City Report | 05 JUL 17
On the evening of 8 June 2017, I watched the UK General Election coverage in the no.w.here project space – a lab in Bethnal Green, London, founded in 2004 by filmmakers Brad Butler and Noor Afshan Mirza – which combines 16mm production with critical dialogue about image-making, usually with a radical slant. For years, they have fought their landlord to keep their building, seen by property developers as too lucrative to waste on a non-profit, artist-run organization, and who have employed expensive lawyers to argue against its Asset of Community Value status. (They also made no.w.here remove the slogan on their door declaring 'We live in a utopia – it's just not ours'.) No.w.here won that case, and recently secured another four years' Arts Council funding, although their grant has not been increased since their last application, meaning in real terms that it has been cut – especially as their landlords are trying to hike up their rent by 30%.
Mirza told me that they are hoping to shift to a worker-run model, like that of the seminal London Film-Makers' Co-operative, whose equipment no.w.here inherited after it ended in 2001. LUX, who took on the LFMC's film collection, left Dalston for Highgate last year, priced out of Zone 2; given the impracticality of moving items such as the rostrum camera, much would be lost if no.w.here also had to relocate. Their resentment at the Conservatives running London purely for the wealthy is expressed in posters around the lab, notably in one by Savage Messiah (Laura Oldfield Ford) stating 'The only cuts we want to see' above prominent politicians' heads on spikes.
kennardphillips, Profit, 2017. Courtesy: © KristianBuus
When the election was called, the prevailing mood amongst my artist, academic and activist friends had been despair: Jeremy Corbyn's Labour trailed the Conservatives by 20% in opinion polls, and pundits anticipated a defeat similar to 1983 (when the Tories won a majority of 144) or even 1931 (when Labour lost 225 seats). By polling day, the election was impossible to call, after a miraculous Labour campaign that combined the imagery and emotional affect of 20th century socialism with deft social media use, incorporated counter-culture via #grime4corbyn, and produced a bold manifesto that dared to position austerity as a political choice, rather than necessity. Polls varied wildly: YouGov had the gap down to 1%, but ComRes estimated a 10% Tory lead, with youth turnout as the key variable. Only a handful of commentators – most notably Aaron Bastani of Novara Media – gave Corbyn a chance of wrecking May's coronation.
The Tories' campaign had been as anaemic as Labour's had been brilliant. Strategist Lynton Crosby soon disowned it, although it bore his hallmarks: slurs (often with a racist bent), scaremongering, and catchphrases repeated robotically until they became truisms (a tactic that David Cameron, improbably, drew from The Ramones). These were widely ridiculed: Jeremy Deller plastered cities with posters reading 'Strong and stable my arse'; meanwhile, we called our party at no.w.here a 'Coalition of Chaos' and borrowed art duo kennardphillips' portrait of Theresa May, starkly entitled 'Profit', to promote it. The best détournement, though, was applied to 'the magic money tree' – the Tories' attempt to castigate Labour's spending plans as fantasy – as Tristan Cross mixed Youtube ranter The Artist Taxi Driver's anti-austerity diatribe with Skepta's 'Shut Down' to create a striking, sublime stab at governmental greed and hypocrisy that spread rapidly across social networks. Artists, who had constantly seen their budgets slashed, organisations that might promote or fund their work vanish, and the whole concept of creativity rendered irrelevant in a world where only Profit mattered, were having their revenge.
Jeremy Deller, 'Strong and Stable My Arse', series of posters made for the UK General Election. Photograph: Duncan Cumming
At no.w.here, in the hour before the exit poll results were due, we talked about the effects of austerity on our lives: cuts to education grants and arts funding; the impossibility of finding secure, affordable housing; a sense that our life prospects were being rapidly, deliberately eviscerated. Getting everyone into the project space, where the coverage was being screened, just before the 10pm announcement was not easy – our memories of the 2015 exit poll, which (correctly) called an unexpected Conservative majority were still raw. When it predicted a hung parliament, we were ecstatic: May would be dramatically weakened (having said that losing just six seats would be a disaster 'for Britain'); Corbyn's supporters, constantly demonized by the media, would be vindicated; and Britain's long rightward drift, which had culminated in the previous summer's Brexit vote, might be reversed. Corbyn may not have won, but he had done far more than avoid obliteration: he had won 40% of the vote (his party's best result since 2001), secured the biggest swing to Labour since 1945, and not just several won marginals but also seats we could never have imagined turning red – most notably Kensington.
Suddenly everything had changed. Labour certainly had: there could be no leadership challenge to Corbyn, given a standing ovation when he returned to the Commons. The Manchester and London Bridge terror attacks, on which May had attempted to capitalise, prompted recriminations over police cuts. Having long smeared Corbyn as an IRA sympathiser, May flailed to form a 'coalition of chaos' with Northern Ireland's Democratic Unionist Party – jeopardising the Good Friday Agreement. Everyone I knew was jubilant: May's humiliation was delicious, and the Tories' fear that Corbyn, branded 'unelectable' by Labour 'moderates' for the last two years, would become Prime Minister if (or when) their now-minority government collapsed was palpable.
Mark Fisher. Courtesy: Repeater Books
Amidst the celebrations, many of us in London-left circles considered our friend Mark Fisher, who took his own life in January. Fisher's k-punk blog and his book Capitalism Realism, issued in 2009 via Zero Books (which he co-founded) had been a huge influence on our thought: his diagnosis of an ideological framework in which no alternative to neoliberalism was allowed to be imagined, let alone enacted, and suggestions for how we might challenge it, had inspired many of us to write, make art, or join activist movements that might now feed into a more radical Labour Party. He died at a point when it looked like the economic order might be toppled – by the extreme right, after Trump's election and the hard-line Tory coup that followed the EU referendum. In this context, the maintenance of capitalist realism might have become what we had to fight for, but now, there was genuine hope, and it saddened us that Mark, always so enthusiastic about any popular movement, wasn't around to see it.
Then, our bittersweet exuberance turned to sadness and rage, with a catastrophic reminder of why Kensington had voted for housing activist Emma Dent Coad. With 80 deaths confirmed at the time of writing – the Grenfell Tower fire was the most deadly on mainland Britain since the Victorian period, and highlighted Dickensian levels of inequality. It was not just a tragedy but a scandal: North Kensington is one of Britain's most deprived areas, sitting in its richest borough, and like other 1960s and '70s social housing blocks, Grenfell Tower had been neglected for years, with successive governments and the local council letting it decay in the hope that tenants would leave voluntarily. The Grenfell Action Group had expressed concerns about fire hazards since 2013, using their own blog (which was largely ignored) in the absence of a local press that would take up their cause; legal aid that would have let them go to court had been removed; construction industry blacklisting of trade union members eliminated workers who would have raised safety issues; recommendations made after the Lakanal House fire in 2009 were ignored by housing minister Gavin Barwell, now May's Chief of Staff; survivors said cladding installed in 2016 despite being effectively banned on tall buildings, and which spread the fire to the top floor in eight minutes, was to make their home less unattractive to wealthy arrivistes; the Council declined to spend GBP£5,000 extra on fireproof cladding, when Chancellor Philip Hammond found £7.6m to renovate a 300-room stately home in Yorkshire.
Khadija Saye, Sothiou, 2017, Edition 25/50, Silkscreen print on paper. Courtesy of Jealous gallery and The Studio of Nicola Green
There was a direct resonance for the art world, too: one of the first deaths announced was that of 24-year-old photographer Khadija Saye. Her Twitter feed is heart-breaking: a mixture of exhortations for people to vote Labour, and excitement about her work being shown in the Diaspora Pavilion at the Venice Biennale when she died. Saye had recently met Andrew Nairne, director of the Kettle's Yard gallery – on the Tower's 20th floor, where she lived with her Gambian-born mother (who appeared in Saye's work, and also died) and worked as she could not afford an external space.
One week after the election result was announced, I went to a gathering that Laura Oldfield Ford had organized. I hadn't seen Laura since the memorial event for Mark Fisher in February, when we had agreed that those of us who had coalesced through the blogging circle around k-punk, or Zero/Repeater Books should meet more often. With so many emotions flying around, and so many variables at play, it was impossible to guess what Mark would have made of the preceding seven days, in which the end of capitalist realism began to feel not just possible but almost inevitable. In truth, I have no idea which way things are going to fall, but being part of a more confident alliance of politicians, activists, artists and writers, I feel for the first time in my life that it might be possible to push this city – and this country – back towards the left.
Main Image: kennardphillips, Profit, 2017. Poster made and flyposted by Flying Leaps. Courtesy: ©KristianBuus
Juliet Jacques is a writer and filmmaker based in London, UK. Her most recent book, Trans: A Memoir, was published by Verso in 2015. She co-hosts Suite (212) on Resonance 104.4fm, which looks at the arts in their social, cultural, political and historical contexts.
kennardphillips
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When it comes to fatherhood, Mark Cummins has a few runs on the board.
The single father of eight won the Queensland Father of the Year title in 2012, well before one of his boys, Nick, aka The Honey Badger, started popping up on TV and bus-stop advertising - usually in his undies.
But Nick is just another kid who likes to give things a crack in the Cummins clan.
"They're all like that," Mark says.
Mark reckons that's probably how Nick wound up as the main man on Channel 10's reality TV program The Bachelor.
"I'm not sure he'd ever watched it," Mark says.
"When he got the offer, he asked me what I thought and I said I've got no idea.
"So he went to a higher authority on it, his sisters. He spoke a lot to the girls about it.
But The Bachelor isn't a major topic in the Cummins' new Gold Coast home, where Mark and his two youngest sons have just moved after selling up the family acreage on the outskirts of Brisbane.
Mark was diagnosed with stage-four terminal prostate cancer five years ago and just had some malignant melanomas cut out.
"I went to see the doctor because my knee was playing up and there was a skin place next door," he says.
There must be someone keeping an eye on him. In his own words, he's not supposed to be here. He's had 75 blasts of radiation in the past five-and-a-half years, with secondary cancers showing up in his hip and spine.
"I'm still doing the things I used to be doing," he says.
Two of Mark's kids have the genetic condition cystic fibrosis, affecting the lungs and digestive system. The youngest, Joe, is hospitalised for what amounts to months every year and has reduced lung capacity.
"When they told me I had terminal cancer, I had a five o'clock appointment and at six o'clock I was still sitting in the waiting room," he says.
It was in the car on the way home Mark wrestled with how he was going to tell the kids.
"When I got home, I said I've been here for you all these years and now I need you to help me," he says.
They've been getting through it ever since.
Sitting on the front deck of their new home, overlooking a wide expanse of water and sipping a cuppa at his mum's hardy childhood kitchen table, it's clear to see where Nick has picked up his gift for artful use of language.
Mark is a natural philosopher, employing the odd turn of phrase that Nick has put on steroids. He's a thinker, a writer and knows how to tell a good story.
Mark has been co-author of the two Honey Badger books to date, the hot-selling Tales of the Honey Badger and Adventures of the Honey Badger.
But Mark launched his writing sideline many years earlier when he was a schoolteacher in the '80s, penning a book of plays for upper primary and lower middle school children.
"I was a teacher for 10 years and I majored in drama and creative writing at college," he says.
"One year there, there were five kids at the time and I needed to buy them bikes for Christmas.
"I thought there weren't a lot of good plays for kids to be putting on at school in those days. They'd either have five or six main characters so the rest of the class didn't get a look in or the plays were boring.
The book sold like hot cakes and Santa came up with bikes that year.
Mark has just finished writing another book with Nick, as yet untitled, but he says it's quite different to the other two.
"This one's a bit more philosophical," he says.
Mark is proud that Nick uses his platform for charity and community work. He does quite a bit of speaking on mental illness, particularly encouraging men to speak out and ask for help when things aren't OK.
But Mark is proud of all his kids. Nick's Wallaby jersey is just another exhibit in the family sporting hall of fame.
There's Bernadette, the eldest, who was captain of the Thai national netball team while she lived there, and Luke, number two, who married a Swedish girl and played rugby for Sweden. Nathan, number three, lives in Norway after marrying a Norwegian girl and has played in their national rugby side. He's switched to league and is doing his best to qualify Norway for the next Rugby League World Cup.
Nick is number four, then there's Alicia, Lizzie, Jake and Joe.
"They were all sporty and excellent touch footy players," Mark says.
When it comes to being a father, Mark says there needs to be a line between being a parent and a mate.
"You follow your gut and do your best but first you are a parent and second you are a friend," he says.
A single father raising two teenage daughters has all the makings of a challenge but Jonathan Shorter has loved all of it.
For 10 years, Jonathan has been a hands-on dad to his girls Natalie, 18, and Ally, 16 - his first priority, his pride and joy and his most brilliant achievements.
"It's been wonderful," he says of fatherhood.
Jonathan took on the weekday parenting of his girls after an amicable split with their mum, who lives in Northern NSW and has them at weekends. It's an arrangement that's served the family well for a decade.
In his years as a single parent, Jonathan has chosen to be self-employed so he's had the flexibility to be there for school runs and events like sports days and school concerts.
"I made a conscious decision to get involved in their school life and they've appreciated that I've been able to be a hands-on dad," he says.
He joined their school's Parents and Friends Association 10 years ago and has served seven years as its president.
"That's one of the most rewarding things I've ever done," he says.
"I've met some outstanding staff and students and some great parents.
Natalie completed Year 12 last year and is taking a gap year, working at a burger restaurant before studying nursing at university in 2019. Ally is in Year 10.
"We get on fantastically," he says.
Twelve months ago, Jonathan re-entered the corporate world as a management rights broker for the RAAS property group and has enjoyed his first year.
"I hope to be doing that for the next 20 years, all going well," he says.


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Lillian Gish chats with Merv Griffin (The Way It Was – CBS Thu. Jan. 14, 1970)
Lillian Gish chats with Merv Griffin
The Way It Was – CBS Thu. Jan. 14, 1970
Lillian Gish, one of the major film stars of the pre-talkie era, chats with Merv Griffin about the early days of motion pictures, in "A Salute to the Silent Screen," a special edition of "The Merv Griffin Show," Thursday, January 14 (11:30 PM – 1:00 AM, Est) in color on the CBS Television Network.
Photo Division CBS Television Network Press Information, 51 West 52 Street, New York 10019
CBS 39779-R1-2a-Full
Subjects: Lillian Gish, Merv Griffin
Program: "The Merv Griffin Show"
On Air: Thursday, Jan. 14
11:30 PM – 1:00 AM, Est
Lillian Gish at Merv Griffin Show Thu Jan 14 1970 detail
"A Special Salute to the Silent Screen", with film clips of great pictures (including "Ben Hur" with Francis X. Bushman and "Way Down East" with Lillian Gish.)
Merv's guests are Buddy Rogers, Betty Bronson, Jackie Coogan, Richard Arlen, Laura La Plante, Neil Hamilton, Chester Conklin, Ken Maynard, Minta Durfee Arbuckle, Babe London, Beverly Bayne, Betty Blythe, Viola Dana, Eddie Quillan, Dorothy Devore, Vivian Duncan and Carter deHaven.
Runtime 1 hr (60 min)
Sound Mix Mono
Color Black and White | Color
Negative Format Video (NTSC)
Printed Film Format Video (NTSC)
Lillian Gish at Merv Griffin Show Thu Jan 14 1970 X
Lillian Gish at Merv Griffin Show Thu Jan 14 1970
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A look at 8 outdoor dining restaurants at the Jersey Shore.
We can't help it: After months of cold and sogginess, we are ready for the beach, for long and lazy days, and for the return of some of our favorite restaurants. These are the places that close for the winter, the ones we flock to when they reopen because our time with them is fleeting.
The Morning Glory sandwich at Free Range in Seaside Heights has soft scrambled eggs, chives, cheese, avocado, caramelized onions and spicy mayo on a brioche bun.
And now, with summer just weeks away, they are back in business. The following restaurants are throwing open the windows and coming back to life, and we are happy to welcome them to another season of dining at the Shore.
Seaside Heights has never been known as the place for seasonally inspired, locally sourced, farm-to-table cuisine, but this year-old restaurant is changing that.
the bridge in Toms River. At Free Range, the menu is an inspired mix of salads, sandwiches, toasts and sweets, plus hot and cold coffee drinks. Standouts include a hot fried chicken sandwich with herb aioli and pickled slaw, a pork belly bahn mi, and toast topped with soft scrambled eggs and caviar.
In its first year, Free Range served breakfast and lunch. This year, dinner service has been added.
GO: 701 Boulevard; 732-250-8788; www.freerange.net.
Kelly Ryan, owner of The Boondocks Fishery, is shown in the restaurant's kitchen.
If you wait all winter to get your hands on fresh lobster, good news: You will find it at this Red Bank favorite, which reopens May 15.
The Boondocks Fishery celebrates its 10th season this year, and seafood lovers will be happy to know that owner Kelly Ryan is continuing her tradition of lobster night: On Tuesdays, Wednesdays and Thursdays, $26.95 gets you two lobsters, corn and potatoes. With a bottle of your favorite wine - the restaurant is BYOB - and a view of the Navesink River, your meal is complete.
A sampling of the french fries at The Chicken or the Egg restaurant in Beach Haven (clockwise from top left): disco fries, sweet potato fries, sloppy fries, crabby cheese fries, loaded fries, Buffalo fries, and garlic pub fries (center) .
Kids count down to the end of school. Parents count down to the end of summer. The rest of us count down to opening day at the CHEGG.
This funky spot on Long Beach Island, which is never without a line outside, opened for the season on April 19. Diners can order breakfast, lunch or dinner any time of day, and the menu is packed with deliciously indulgent dishes: crispy fries sauced with garlic and herbs, chicken and waffles with sausage gravy, pancakes stuffed with pork roll, and chicken wings that are so spicy, the CHEGG calls them Ludicrous.
For now, The Chicken or the Egg is open from 7 a.m. to 9 p.m. weekdays and until 10 p.m. Fridays and Saturdays. At the end of the month, the restaurant will be open 24 hours.
GO: 207 North Bay Ave.; 609-492-3695; https://492fowl.com.
A Reuben sandwich from Shore Fire Grille in Surf City.
Every beachgoer needs a place where they can come as they are, a spot with outdoor tables shaded by a canopy and a window for takeout. In Surf City, this is the place.
Shore Fire Grille II (the original is in the Manahawkin section of Stafford), opens for the season May 11. Diners love Shore Fire's burgers of the month - past versions include a turkey burger crossed with Cobb salad and a black bean burger with vegan ale cheese and eggplant "bacon". The menu also includes seared tuna tacos, more than a dozen signature sandwiches, and barbecue.
GO: 1718 Long Beach Blvd.; 609-494-7100; http://shorefiregrille.com.
This is another favorite for fresh lobster, and with good reason: Local lobsterman deliver fresh seafood right to the docks of the restaurant, which reopened April 12.
Broiled, steamed and stuffed with crab meat or tossed with a sweet or spicy marinara sauce, there are a few decisions to make once you decide on lobster for dinner at this no-frills restaurant, well worth the wait. Oh – and you must decide on the size lobster you want, from 1 ½ pounds to jumbo. Or go for the twin-stuffed lobster tails.
Lobster is served in the steam pots at Terrance Tavern in Beach Haven.
Have you ever had a steam pot?
It's a mix of seafood - crab, clams, shrimp, lobster - plus sausage, potatoes, corn and seasonings, simmered together then served to a lucky diner. The pots are a specialty at Terrace Tavern, which reopened May 4; owner Steve Eisenberg learned to make them decades ago in New England.
"To me, it's what the seashore is about," he said. "Keep it simple, keep it fresh, keep it hearty. Make sure there's plenty of food in there; it's a sharing type of thing."
Terrace Tavern also has Old Bay-spiced you-peel shrimp, lobster rolls, scallops from nearby Viking Village, plus nearly two dozen beers and margaritas on tap.
Santeria, a taqueria, opened in May 2017 in Seaside Heights. The restaurant offers a variety of tacos; pictured is a carnitas taco with Granny Smith apples.
What do you get when the owner of a seafood restaurant and the owner of a burger and barbecue spot go into business together?
Last summer, Keith Morris of Chop Shop and Nick Dionisio of Park Seafood, both in Seaside Heights, opened Santeria in the borough. The restaurant, which opened for the 2018 season April 19, is tucked behind Kohr's, just off the boardwalk. Santeria dishes up tacos stuffed with pork belly, roasted octopus and flank steak, plus nacho-topped chicharrones and tostones topped with tuna.
Grilled sea scallops with Asian slaw from Viking Fresh Off the Hook in Barnegat Light.
At this restaurant on Long Beach Island, which reopens May 18, there is a good chance the fish on your plate was in the ocean this morning.
The restaurant cooks with seafood brought in on the boats of Viking Village's commercial docks, often serving diners the catches of that day, said Kris Panacek, who owns Viking Fresh Off the Hook with her husband, Ernie. And this is a family that knows their fish: Ernie, a manager at Viking Village, has worked the docks for three decades.
"The (Viking Village) seafood is mostly scallops, tuna, yellowfin tuna, flounder," Panacek said, adding that her restaurant takes care not to hide the flavors of the fish they serve. "We don't load it with spices and sauces, we don't doctor it up, because it's good, fresh fish."
GO: 1905 Bayview Ave.; 609-361-8900; http://vikingoffthehook.com.
This season marks 15 years for this beloved ice cream cabaret, which opens for the season May 25. The Music Man serves sundaes and shakes with a side of vaudeville-style Broadway performances.
Every night, the shop's employees fill the dining room and sing to customers, often making them part of the show. There is no charge for the entertainment with the purchase of a sundae.
GO: 2305 Grand Central Ave.; 732-854-2779; www.themusicman.com.


Born to a Sindhi family in Mumbai on 5th March 1974, Hiten Tejwani was passionate about acting from an early age. He completed his schooling from Saint Francis D'Assisi High School, Mumbai and then graduated from Jai Hind College. The acting bug bit him during his college days, when he joined the Ankur Theatre Group. He made his television debut in " Ghar Ek Mandir" in the year 2000. His talent was quickly recognized and he soon became a household name as he started bagging one television show after another. He played the role of a supporting actor in three television soaps before getting to play the lead role of "Pratham Mittal" in the immensely popular TV serial ' Kutumb' in the year 2001. Gauri Pradhan starred opposite him in 'Kutumb' whom Hiten later went on to marry in real life.
After completing 'Kutumb', Hiten and Gauri joined one of the most popular shows ever made on Indian Television, " Kyunki Saas Bhi Kabhi Bahu Thi" and his role of Karan Virani was widely appreciated by the critics as well as the audience. He also replaced Sushant Singh Rajput in the popupar TV serial " Pavitra Rishta" as Manav Deshmukh. He featured in reality shows such as "Nach Baliye Season 2" and "Kabhii Kabhi Pyar Kabhii Kabhi Yaar" along with his wife Gauri. He also played supporting roles in various films such as Joggers Park, Krishna Cottage and Anwar. He has also acted in the upcoming film "Its Entertainment" starring Akshay Kumar in the lead role.


text:
HomeNewsFinance & MoneyAmerican FootballUSA
San Francisco 49ers set to lose $10m by hosting college football title game
The San Francisco 49ers could lose as much as $10m (€8.7m) by hosting tonight's (Monday) CFP National Championship game at Levi's Stadium, which is estimated to have cost $25m to produce.
The NFL team is not too concerned, though, as the marquee game will provide huge exposure for its sponsors from the TV broadcast, further strengthens the relationship between the 49ers and San Jose city officials, and gives suite owners and season-ticket holders another event to attend.
The 49ers believe a one-off financial loss could lead to future profits if more big events are secured with community backing.
"We wanted to bring large-scale events back to the Bay Area," team president Al Guido said.
Ticket sales for the Alabama-Clemson clash have been sluggish and the match is not expected to sell out.
San Fransisco 49ers
Alabama-Clemson tickets plummeting in value ahead of Monday's title game
Sydney set to host historic college football match
Australia will host its first regular-season college American football match in over 30 years after a deal was struck for Sydney to stage the season-opener of the 2016 National Collegiate Athletic Association (NCAA) College Football Championships.
Arizona and Tampa Bay land hosting rights to college football showpiece
Arizona and Tampa Bay have been announced as the hosts for the second and third editions of American football's new College Football National Championship Game.
Nine cities in the mix for hosting rights to College Football Playoff showpiece
Organisers of the College Football Playoff (CFP) have announced that a total of nine cities are in contention to host the National Championship, the title game of the US college American football season, across the three years spanning 2018 to 2020.
Hosts determined for College Football Playoff showpieces
Organisers of the College Football Playoff (CFP) have announced the host cities for the National Championship, the title game of the US college American football season, for the three years spanning 2018 to 2020.
Nashville looking to utilise NFL Draft to become 2026 World Cup host venue
Music at heart of experience as tourism chiefs try to set stage for bigger events Tennessee capital one of 17 US cities vying to make final cut for Fifa showpiece
AMB Group utilising Super Bowl LIII to join rotation of NFL's showpiece game
Securing 'big global events' is a primary aim of Mercedes-Benz Stadium ownership Hosting a semi-final of 2026 Fifa World Cup also in sights of $1.5bn


text:
Q: Serializing PsObject for Invoke-Command I'm looking for the best or proper way to pass a PsObject to a remote function with Invoke-Command. ConvertTo-Xml is good for serializing but there is no built-in reverse cmdlet.  The solutions I've found online are all content specific.
I implemented the following functions which works with the few objects I tested but seems rather hacky. Is this going to bite me?  Is there a better, yet still simple solution?
function Get-TmpFileName () {...}

function Serialize-PsObject($obj) {
    $tmpFile = Get-TmpFileName
    Export-Clixml -InputObject $obj -Path $tmpFile
    $serializedObj = Get-Content $tmpFile
    Remove-Item $tmpFile
    $serializedObj
}

function Deserialize-PsObject($obj) {
    $tmpFile = Get-TmpFileName
    $obj > $tmpFile
    $deserializedObj = Import-Clixml $tmpFile
    Remove-Item $tmpFile
    $deserializedObj
}

A: Are you aware that PowerShell already serializes objects sent through Invoke-Command?
If for some reason that isn't enough or isn't working for you, then you can use use the built-in serialization yourself directly:
$clixml = [System.Management.Automation.PSSerializer]::Serialize($object)
$object = [System.Management.Automation.PSSerializer]::Deserialize($clixml)

.Serialize has an overload where you can specify the depth (for objects within objects).
These are the same methods used in implementing Export-Clixml and Import-Clixml (but those cmdlets work directly with files and not strings).

A: Have you tried ConvertTo-JSON?

redpajama_set_name: RedPajamaStackExchange


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text:
Innovation and Sustainability in the Hotel Industry
The Pivotal Moment
The world has changed and the financial service sector will need to change radically in a world which is entering new norms of behaviour and business.
The urgency of this required change cannot be underestimated as the financial services sector will be critical to economic recovery once the main public health crisis is brought under control. The question is, how the financial services sector can adapt to the 'new normal' and how can it do so quickly?
This is a challenging thought, how will organisations change? How will organisations survive in a situation that they have never seen before? How will organisations pivot?
As a Fintech company, we have had to pivot over the years, sometimes out of choice, sometimes out of necessity. But what does pivot mean for a large established organisation?
Pivoting as an organisation can take on many forms. An organisation can pivot regarding its target market, the way it distributes and to who it distributes, change or amend product offering or change the strategic and the core of the company completely, to name only a few.
There are many companies doing this in the market today, car manufacturers are making ventilators, Whisky and other distilleries are making hand sanitiser, education has become 100% digital in some countries, to name a few, however, the question remains. How does an organisation in the financial services sector pivot?
We would suggest the most sensible way for established financial services organisations to pivot is to partner with those who have a proven track record of pivoting and adapting to a rapidly changing environment, namely effective Fintech firms. We suggest that firms embrace Fintech as a partner rather than just a supplier or a novelty. Fintech's are an essential part of the value chain for financial services, now even more than ever before.
FinTech's also need to adapt to understand the new role they will need to play, it won't be about short-term gains but a much larger and long term play to becoming true collaborative partners. As with all partnerships, all parties need to support one another for the greater good.
It was always said that change is inevitable, but now change is the norm. Now is the time to find a suitable, sustainable partnership and prepare for the recovery phase.
ARTICLE WRITTEN BY: BERNARD NIEHAUS & OLIVER DOYLE
Bernard Niehaus is the Managing Director of Digisure, Oliver Doyle is the Chief Technology Officer of Digisure.
Digisure is a part of our Batch 3 Insurtech Program in Singapore.
What Can Insurers Do About Rising Digital Connectivity Exposures?
Maximizing the value chain - Full-stack business models
Conversational Voice AI - The opportunity beyond the crisis
APAC SUMMIT: 3 Days of Innovation, 100 Startups, 1 Platform
Our Startups
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Facebook Accelerator Singapore
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The ADF membership entitles all members to join the symposia of the different ADF working groups and to attend the Annual ADF Meeting. Members may benefit from receiving publications edited by the ADF. The current membership is 60.00 EUR per year which includes the participation fee for the Annual ADF Meeting each year.
All members have the right to review the files of the ADF upon decision of the majority of members.
Membership terminates with death, by an informal written notice of resignation to the Executive Board or by a vote of the General Assembly to be given to the member in writing.
Alternatively, you can give the ADF a direct debiting authority to withdraw the annual membership fees from your account.
If you need a receipt of your paid membership fee for your tax declaration please go to the membership section of the ADF homepage. You can print out a receipt by clicking on the menu "Internal – receipt of membership fees".


text:
Snowden steadily running out of options for asylum
Erika JohnsenPosted at 5:31 pm on July 5, 2013
Edward Snowden's options for asylum are getting fewer and farther between as more and more countries express their disinclination for acquiescing his requests for a safe haven. He's currently supposed to be in transit area in the Moscow airport hiding from U.S. espionage charges and looking for a way out — but he can go ahead and take Iceland off of the list, reports Reuters:
A bid by Edward Snowden for Icelandic citizenship failed when the country's parliament voted not to debate it before the summer recess, lawmakers said on Friday, with options for the U.S. fugitive narrowing by the day. …
Following the news in Iceland, WikiLeaks announced that Snowden had applied to another six countries for asylum, adding to a list of more than a dozen countries which he has already asked for protection.
The anti-secrecy organization, which has been supporting Snowden's efforts to find a safe haven since his exit from Hong Kong 12 days ago, said on Twitter it could not reveal the names the countries due to "attempted U.S. interference".
And go ahead and count France and Italy out, just for good measure:
Italy and France both rejected on Thursday the requests for asylum from fugitive US intelligence leaker Edward Snowden.
Italian Foreign Minister Emma Bonino said Thursday that Italy could not accept an asylum request from the former US intelligence analyst because there were no legal or political conditions to do so. …
"Like many countries, France received a request for asylum from Mr. Edward Snowden through its embassy in Moscow. Given the legal analysis and the situation of the interested party, France will not agree," the interior ministry said in a statement.
Which stinks for him, because Russia — although Putin has refused to extradite Snowden — is reportedly getting a little impatient about his extended stay. Meanwhile, Politico points out that what the wanted man claimed were his worst fears are looking an awful lot like reality. Welcome to Edward Snowden's nightmare?
Snowden's worst fear, by his own account, was that "nothing will change." …
One month after The Guardian's first story, which revealed an order from the secret Foreign Intelligence Surveillance Court authorizing the National Security Agency to collect the phone records of every Verizon customer, there has been no public movement in Washington to stop the court from issuing another such order. Congress has no intelligence reform bill that would rein in the phone tracking, or Internet monitoring, or cyberattack planning, or any of the other secret government workings that Snowden's disclosures have revealed.
… Far from having been surprised by Snowden's disclosures, today's intelligence committee leaders stepped right up to defend the NSA's surveillance programs. From Republicans, led by House Intelligence Committee Chairman Mike Rogers, to Democrats, including Senate Intelligence Committee Chairwoman Dianne Feinstein, they've been nearly unanimous in their support.
"I feel I have an obligation to do everything I can to keep this country safe," Feinstein told The New York Times. "So put that in your pipe and smoke it."
Tags: Edward Snowden leaks national security National Security Agency Russia
DNC to presidential contenders: The Russians are coming -- for your faces!


text:
Q: How can I link portals from own faction without portal key in ingress? There are many portals in my area belonging to my faction, and I want to link them.
According to this page I must hold the portal key for the destination portal in my inventory.
How can I get the portal key for a portal belonging to my own faction?
Or, more generally, how can I link friendly portals that I don't have portal keys for?

A: You have to go there and hack the (destination) portal to obtain the key (yes, you need to hack "friendly" portals anyway to get supplies), or trade keys with team members by dropping/acquiring them.
Also, resonators "drop" keys which are used for links when one end is blown up that you can pick up.

A: The only way to link two portals is to have a portal key form the destination portal.
There are only two ways to get a portal key right now:

*

*Hack a portal (actually hacking in #ingress is just a search for goodies)

*Pick up a key lying on the ground (a key can be dropped by another player or fell out of the portal as a result of a powerful xmp blast)

Official info is here: http://support.google.com/ingress/answer/2808251?hl=en&ref_topic=2799270


text:
Lieut Cmd Lord Hugh Tristram de la Poer Beresford
M, #12351, b. 1 Oct 1908, d. 23 May 1941
Father Henry de la Poer Beresford (b. 28 Apr 1875, d. 1 Dec 1911)
Mother Lady Beatrix Frances Petty-FitzMaurice (b. 25 Mar 1877, d. 5 Aug 1953)
Lieut Cmd Lord Hugh Tristram de la Poer Beresford was born on 1 Oct 1908. He died on 23 May 1941, at age 32, in off Crete.
William Lewyn
Family: Mary Fitzherbert
William Lewyn was born in of Norfolk.
Francis Napier
M, #12353, b. 23 Feb 1758, d. 1 Aug 1823
Father William Napier (b. 1 May 1730, d. 2 Jan 1775)
Mother Mainie Anne Cathcart (b. 26 Oct 1727, d. 11 Jul 1774)
Family: Maria Margaret Clavering (b. 1757, d. 29 Dec 1821)
Daughter Maria Margaret Napier (b. 9 Sep 1785, d. 19 Jul 1861)
Son Lord William John Napier+ (b. 13 Oct 1786, d. 11 Oct 1834)
Daughter Charlotte Napier (b. 18 Jan 1788, d. 6 Jun 1789)
Daughter Anne Napier+ (b. 11 Dec 1789, d. 7 Dec 1862)
Daughter Sophia Napier (b. 21 Oct 1791, d. 10 Dec 1829)
Son Francis Napier (b. 30 Jul 1793)
Son Charles Napier (b. 24 Oct 1794, d. 15 Dec 1874)
Son Henry Alfred Napier, Rev (b. 20 Jun 1797, d. 20 Nov 1871)
Daughter Caroline Napier (b. 18 Dec 1798, d. 9 Nov 1841)
Francis Napier was buried in Enfield, Middlesex. He was born on 23 Feb 1758 in Edinburgh Parish, Edinburgh, Midlothian, Scotland. He and Maria Margaret Clavering were married on 13 Apr 1784 in St Geo Han Sq, Westminster, Middlesex. He died on 1 Aug 1823, at age 65, in Dacre Lodge, Enfield, Middlesex.
Charles Philip Parry-Crooke
M, #12354, b. 1896
Father John Walter Parry-Crooke (d. 1939)
Mother Georgiana Harriet St Leger (d. 1947)
Family: Winifred Rosa Wales
Charles Philip Parry-Crooke was born in 1896. He and Winifred Rosa Wales were married in 1921.
Catherine Fitzherbert
Father Anthony Fitzherbert (d. 1613)
Mother Martha Austen
Family: John Melward
Elizabeth Bassett
Family: Henry Howard
Daughter Elizabeth Howard
Son James Howard
Elizabeth Bassett died in 1643.
Edward A Pearce
Family: Phoebe J Hichens (b. Dec 1929)
Edward A Pearce and Phoebe J Hichens were married in Dec 1965 in Westminster, London.
Edward Lewes
Family: Anne Sackville
Rev John William Horsley
M, #12359, b. 25 Dec 1815, d. 30 Jan 1849
Father George Henry Horsley (b. 9 Mar 1769, d. 18 Jun 1818)
Mother Frances Elizabeth Harding (d. Dec 1818)
Family: Susannna Sankey (b. 23 Jul 1821, d. 17 May 1904)
Son Rev John William Horsley+ (b. 14 Jun 1845, d. 25 Nov 1921)
Daughter Mary Horsley (b. 1846, d. Feb 1920)
Son Stephen Horsley+ (b. 26 Dec 1847, d. 1 May 1901)
Daughter Susannah Elizabeth Horsley (b. 1849, d. 12 May 1857)
Rev John William Horsley was buried in Charing Churchyard. He was born on 25 Dec 1815 in Kent. He and Susannna Sankey were married on 23 Jul 1843 in St.James'S Church, Dover Kent. He died on 30 Jan 1849, at age 33, in Charing, Kent.
Laura Hawkins
Family: Sir Matthew White Ridley (b. 18 Apr 1778, d. 14 Jul 1836)
Son William John Ridley
Daughter Louisa Ridley
Daughter Janetta Maria Ridley
Daughter Laura Ridley
Son Henry Richard Ridley
Son Charles William Ridley
Son George Ridley
Daughter Marianne Ridley
Daughter Sarah Ridley
Son Sir Matthew White Ridley+ (b. 9 Sep 1807, d. 25 Sep 1877)
Laura Hawkins and Sir Matthew White Ridley were married on 13 Aug 1803.
William Bromley Davenport
Daughter Alice Davenport+
Alice Davenport
Father William Bromley Davenport
Family: Edward Ridley (b. Aug 1843)
Son Edward Davenport Ridley, Major (b. 13 Jun 1883)
Son Cecil Guy Ridley (b. 1885)
Alice Davenport and Edward Ridley were married on 29 Jul 1882.
Arthur Octavius Medd, Rev
M, #12363, d. 1894
Family: Mary Ridley (d. 19 Jul 1902)
Arthur Octavius Medd, Rev, held the title Rev. He and Mary Ridley were married on 14 Jun 1876. He died in 1894.
John Talbot
Father Sir John Talbot, Sir (b. abt 1535, d. 9 Dec 1581)
Mother Olive Sherrington (b. abt 1540)
Family: Mary Trimmel
Gilbert Talbot
Father Sherrington Talbot (b. abt 1557, d. 1642)
Mother Elizabeth Leighton (b. 1573)
Elizabeth Aldwinkle
Family: Giffard Pennant (d. 1676)
Daughter Elizabeth Pennant
Son Edward Pennant+ (b. 1672)
Elizabeth Aldwinkle and Giffard Pennant were married on 7 Sep 1669.
Thomas Fitzherbert, Sir
Father Anthony Fitzherbert, Sir (d. 27 May 1538)
Mother Matilda Cotton
Family: Anne Eyre
Thomas Fitzherbert, Sir, died in Dsp. He held the title Sir. He and Anne Eyre were married in 1535.
Georgina Elizabeth Moncreiffe
F, #12368, b. 20 Aug 1790, d. 12 Oct 1842
Father Sir Thomas Moncreiffe (b. 7 Jan 1758, d. 26 Mar 1818)
Mother Elizabeth Ramsay (b. 6 Sep 1769, d. 3 Jun 1848)
Family: George Augustus Frederick Henry Bridgeman (b. 23 Oct 1789, d. 22 Mar 1865)
Son Orlando George Charles Bridgeman+ (b. 24 Apr 1819, d. 9 Mar 1898)
Son Rev Canon George Thomas Orlando Bridgeman+ (b. 21 Aug 1823, d. 25 Nov 1895)
Daughter Georgina Elizabeth Bridgeman (b. 1825, d. Jul 1843)
Daughter Lucy Caroline Bridgeman (b. 1826, d. Dec 1858)
Daughter Charlotte Anne Bridgeman (b. 1827, d. Dec 1858)
Daughter Lady Mary Selina Louisa Bridgeman+ (b. 1830, d. 12 Jul 1889)
Son Rev John Robert Orlando Bridgeman+ (b. 18 Aug 1831, d. 26 Nov 1897)
Georgina Elizabeth Moncreiffe had reference number $. She was born on 20 Aug 1790. She and George Augustus Frederick Henry Bridgeman were married on 5 Mar 1818 in St Geo Han Sq, Westminster, Middlesex. She died on 12 Oct 1842, at age 52, in Norwood, Lambeth, Middlesex.
Isabel Caroline Elwes
F, #12369, b. 7 Aug 1859, d. 6 Feb 1934
Family: Henry Birkbeck (b. 12 May 1853, d. 1930)
Daughter Gillian Mary Birkbeck+ (b. 25 Oct 1882, d. 15 May 1909)
Son Henry Anthony Birkbeck (b. Mar 1885, d. Sep 1956)
Son Gervase William Birkbeck (b. Jun 1886)
Daughter Judith Birkbeck (b. 1888)
Son Christopher Birkbeck (b. 1889)
Isabel Caroline Elwes was born on 7 Aug 1859 in Congham, Norfolk. She and Henry Birkbeck were married on 24 Feb 1881 in Congham, Norfolk. She died on 6 Feb 1934, at age 74.
Edmund Fleming
Father Thomas Fleming, Sir
Family: Alice De Towneley (b. abt 1345)
Thomas Fleming, Sir
Son Edmund Fleming
Thomas Fleming, Sir, held the title Sir.
Edward Ridley
M, #12372, b. Aug 1843
Father Sir Matthew White Ridley (b. 9 Sep 1807, d. 25 Sep 1877)
Mother Cecilia Anne Parke (d. 20 Apr 1845)
Family: Alice Davenport
Edward Ridley was born in Aug 1843. He and Alice Davenport were married on 29 Jul 1882.
Sir Josias Henry Stracey
M, #12373, b. 13 Nov 1771, d. 6 Nov 1855
Father Sir Edward Stracey (b. 4 Jun 1741, d. 16 Jan 1829)
Mother Elizabeth Lathom (d. Jun 1775)
Family: Dianna Scott (d. 13 Jun 1854)
Daughter Adelaide Stracey (d. 19 Sep 1857)
Daughter Diana Julia Wildbrat Stracey (d. 9 Feb 1867)
Daughter Emma Stracey (d. 11 Aug 1861)
Daughter Louisa Stracey
Daughter Ann Matilda Pauline Stracey (d. 18 Mar 1904)
Son Sir Henry Josias Stracey+ (b. 31 Jul 1802, d. 7 Aug 1885)
Son Edward John Stracey (b. 12 May 1808)
Son Hardinge Robert Stracey (b. 29 Sep 1814, d. 31 Mar 1844)
Sir Josias Henry Stracey was born on 13 Nov 1771. He and Dianna Scott were married on 23 Jun 1800. He died on 6 Nov 1855, at age 83.
Dianna Scott
Family: Sir Josias Henry Stracey (b. 13 Nov 1771, d. 6 Nov 1855)
Dianna Scott and Sir Josias Henry Stracey were married on 23 Jun 1800. She died on 13 Jun 1854.
Talbot Longueville
Father Henry Longueville
Mother Barbara Talbot
Barbara Slingesby
Family: John Talbot, Sir, (b. 1630, d. 1714)
Daughter Anne Talbot+
Daughter Gilberta Talbot
Daughter Barbara Talbot+
Seamus Makim
Father Alex Makim (b. 1951)
Mother Jane Louisa Ferguson (b. 26 Aug 1957)
Seamus Makim was born in 1980.
Ayesha Makim
Ayesha Makim was born abt 1986.
Victoria Margaret Cavendish-Bentinck
F, #12379, b. 9 Oct 1918, d. 29 Aug 1955
Father William Arthur Henry Cavendish-Bentinck (b. 16 Mar 1893, d. 21 Mar 1977)
Mother Ivy Gordon-Lennox (b. 16 Jun 1887, d. 1982)
Family 1: Principe Gaetano Parente
Family 2: Gaetano Parente, Principe di Castel Viscardo,
Victoria Margaret Cavendish-Bentinck was born on 9 Oct 1918. She and Principe Gaetano Parente were married on 12 Apr 1950. She and Gaetano Parente, Principe di Castel Viscardo, were married on 12 Apr 1950. She died on 29 Aug 1955, at age 36.
Matilda Cotton
Father Richard Cotton
Family: Anthony Fitzherbert, Sir, (d. 27 May 1538)
Son Thomas Fitzherbert, Sir
Son William Fitzherbert+
Daughter Dorothy Fitzherbert
Daughter Elizabeth Fitzherbert
Son John Fitzherbert+ (d. 8 Nov 1590)
Daughter Catherine Fitzherbert
Principe Gaetano Parente
Family: Victoria Margaret Cavendish-Bentinck (b. 9 Oct 1918, d. 29 Aug 1955)
Principe Gaetano Parente and Victoria Margaret Cavendish-Bentinck were married on 12 Apr 1950.
John Melton, Sir
Family: Margery Fitzhugh
John Melton, Sir, held the title Sir.
Eleanor Fitzhugh
Father William Fitzhugh (b. 1398, d. 22 Oct 1452)
Mother Marjery Willoughby (d. bef 22 Oct 1452)
Family: Thomas Dacre
Bazill Bartlett
Family: Bridgett Fitzherbert
Bazill Bartlett was born in of Castle Morton.
Grace Sherburne
Father Hugh Sherburne (d. 1528)
Mother Anne Talbot
Family: Roger Nowell
Grace Sherburne and Roger Nowell were married in 1512.
Henrietta Maria Drummond
Father George Drummond (b. 1758, d. 6 Mar 1789)
Mother Martha Harley (b. abt 1760, d. Aug 1788)
Family: Vice-Adm Sir Charles Hamilton
Henrietta Maria Drummond was born abt 1780. She and Vice-Adm Sir Charles Hamilton were married in 1803.
Philip Mountbatten
M, #12387, b. 10 Jun 1921
Father Andrew Oldenburg (b. 2 Feb 1882, d. 3 Dec 1944)
Mother Alice Mountbatten (b. 1885, d. abt 1969)
Family: Elizabeth Alexandra Mary Windsor (b. 21 Apr 1926)
Son Charles Philip Arthur George Windsor+ (b. 14 Nov 1948)
Daughter Anne Elizabeth Alice Louise Windsor+ (b. 15 Aug 1950)
Son Andrew Albert Christain Edward Windsor+ (b. 19 Feb 1960)
Son Edward Antony Richard Louis Windsor (b. 10 Mar 1964)
Philip Mountbatten was born on 10 Jun 1921 in Mon Repos, Isle of Kerkira, Corfu, Greece. He and Elizabeth Alexandra Mary Windsor were married on 20 Nov 1947 in Westminster Abbey, London.
Katherine Browne
Family: John Sherburne
Charles Philip Arthur George Windsor
M, #12389, b. 14 Nov 1948
Father Philip Mountbatten (b. 10 Jun 1921)
Mother Elizabeth Alexandra Mary Windsor (b. 21 Apr 1926)
Family 1: Diana Frances Spencer (b. 1 Jul 1961, d. 31 Aug 1997)
Son William Arthur Philip Louis Windsor, Prince (b. 21 Jun 1982)
Son Henry Charles Albert David Windsor, Prince (b. 15 Sep 1984)
Family 2: Camilla Rosemary Shand (b. 17 Jul 1947)
Charles Philip Arthur George Windsor and Diana Frances Spencer were divorced. He was born on 14 Nov 1948 in Buckingham Palace, St James Park, London. He was christened on 15 Dec 1948 in Buckingham, Palace, Music Room. He was baptised on 15 Dec 1948 in Music Room, Buckingham Palace. He and Diana Frances Spencer were married on 29 Jul 1981 in Westminster Abbey, London. He and Camilla Rosemary Shand were married in Apr 2005.
Anne Papillon
Family: Maj Gen Richard Hardinge (b. 14 Apr 1790, d. 20 Jul 1864)
Son Lieut Col Henry Hardinge (b. 26 Jul 1817, d. 6 Feb 1898)
Daughter Frances Anne Hardinge (b. 1819, d. 15 Sep 1891)
Anne Papillon and Maj Gen Richard Hardinge were married in 1815. She died in 1819.
Caroline Johnson Callander
F, #12391, b. 1801, d. 4 Jan 1874
Son Maj George Nicholas Hardinge (b. 12 Aug 1828, d. 1859)
Son Adml Edward Hardinge+ (b. 19 May 1830, d. 2 May 1894)
Son Bradford Hardinge+ (b. 21 Mar 1833, d. 31 Jul 1871)
Daughter Emma Augusta Hardinge (b. 14 May 1840, d. 24 Jan 1892)
Son Herbert Richard Hardinge (b. 14 May 1840, d. 7 Apr 1917)
Caroline Johnson Callander was born in 1801 in Edinburgh. She and Maj Gen Richard Hardinge were married on 15 Aug 1827. She died on 4 Jan 1874, at age ~73.
Edward Antony Richard Louis Windsor
M, #12392, b. 10 Mar 1964
Family: Sophie Helen Rhys-Jones (b. 20 Jan 1965)
Edward Antony Richard Louis Windsor was born on 10 Mar 1964 in Buckingham, Palace, London. He was christened on 2 May 1964. He and Sophie Helen Rhys-Jones were married on 19 Jun 1999 in St George's Chapel, Windsor Castle.
George Lysaght
M, #12393, b. 15 Jul 1817, d. 26 Dec 1837
Father George Lysaght (b. 6 Jun 1783, d. 7 Jul 1868)
Mother Elizabeth Anne Foulkes (b. 1790, d. 1 Nov 1825)
George Lysaght was born on 15 Jul 1817. He died on 26 Dec 1837, at age 20.
Sir Peregrine Maitland
M, #12394, b. abt 1790, d. 1854
Family: Lady Sarah Lennox (b. 12 Feb 1796, d. 8 Sep 1873)
Sir Peregrine Maitland was born abt 1790. He and Lady Sarah Lennox were married on 9 Oct 1815. He died in 1854.
Family: Anthony De Lumley
Son Richard Lumley+
Laurence Peel
M, #12396, b. 28 Jun 1801, d. 10 Dec 1888
Father Sir Robert Peel (b. 25 Apr 1750, d. 3 May 1830)
Mother Ellen Yates (d. bef 1805)
Family: Lady Jane Lennox (b. abt 1800, d. 27 Mar 1861)
Son Sir Charles Lennox Peel+ (b. 19 Jan 1823, d. 18 Aug 1899)
Son Lieut Col Arthur Lennox Peel (b. 30 May 1825, d. 14 Jan 1875)
Son Rev Alfred Lennox Peel (b. 4 Jun 1827, d. 4 Nov 1863)
Son Lieut Col Cecil Lennox Peel+ (b. 18 Apr 1830, d. 27 Apr 1910)
Daughter Constance Augusta Lennox Peel+ (b. 7 Mar 1841, d. 14 Apr 1921)
Laurence Peel was born in 1801 in Bury, Leicester. He was born on 28 Jun 1801 in Saint Mary, Bury, Lancashire. He and Lady Jane Lennox were married on 20 Jul 1822 in Saint James, Westminster, London; of Oswaldtwistle, Lancashire, England. He died on 10 Dec 1888, at age 87.
Iris Harriet Helena Winnington
F, #12397, b. 8 Feb 1887, d. 12 May 1965
Father Sir Francis Salwey Winnington (b. 24 Sep 1849, d. 4 Mar 1931)
Mother Jane Spencer-Churchill (b. 2 Feb 1858, d. 20 Jun 1940)
Family 1: Robert Reginald Fairfax Wade-Palmer (b. 1878)
Family 2: Gerald Owen Weaver Joynson (b. 10 May 1896, d. Dec 1971)
Iris Harriet Helena Winnington was born on 8 Feb 1887. She and Robert Reginald Fairfax Wade-Palmer were married on 27 Apr 1909 in Divorced 1922. She and Gerald Owen Weaver Joynson were married on 28 Mar 1925. She died on 12 May 1965, at age 78.
John Winston Foley Winnington
M, #12398, b. 22 Aug 1883, d. 29 Aug 1961
Family: Gladys Cooke
John Winston Foley Winnington was born on 22 Aug 1883. He and Gladys Cooke were married on 5 Jul 1910. He died on 29 Aug 1961, at age 78.
Ellen Sydney St John
F, #12399, b. 16 Oct 1869, d. 12 Dec 1942
Father St Andrew St John (b. 5 Oct 1840, d. 2 Nov 1887)
Mother Ellen Georgiana Senior (b. abt 1845, d. 26 Dec 1890)
Family: Maximilian Gowran Townley (b. 22 Jun 1864, d. 12 Dec 1942)
Ellen Sydney St John was born on 16 Oct 1869 in of Melchbourne Park, Bedfordshire. She and Maximilian Gowran Townley were married on 11 Feb 1902. She died on 12 Dec 1942, at age 73.
Caroline Helena Persse
Family: David Stewart Ker (b. 5 Nov 1816, d. 8 Oct 1878)
Caroline Helena Persse and David Stewart Ker were married on 12 Jul 1869.


text:
The Cinema Fix presents:
CLASSIC FILM REVIEWS
AU REVOIR LES ENFANTS (1987)
BRIEF ENCOUNTER (1945)
DON'T LOOK NOW (1973)
INCENDIES (2010)
THE LIVING DAYLIGHTS (1987)
ONCE UPON A TIME IN AMERICA (1984)
PATHS OF GLORY (1957)
THIS IS ENGLAND (2006)
THE TIN DRUM (1979)
THE WAGES OF FEAR (1953)
FILM THEORY ESSAYS
A BRIEF HISTORY OF META-TEXTUALITY WITHIN CINEMA
ADAPTATIONS: THE ROAD FROM PAGE TO SCREEN (2009)
ALTERNATIVE VISIONS OF LOVE IN THE HORROR GENRE
A TEST OF CHARACTER: BRIEFLY EXPLORING CINEMATIC PERSONAS
CONTRASTING DREAMS ON PAGE AND SCREEN: REVIEWING THE WORK OF PHILIP K. DICK
EXPLORING UNOFFICIAL REMAKES IN HOLLYWOOD!
FAMILIARITY AND NOSTALGIA IN THE FANTASY FILM GENRE
SISYPHEAN REPRESENTATIONS IN CINEMA AND TELEVISION
TELLING STORIES WITH STYLE: THE TROPES OF TARANTINO
UNDERSTANDING THE UNRELIABLE NARRATOR IN CINEMA
WESTWORLD: POST-MAPPING THE NETWORK
WHAT'S IN A NAME? A BRIEF CONSIDERATION OF FILM TITLES
FIX FILMS SHORT FILMS (2005 – PRESENT)
YOU HAVE A NEW FOLLOWER (2020)
FIX FILMS SHOWREEL (2005 – 2020)
TOLERANCE (2019)
MISDIRECTION (2018)
FLATMATES (2018)
HELL IS. . . (2014)
THE CHESS GAME (2012)
ELEPHANT TRUNK (2008)
THE TWO MINUTE SILENCE (2007)
A FAR CRY (2006)
GETTING BACK MR HUNT (2005)
STAR TREK FAN FILMS
THE HOLY CORE (2019)
CHANCE ENCOUNTER (2016)
SCREENWRITING & SCRIPTS
Reviews, Star Trek, Television
TO BOLDLY REVIEW #11 – STAR TREK: NEXT GENERATION (1992 – 1993) – SEASON 6
February 27, 2021 Paul. Writer and Filmmaker 2 Comments
Based on Star Trek & Created by: Gene Roddenberry
Season 6 writers (selected): Joe Menosky, Jeri Taylor, Frank Abatemarco, Ronald D. Moore, Jean Louise Matthias, Ronald Wilkerson, Brannon Braga, René Echevarria, Ward Botsford, Diana Dru Botsford, Michael Piller, Allison Hock, Robert Hewitt Wolfe, Naren Shankar, Ronald D. Moore, Morgan Grendel, Ronald Wilkerson, Jean Louise Matthias, James E. Brooks, Michael A. Medlock, etc.
Season 6 directors (selected): Les Landau, Cliff Bole, Winrich Kolbe, Alexander Singer, Robert Weimer, Robert Scheerer, Adam Nimoy, Patrick Stewart, Jonathan Frakes, Gabrielle Beaumont, Dan Curry, James L. Conway, LeVar Burton, etc.
Main Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Whoopi Goldberg, Colm Meaney, Michael Dorn, Marina Sirtis, Brent Spiner, Gates McFadden, Michelle Forbes, Majel Barrett, Rosalind Chao, plus guests: David Warner, Olivia D'Abo, John De Lancie, Daniel Davis, Norman Lloyd, Rene Jones, Stephen Hawking, James Doohan, etc.
Music/Composers: Alexander Courage, Jerry Goldsmith, Dennis McCarthy, Ron Jones, Jay Chattaway
Production Company(s): Paramount Television, CBS Television
**** CONTAINS SPOILERS ****
I watch a lot of television drama and comedy shows, as well as films, so I can be quite the critic and hard to please. Too many though to find the time to review every single one on this website. However, over the past couple of years I have ventured into the project of chronologically watching every episode of Star Trek in release order, then reviewing each season. I have now completed the viewing of season six of STAR TREK: THE NEXT GENERATION and can safely say that the quality of the writing, acting, directing and production values remained exceptionally high. Season 6 felt just as fresh watching it now and, while set in the future, it did not feel dated in any way.
One always worries about having fatigue for a particular show that continues for many seasons. Moreover, many television programmes can quickly run out of ideas and "jump the shark" by resorting to desperate concepts, parody or relying on special guest appearances to bolster weak writing. While Star Trek has always represented a robust set of values, ideals and structure, it would be easy for the science fiction to be over-blown and concepts become more bizarre. While some of the episodes in season 6 stretched credulity, on the whole it was another twenty-raft of consistently superb works of television. Indeed, a major strength of this particular episodic show remains the characters. Each of the ensemble gets several opportunities to shine and here I present a mere six of my favourite episodes of season 6. It could easily have been double that!
RELICS – EPISODE 4
Talking of characters, the episode Relics contrived in a highly positive way to bring back Montgomery Scott (James Doohan). Having escaped being trapped in a transporter buffer for some decades, Scottie clashes initially with Geordi (LeVar Burton), before the two inevitably join forces to save the Enterprise. A great episode which conflicts Scott's experience with La Forge's youthful exhuberance, highlighting that old age is no barrier to resolving major engineering and life problems.
SCHISMS – EPISODE 5
Given the number of physical wars with the well-known foes such as the Klingons and Romulans, this creepy episode did something different with an insidious and hidden alien enemy. The superb script finds Riker, Worf, Troi and Data discombobulated, and sleep deprived as their behaviour on the Enterprise is confused to say the least. When other crew members go missing they begin to piece together the events on the Holodeck, with Schisms overall using suspense and horror to excellent effect.
CHAIN OF COMMAND – PARTS 1 & II – EPISODES 10/11
A fantastic two-parter finds Captain Picard being sent on a covert mission into Cardassian territory. Not only do the episodes introduce an espionage mission, but they also provides excellent character conflict on the Enterprise. This is because Captain Jellicoe, portrayed by the formidable character actor Ronny Cox, takes over the Enterprise and he has a more aggressive style when compared with Picard. Riker especially finds himself clashing with Jellicoe's more egregious decisions which exert pressure on the crew. Part two of Chain of Command heightens the tension as Picard is captured by the Cardassians and mercilessly tortured. Here Patrick Stewart gives a powerful and emotional performance as a man sent to the edge of darkness by David Warner's interrogator. Stewart and Warner in a room attempting to outwit each other makes this episode very special television. How many lights do you see?
FRAME OF MIND – EPISODE 21
Frame of Mind is an incredibly clever episode structured around a stage play within the hallucinatory mental breakdown of Will Riker. Opening with Riker rehearsing Dr Crusher's play called Frame of Mind, and about to go undercover on a secret mission, he suddenly finds himself falling apart mentally in an insane asylum. Cutting back and forth between the asylum, the play and the Enterprise, Jonathan Frakes excels as Riker. He is usually such a cool character, so to find him experience fragility, confusion, anger and depression is an extremely emotional experience for the audience.
SUSPICIONS – EPISODE 22
I was going to choose the episode Second Chances as that has Will Riker finding, following a transporter accident eight years earlier, that he has a duplicate. However, I am such a sucker for whodunnits and Riker features heavily in my prior selection. Moreover, I also I really enjoyed that Suspicions was led by the character of Dr Beverly Crusher, who turns detective after the death of a Ferengi scientist. Structured like a noir detective film, Crusher recounts to Guinan (Whoopi Goldberg) how she is about to be court martialled and lose her career for defying Starfleet regulations. There's a great (if mildly obvious) twist as Crusher discovers an unlikely killer, with Gates McFadden giving a committed lead performance. Lastly, the episode also introduces the fascinating scientific theory of metaphasic shielding, a technique which returns in the two-parter Descent.
Adam NimoyAlexander SingerAllison HockBrannon BragaBrent SpinerChain of CommandCliff BoleColm MeaneyDan CurryDaniel DavisDavid WarnerDiana Dru BotsfordFrank AbatemarcoGabrielle BeaumontGates McFaddenJames E. BrooksJames L. ConwayJean Louise MatthiasJeri TaylorJoe MenoskyJohn De LancieJonathan FrakesLes LandauLeVar BurtonMajel BarrettMarina SirtisMichael A. MedlockMichael DornMichael PillerMichelle ForbesMorgan GrendelNaren ShankarNorman LloydOlivia D'AboPATRICK STEWARTPicardRelicsRené EchevarriaRene JonesRikerRobert Hewitt WolfeRobert ScheererRobert WeimerRonald D. MooreRonald WilkersonRosalind ChaoSchismsSeason 6Star TrekStar Trek: Next GenerationStar Trek: TNGStephen HawkingSuspicionsThe EnterpriseTNGTo Boldly BlogTo Boldy ReviewWard BotsfordWhoopi Goldberg
Cinema, disney, Reviews
DISNEY + FILM REVIEW: SOUL (2020)
Directed by: Pete Docter
Produced by: Dana Murray
Written by: Pete Doctor, Mike Jones, Kemp Powers
Cast: Jamie Foxx, Tina Fey, Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Donnell Rawlings, Questlove, Angela Bassett etc.
Music by: Trent Reznor, Atticus Ross, Jon Batiste[a]
Cinematography: Matt Aspbury, Ian Megibben
*** MAY CONTAIN SPOILERS ***
Death, the loss of childhood innocence, grief, mid-life crises, missing children, the end of the word due to human greed, ghosts, female emancipation within patriarchal society, the afterlife, use of fear as energy, neuropsychological exploration of emotions, oh, and death again are all heavy themes and subjects for a film. But they are not just from the works of heavyweight filmmakers such as Werner Herzog, Akira Kurosawa, Ingmar Bergman or Stanley Kubrick. They are subjects investigated and probed and rendered entertainment in a fantastic style by the ever-impressive Pixar studio. Their latest film Soul (2020) is yet another extravaganza of high concepts, existential themes, and scintillating visual world-building.
Soul (2020) centres around Joe Gardner (Jamie Foxx), a music teacher who longs to immerse himself in a career as a jazz musician. It's not necessarily suggested in the opening scenes as to why Joe hasn't made it as he clearly has musical talent. However, his dominant mother Libby (Phylicia Rashad) objects to his frivolous desire to play piano, plus Joe, like many artists out there just cannot get a break. A chance arises though when he gets an opportunity to audition for esteemed singer, Dorothea Williams (Angela Bassett). Joe's exquisite piano playing wins over Dorothea, but then tragedy strikes as an excited Joe falls down a manhole and dies. Being a Pixar film committed to venturing into the afterlife, as it did previously with Coco (2017), Joe finds himself, not in the 'Land of the Dead' but rather the 'Great Before/Beyond' instead.
As Joe moves toward the light with the many other souls he refuses to accept this is the end. He rejects the unknown glowing light of the 'Great Beyond' and escapes to a world full of young, old and lost souls called the 'Great Before'. Here he meets a cynical soul called 22 (Tina Fey), who is refusing to claim the badges required to begin her own life on Earth. This is where the story gets a bit sticky for me. I mean I enjoy narratives about life, death and the afterlife including the brilliant A Matter of Life and Death (1946) and both excellent versions of Heaven Can Wait (1943 / 1978). However, Soul (2020) I think tries to do too much as 22's story threatens to dominate Joe's pursuit to get his life and career back. Moreover, the ridiculous sight of Joe's soul ending up in a therapy cat also felt like a contrived lean toward giving the kids something to laugh at. Indeed, I felt this water-and-oil decision, while funny, undermined the more intrinsically vital themes within the narrative.
Ultimately though, having succumbed to the cultural pressure of signing up to Disney +, I did thoroughly enjoy Pixar's Soul (2020). Jamie Foxx and Tina Fey create a fine double act with their brilliant comedic timing and performances. Moreover, Graham Norton and Richard Ayoade provide humorous voice support, and of course, the animation is incredible. Although I would actually have preferred to stay on the exquisitely drawn streets of New York more than the 'Fantasiaeque' lysergic acid look of the afterlife. Still, once again, Pixar have been clinical in delivering an intelligent film that delves into existential themes relating to the meaning of life. Joe's journey, like his music, is full of verve, beauty and many surprising twists, ensuring his soul is certainly one that is worth saving.
Mark: 9 out of 11
Alice BragaAngela BassettCinemadisneyDisney reviewDisney+Donnell RawlingsExistentialFilmFilm ReviewGraham NortonhumourJamie FoxxJazzKemp PowersMike JonesNew YorkPete DocterPete DoctorPhylicia RashadpianopixarQuestloveRachel HouseRichard AyoadeSoul (2020)The Cinema FixTina Fey
Articles, Cinema, My Cinematic Romance
MY CINEMATIC ROMANCE #22 – MARTIN SCORSESE
Cinema is a matter of what's in the frame and what's out.
— Martin Scorsese
I recently had a three-week career break while I was looking for a new job. I have since gratefully located employment and that would explain why I have not been as active on this blog as before. Because looking for work is more time consuming than an actual job! Anyway, aside from spending the day on the computer searching for gainful employment I also caught up on some TV shows and films that had been on my planner for a while. One of the those I watched was the HBO produced TV drama called VINYL (2016). Created, directed (first episode only) and produced by, among others, Martin Scorsese.
Vinyl (2016) was an incendiary, nostalgic and snorting cavalcade of 1970's rock and roll music centred around a drug addicted record executive, portrayed by Bobby Cannavale, whose business and personal life are collapsing due to his addictive and self-destructive behaviour. Overall, the ten episodes were scintillating entertainment: loud, over-the-top, ballsy, in-your-face and darkly hilarious. The characters were despicable scumbags at best, yet Scorsese's sensational style ensures the audience enthusiastically rubber-necks these human car crashes.
Alas, due to low ratings, poor critical response and the huge budget, HBO did not renew Vinyl (2016) for a second season. Thus, Scorsese's blistering TV rock and roll creation was no more. However, in my latest piece in the My Cinematic Romance series, I have selected five of Scorsese cinematic classics. I could've, of course, chosen many, many more but have challenged myself to pick only ONE film from each of the last five decades of the master filmmaker Martin Scorsese. Don't worry Marty – I thought Vinyl (2016) absolutely rocked. F*ck the critics! You are a true genius.
Vinyl – Co-Creator/Executive Producer Mick Jagger with Bobby Cannavale and Co-Creator/Executive Producer/Director of Pilot of Martin Scorsese on the set ©2016 HBO, photo by Niko Tavernise
Paul Schrader's incredible screenplay about a lost soul travelling the mean streets of New York while on the edge of insanity, is given dark life by Scorsese's evocative direction and Robert DeNiro's fearless performance. One of the most memorably nightmarish thrillers and character studies of the 1970s; a period which arguably represents the most exceptional decade of American cinema. Having both the writer and director admit to substance addiction in the 1970's, lends further to the monstrously illusory vision of urban decay within the pores of this amazing work of cinema.
Boxing champion Jake La Motta represented another morally complex vision of masculinity in crisis for both Robert DeNiro and Martin Scorsese. Both in and out of the ring he is man in pain who hurts those he loves and, above all else, himself. Each battering jab and uppercut and hook is felt by the audience via incredible editing and sound design. Overall, Scorsese delivers a brutal profile in stark black-and-white and a knockout box of cinematic tricks. Unsurprisingly, DeNiro won a Best Acting Oscar at the 1981 Academy Awards. Rather surprisingly, Ordinary People (1980) was winner of Best Picture. Go figure!
As far back as I can remember, this has been one of my favourite films of all time. Ray Liotta's voiceover introduces and tells the story of the rise and fall of gangster, Henry Hill, while expertly supported by Scorsese's selection of memorable shots, music and sequences. Further, Scorsese's major skill here is too, is to make us both enamoured and disgusted by the actions of these charismatic criminals and killers. There are so many classic scenes in this incredible epic and the cast of Liotta, DeNiro and scene-stealing, Joe Pesci, make it one of those films that can be watched over and over. Did I forget to mention that it also has one of the greatest cinema soundtracks ever!
A truly remarkable remake of Infernal Affairs (2002), the film is shot and edited, as expected, with immaculate precision; crammed with unrelenting and bone-crushing thrills and violence. Thematically, it's powerful too. Throughout, honesty and truth are obliterated by lies and death. Costigan and Sullivan are no more than pawns at the hands of a corrupt system that lets people down from a great height. This is literally the case where Martin Sheen's Captain Queenan is concerned. An immense cast including DiCaprio, Damon, Wahlberg and scenery-chewing, Jack Nicholson, take a twisting Kafkaesque plot where criminals and cops collide; ultimately chasing their shadows and souls to a treacherous, bloody and bitter end.
The Wolf of Wall Street (2013) feels like a greatest hits package combining all of the finer ingredients from Scorsese's other films. You've got the classic swooning camera moves; the direct address to camera; cat-and-dog couples fighting as seen in Casino (1995) and Goodfellas (1990); the boat-in-peril sequence as seen in Cape Fear (1991); the multi-character voiceovers; the dumb criminals putting themselves in the shit; characters turning on each other and ratting each other out as seen in The Departed (2006); plus many more. But whereas Scorsese used to deal with outsiders, oddballs and working class criminals like Travis Bickle, Rupert Pupkin or Henry Hill, he presents via Jordan Belfort a white-collar criminal and venal member of the "Master-Race", getting his just desserts in an incendiary morality tale of major power.
auteurCinemadirectorGoodfellasLEONARDO DICAPRIOMartin ScorseseMy Cinematic RomanceRaging BullRobert DeNiroTaxi DriverThe DepartedVinylWolf of Wall Street
Cinema, Netflix, Reviews
NETFLIX FILM REVIEW – MA RAINEY'S BLACK BOTTOM (2020)
February 6, 2021 Paul. Writer and Filmmaker 3 Comments
Directed by: George C. Wolfe
Produced by: Denzel Washington, Todd Black, Dany Wolf
Screenplay by: Ruben Santiago-Hudson
Based on: Ma Rainey's Black Bottom by August Wilson
Cast: Viola Davis, Chadwick Boseman, Glynn Turman, Colman Domingo, Michael Potts etc.
Music by: Branford Marsalis
Cinematography: Tobias A. Schliessler
The spectre of death hangs over us all as time effortlessly drains the life from us. It is an unstoppable force that will quicken on occasion to take a human being way before they deserve. What if said individual has knowledge of their end? Aside from the fear they must be feeling, there is clearly a moment of clarity and strong focus. Something that makes their work gather an altogether unique power. Both player and audience feel such power palpably. This is most certainly the case where Chadwick Boseman's acting performance is concerned in the screen adaptation of August Wilson's powerful play, Ma Rainey's Black Bottom (2020). As talented, hustling and arrogant musician and songwriter, Levee Green, Boseman is a charismatic vision of drive, confidence, energy and naivety, ready to take on the world, not quite knowing the odds are stacked against him.
Boseman steals the film from under the lungs of the formidable Viola Davis as the titular blues legend, Ma Rainey. Her laconic singer with a voice that stops the clocks is being paid to record a series of songs at a Chicago recording studio in the year 1927. Much conflict is derived from Levee Green's desire to spice up Ma Rainey's more traditional blues arrangements. Ma Rainey will not give in to what she perceives as ideas of populism and selling out to white producers who want to water down the blues for a white audience. As Ma Rainey, Viola Davis, excels as this irascible and world-weary diva, fighting off her exploitative manager and record producer. Rainey and the other band members try to dampen Levee Green's enthusiastic ardour, however, the younger trumpeter will not listen to the advice of more experienced musicians. This eventually comes at a grave cost to those within the play.
Events of Ma Rainey's Black Bottom (2020) are set mainly within a day and in the confines of the recording studio. The mix of a hot day, tempestuous characters and colliding personalities all combine in the enclosed space to create much dramatic tension. Given the screenplay is based on August Wilson's acclaimed play, what the film loses in cinematic visuals, it more than makes up with sensational dialogue and stellar acting performances. Indeed, the supporting cast including: Colman Domingo as Cutler, Glynn Thurman as Toledo and Michael Potts as Slow Drag provide sterling contributions as Ma Rainey's band. They banter and battle and spar, especially with the argumentative Levee, desiring to simply play the music and get paid. Safe to say therefore the wonderful blues songs performed are beautifully played. They fill the screen with humour and pathos, puncturing the fizzing dialogue of Wilson's many fine soliloquys with poignant joy.
Amidst the conflict and music, August Wilson's original text also contains great thematic power within the words. At the heart of the drama and eventual tragedy there is the underlying critique of the black musicians' songs and style being stripped away from them by unscrupulous record producers. Ma Rainey stands strong rejecting attempts to assimilate her work and personality and voice into the mainstream. Those songs are her lifeblood, and she refuses to entirely sell her soul. Levee Green does not see the bigger picture and is sucked in by the promise of money, women and fame. He is blinded by the bright city lights and the closer he gets to them the easier it is for the record producers to pick his pocket. In such a tragic character August Wilson has created a memorably complex persona, perfectly rendered by the acting genius, Chadwick Boseman.
Mark 9 out of 11
adaptationAugust WilsonChadwick BosemanColman DomingoCONFLICTDany WolfDenzel WashingtondramaFilm ReviewGeorge C. WolfeMa Raineys Black BottommusicNetflixNetflix ReviewplayracesingingSongsstagethe BluesThe Cinema FixTodd BlackViola Davis
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Cinema Review: Tár (2022)
THE CINEMA FIX PRESENTS: 10 FAVOURITE FILMS OF 2022!
FILM REVIEW: RRR (2022)
CINEMA REVIEW: DECISION TO LEAVE (2022)
CINEMA REVIEW: BONES AND ALL (2022)
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Recently we caught up with Tilly Cobham-Hervey, the leading lady in Internationally acclaimed and locally produced film, 52 Tuesdays. At the moment she is working on a mini series in Hobart called The Kettering Incident and when she isn't filming, has been experimenting with a faster-paced Sydney lifestyle.
As a local actress who started out in Adelaide, how do you feel about your recent success with films One Eyed Girl and 52 Tuesdays?
Surprised. Excited. It really has been a bit of an unexpected whirl wind. I feel incredibly lucky. I think what I feel most lucky about is the incredible people I have been able to work with. I'm also really proud that both of these projects were made in Adelaide. It feels really special to share a glimpse of your own city with the rest of the world.
As 52 Tuesdays was filmed every Tuesday over the span of a year, how did this effect the filming process, and your own personal development throughout this time?
Yes, 52 Tuesdays was quite an unusual project. This was the first film project I had ever been involved in so in some ways it felt quite normal. It never felt like we were making a film as such. It was more like living in a parallel universe. Working with the team over a year makes it feel (as cliche as this sounds) like a family. It was interesting working within a such strong sets of rules. There are many Tuesdays I wish we could do again and I think we all wished that we skipped some Tuesdays, went to yoga, did a crossword, or whatever it is that you usually do on a Tuesday! Another really interesting thing about the process was that we were only given the scripts a week before, so we never knew what was going to happen to us next.
When people ask me how this project affected me it is very hard to articulate. I believe that your 17th year no matter what you are doing is a big year of change. I'm not entirely sure what I would be, had I not worked on this project. Although it is in no way a documentary it still captures a year of all of our lives and I think that can be quite confronting. I don't just mean for the people in front of the camera. It was such a close knit team that everyone's stories and experiences are captured within the final product.
52 Tuesdays and One Eyed Girl have both received a number of accolades including 52 Tuesdays' inclusion in Sundance film festival, and taking out Berlinale's crystal bear for best youth film. How did it feel for these films to receive such positive worldwide attention?
I think we all feel very lucky. They are both quite unusual projects and for that to be recognised on a world stage is very humbling. That being said, I do not take work for that reason. First and foremost I believed in sharing these stories. The fact that people then enjoyed listening, watching and hopefully discussing them is an added bonus. I think I'm still getting used to the idea of them being out in the world. Both projects feel quite personal, and the idea that those stories are being shared in places all around the world is quite bizarre.
We noticed that Margaret and David from At the Movies watched and discussed 52 Tuesdays! How did that feel?
That was a slightly out of body experience... Margret and David are basically the Gods of Australian Cinema... The idea that they would be discussing a project I had been involved in was equally terrific and terrifying. They were both quite nice to us which was a relief. I try not to read or think to hard about reviews. This film was an experiment and the experiment succeeded. We made a film....But I'm not going to pretend that it isn't nice to hear that people enjoyed it or took something away from it. I feel or hope that this film represents people that don't often get (to be) seen on screen.
As an Adelaide-based girl, what are your top three places to visit when you are home?
That is an excellent question. There are so many great new things opening up at the moment!
*It may be more than three but they are all tremendous places, so we had to include them all!
Check out Tilly's wonderful performance in 52 Tuesdays and One Eyed Girl, and keep and eye out for the mini series The Kettering Incident, which will air on Foxtel in Australia and BBC Worldwide.


text:
Q: Записать переменную в кэш
100

При клике на цифру, она увеличивется на 1(это функционал уже есть написан). При перезагрузке страницы, нужно сохранить значение, тоесть 101.

A: Вот пример, к сожалению, localStorage не поддерживается на этом сайте.
Код можно запустить тут.
const el = document.querySelector('div')
let number = +localStorage.getItem('number')
setNumber()

document.querySelectorAll('button').forEach(i => {
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    const operator = i.textContent
    const res = number + +`${operator}1`

    //localStorage.setItem('number', res)
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Choroba przeszczep przeciw gospodarzowi, GVHD (od ang. graft-versus-host disease) – niepożądana reakcja fizjologiczna zachodząca w organizmie biorcy przeszczepu pod wpływem wprowadzonych obcych antygenowo limfocytów.

Limfocyty T przyjęte od dawcy naciekają (obce dla nich) tkanki gospodarza i doprowadzają do ich niszczenia. Najczęściej zajmowanymi narządami są skóra, układ pokarmowy i wątroba. Ryzyko choroby przeszczep przeciw gospodarzowi zmniejsza usunięcie zawiesiny limfocytów z materiału przeszczepowego, ale – z drugiej strony – nieobecność leukocytów w przeszczepie grozi jego odrzuceniem (w tym przypadku na zasadzie "gospodarz przeciw przeszczepowi").

Odpowiednik GVHD, w której komórki dawcy atakują antygeny obecne na powierzchni komórek nowotworowych wykorzystywany jest w terapii białaczek (tak zwana reakcja przeszczep przeciw białaczce).

Choroba przeszczep przeciw gospodarzowi ma ciężki przebieg i może prowadzić nawet do śmierci pacjenta. Chorobę tę określa się jako ostrą, gdy rozwija się w ciągu 100 dni od przeszczepu, i jako przewlekłą, gdy pojawia się po tym czasie.

Bibliografia

Transplantologia

redpajama_set_name: RedPajamaWikipedia


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AHA Asks NARA for Careful Consideration of Department of Interior Disposition Request (Nov 2018)
On November 26, the AHA sent a letter to Archivist of the United States David Ferriero expressing concern regarding the current records disposition request from the Department of the Interior. The AHA emphasized the value of the records for historical research and future policy making regarding issues related to resource management, endangered species and environments, and indigenous legal and cultural affairs.
AHA Calls for Immediate Release of Xiyue Wang Imprisoned in Iran (Sept 2018)
The AHA sent a letter to Ayatollah Ali Khamenei, supreme leader of the Islamic Republic of Iran, expressing deep concern about the imprisonment of Xiyue Wang, a PhD student in the Princeton University department of history, on groundless charges of espionage. The AHA called for his immediate release. Read the letter on the AHA website.
Letter of Concern about Rutgers Investigation of Faculty Member (Sept 2018)
On September 10, the AHA sent a letter to Rutgers President Robert Barchi expressing concern about the university's investigation of history professor James Livingston for comments he had made outside of the context of his university employment. In the letter, the AHA stressed its support for the right of historians to express their opinions as private citizens without fear of institutional discipline.
AHA Sends Letter Regarding Detention of Hatoon al-Fassi (Sept 2018)
The AHA has sent a letter to King Salman bin Abdulaziz al-Saud expressing concern regarding the detention of Dr. Hatoon al-Fassi, an associate professor of history at King Saud University, because of her activism on behalf of women's rights.
AHA Endorses Harriet Tubman on the $20 Bill(Aug 2018)
On August 13, AHA executive director James Grossman sent a letter to Steven Mnuchin, Secretary of the US Treasury, endorsing suggestions from AHA members that Harriet Tubman be featured on the $20 Federal Reserve Note.
AHA Signs COSSA Letter Opposing Citizenship Question on 2020 Census (July 2018)
The AHA has signed on to a letter from the Consortium of Social Science Associations (COSSA) and 24 other research organizations urging the Department of Commerce to remove a controversial citizenship question from the upcoming census. The letter criticizes the science and research implications of the question, arguing that "the inclusion of a question on citizenship in the 2020 Census will increase the burden on respondents, add unnecessary costs to the operation, and negatively impact the accuracy and integrity of one of the most valuable data resources the government produces."
Letter from AHA Executive Director Regarding Destruction of ICE Records (July 2018)
On July 25, AHA executive director James Grossman sent a letter to David Ferriero, archivist of the United States, opposing any "threats to the preservation of records relating to the treatment of immigrants by the US Border Patrol and Immigration and Customs Enforcement (ICE)." Given the historical significance of recent events surrounding immigration, the American Historical Association urges the the archives to "deny any request for authorization to permit ICE or the Border Patrol to destroy records related to individuals in their custody."
Letter from AHA Executive Director Regarding Congressional Gold Medal Proposal (June 2018)
AHA executive director Jim Grossman has sent a letter to US senators Dean Heller and Jon Tester regarding a recent effort to award the Congressional Gold Medal to 226 American women who served in the US Army Signal Corps during World War I. This effort has been initiated by the World War I Centennial Commission.
AHA Letter to College Board Regarding AP World History (June 2018)
The AHA sent a letter to the College Board urging reconsideration of recent changes to the Advanced Placement World History exam that limit it to "content only from c. 1450 to the present." The AHA expressed concern that this change is likely to reduce the teaching of precolonial and non-Western history at the high school level.
American Academy of Arts & Sciences Language Education Statement (May 2018)
The American Historical Association joined the American Academy of Arts & Sciences and dozens of other organizations and individuals in a statement advocating for a greater national effort to strengthen non-English language education so that Americans can more effectively participate in a global society.
Letter Concerning NPS Office of International Affairs Appropriation (May 2018)
The AHA recently signed on to a letter calling for additional funding for the National Park Service's Office of International Affairs on behalf of its efforts for World Heritage.
Letter to Commerce Secretary on Citizenship Question (March 2018)
AHA President Mary Beth Norton has signed on to a letter to the US Secretary of Commerce regarding the inclusion of a citizenship question on the census.
Letter from the Coalition for International Education Concerning Title VI and Fulbright-Hays Funding (March 2018)
The American Historical Association has signed on to a letter from the Coalition for Internation Education urging Congress to reject the Administration's proposal to eliminate funding for HEA-Title VI and Fulbright-Hays programs.
AHA President Expresses Concerns about Proposed Elimination of the History Major at University of Wisconsin-Stevens Point (March 2018)
AHA president Mary Beth Norton (Cornell Univ.) sent a letter to administrators at the University of Wisconsin-Stevens Point in response to the announced plan to eliminate many humanities majors, including history. In it, Prof. Norton emphasizes the valuable role that liberal arts generally, and history in particular, play in preparing students for careers.
AHA Condemns Polish Law Criminalizing Public Discussion of Polish Complicity in Nazi War Crimes (February 2018)
The AHA has published a statement condemning Polish law criminalizing references to Polish complicity in Nazi War Crimes.
Letter from the American Anthropological Association on Banned Words (January 2018)
The American Historical Association co-signed a letter from the American Anthropological Association protesting reports that the Trump administration had recommended restricting the use of specific terminology in the Centers for Disease Control's budget documents. The AHA, along with their fellow signatories, believes that the federal government should utilize "science-based decision making in its policy formations."