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Q: How to refresh home page with only once log in?? jmeter I want to perform load testing on my site using j-meter. My scenario is
1. Log in with user
2. Home page opens.
3. Refresh home page 100 times.
When i execute test case it log in and open home page every time. but i want to refresh only home page with one time log in. can you please guide me how can i execute my test case??

A: I assume that you have a HTTP sampler for the login, and another to refresh the homepage.
I think that a good way to do this would be with a Loop Controller, that will loop the "refresh homepage" HTTP sampler 100 times. See the very simple example test plan below, this will execute LOGIN TO HOMEPAGE once and LOAD HOMEPAGE 100 times:


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"Svitac" je pesma koju je napisao Dobrica Erić. Nastala je 1975. i tada i objavljena. Pesma je lirskog roda i rodoljubive prirode. Svitac je simbol unutrašnje svetlosti, lepote, duhovnosti ali i inspiracije, nade, ideja.

Analiza dela
Dobrica Erić je slikar prirode, sela, detinjstva i ljubavi. U njegovim pesmama se često spajaju priroda i zavičaj, koji je praosnova njegovih gledanja, nadanja. Tako ga i u pesmi Čudesni svitac nadahnjuje zavičaj. On peva o neobičnom i tajanstvenom svicu koji se negde noću šćućuri, takmiči sa zvezdama i svetli. Prva strofa pesme Čudesni svitac počinje prikazom tihe letnje večeri koju "zapali polja svitaca roj". Pesnik se obraća čitaocu i zna da i među svicima treperi onaj koji je njegov. On želi da u roju svitaca svako nađe najvećeg i najsjajnijeg koji će biti samo njegov, ali sumnja da će ikad moći da pruži prst i kaže - taj je. Jer, svitac je za mnoge nevidljiv i pesnik poručuje: "Možda ti baš sada prođe kraj lica misleći da je suncokret žut.

Reference

Песме

redpajama_set_name: RedPajamaWikipedia


The Northern Michigan University Golf Course offers a Men's League on Tuesday evenings.
League organizer Brandon Schon can be contacted at 906-396-1219 or by email at bschon@alumni.nmu.edu for information about joining.
They have openings for 3 three person teams.
Deadline for entry is April 29th.
Inquiries for this can be sent to Brandon Schon at bschon@alumni.nmu.edu.
To reach the NMU Golf Course directly, e-mail golf@nmu.edu or call 227-3111.


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Posts Tagged 'Cream'
Tags: albums, Allman Brothers, Allman Brothers Band, Berry Oakley, blues, Butch Trucks, classic rock, Coltrane, Cream, Dickey Betts, Duane Allman, Elizabeth Reed, Fillmore East, Grateful Dead, Gregg Allman, guitar, In Memory of Elizabeth Reed, Jai Johanny Johanson, Jaimoe, Mountain, Music, Quicksilver Messenger Service, rock, Southern rock, Statesboro Blues, Stormy Monday, Tom Dowd, Whipping Post, Yardbirds
"At Fillmore East" by the Allman Brothers Band (1971)
The first two albums by the Allman Brothers Band drew plenty of critical acclaim, and the latter, "Idlewild South," rose to No. 38 on Billboard. But the main knock on those efforts was that, as good as they were, they hardly captured the concert experience.
Perhaps taking a cue from other bands in similar situations – the Grateful Dead and Quicksilver Messenger Service come to mind – the Allmans opted to record live for their third album. On March 12 and 13, 1971, the tape rolled at New York's Fillmore East, capturing a couple of performances. The reels went to producer Tom Dowd, who did some tweaking to come up with two LPs' worth of material.
The results were better than anyone could have anticipated, given the Allmans' propensity to stretch out songs and the relatively primitive recording technology available. "At Fillmore East" captures what may have been the most dynamic rock band of the time, and that certainly was when giants roamed the earth.
The Allmans and Dowd divided the LPs thematically: The first consisted of blues covers, the second of originals. In this band's case, the term "cover" is used loosely; each of the first four tracks is given a treatment that defines it as an Allman Brothers standard.
The album kicks off with its most radio-friendly song to this day, Blind Willie McTell's "Statesboro Blues." Willie never would have envisioned the power of Duane Allman's opening slide guitar licks, punctuated by the rest of the band playing the main riff, launching into an eminently memorable blues-rock groove. Gregg Allman, though just 23 at the time, nails the half-boasting, half-pleading attitude of the tune's narrator.
"Done Somebody Wrong" – credited to Elmore James, Clarence Lewis and Bobby Robinson – follows in a similar vein, with the Allmans giving the song a much grittier reading than the version did as "I Ain't Done Wrong" several years earlier. Guest Thom Doucette complements the performance on some well-played harmonica.
Duane introduces "Stormy Monday" as a Bobby "Blue" Bland song before correcting himself to credit composer T-Bone walker, who called it "Call It Stormy Monday (But Tuesday Is Just As Bad)." Some notable rock versions included those by early hard-rockers Cream and Mountain, but the Allmans ended up with the definitive version, a slow blues that allows Duane and fellow guitarist Dickey Betts to show off their chops. Dowd cut about three minutes off the song for the LP; the full version later was released on the compilation called "The Fillmore Concerts."
"You Don't Love Me" is another popular blues-rock numbers of the '60s, recorded by the likes of Kaleidoscope, John Mayall's Bluesbreakers and the Al Kooper-Stephen Stills "Super Session" project. Those versions of the Willie Cobbs song are minor efforts compared with the Allmans' behemoth: 19 minutes of guitar virtuosity, the likes of which hadn't been heard on vinyl to that point, especially Duane's lengthy unaccompanied turn. No wonder he was one of the most-demanded session guitarists of the era, in addition to his regular gig.
A relatively compact instrumental, "Hot 'Lanta," follows, a group composition that shows the Allmans' collective knack for adapting melodic hooks to more complex arrangements, this time by way of bass player Berry Oakley. The outro seems to go on just a bit long, but it does give percussionist Butch Trucks an opportunity to display his skills on timpani.
Betts' "In Memory of Elizabeth Reed," which appears on "Idlewild South" as the band's first original instrumental, doubles its length for the live version. The song demonstrates the band's ability to seamlessly incorporate jazz elements into its repertoire, to a point that the musicians have drawn favorable comparisons to the work of John Coltrane and Miles Davis, which in as of itself is quite a feat. Trucks and fellow drummer Jai Johanny Johanson team up for an extended percussion duet, one that would grow in length in concerts over the decades.
The LP's four side starts with one of rock's classic artist-audience discourses.
Duane: "Berry starts her off."
Fan: "'Whipping Post'!"
Duane: "You guessed it."
Oakley's thundering bass in 11/4 time opens the epic, with the other instruments reaching a crescendo before Gregg begins wailing his tale of woe: "I've been run down, I've been lied to, and I don't know why I let that girl make me out a fool/Took all my money, wrecked my new car, now she's with one of my good-time buddies, they're drinking in some cross-town bar."
After the chorus, Duane takes an extended solo prior to the second verse: "My friends tell me I've been such a fool, and I had to stand back and take it, baby, all for loving you/I drown myself in sorrow as I look at what you've done/Nothing seems to change, the bad times stay the same, and I can't run."
Betts then solos before he and Duane take the song up the scale to its climax, where listeners to the debut album, "The Allman Brothers Band," would expect the song's finale. Instead, the band immerses itself into improvisational mode, seemingly drawing from the New Thing school of jazz before Betts comes up with a tidy guitar lead against well-assembled backing. Finally, Gregg's vocal closes the proceedings …
… but not so fast. The group experiments again, with Duane throwing in a bit of the familiar "Frere Jacque," for several more minutes before Gregg groans the actual finale, "Lord don't you know, that I feel, like I'm dying." The band wraps it up before Trucks starts rolling on the tympani to signal the start to another song.
Those present at the concert, itself, knew what followed. But it wasn't until the release of "Eat a Peach" the following year that album listeners learned that the 22-plus minutes of "Whipping Post" segued into 33-plus minutes of "Mountain Jam." The two later were linked in that manner on "The Fillmore Concerts," after CD technology made such a pairing possible.
"At Fillmore East" spreads nearly 80 minutes of music over only seven tracks, but even critics who usually complain about extended compositions seem to agree that the Allmans provide one of the few examples in which more actually is more.
The record-buying public agreed, sending the album to No. 13 and establishing the Allman Brothers Band as one of the hottest acts going.
On Oct. 29, 1971, Duane Allman was riding his motorcycle in his hometown of Macon, Ga., when he struck the back of a flatbed truck that had stopped suddenly in the middle of an intersection. He died a few hours later, just 24 years old.
The Allman Brothers Band not only managed to soldier on but still is a top concert draw more than 40 years later, with Gregg, Butch and Jaimoe around from the Fillmore East days. The group has continued to produce quality music, but its third album always will stand as its high-water mark.

redpajama_set_name: RedPajamaCommonCrawl


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The history of Witham, Essex
Some Research by Janet Gyford
Tape 150. Mr Cecil Newton, sides 1 and 2
Tape 150
Mr Cecil Newton was born in 1908. He was interviewed on 11 November 1991, when he lived at 81a Church Street, Witham.
He also appears on tape 151
For more information about him, see Newton, Cecil, in the People category.
The original recording of this interview is held at the Essex Sound and Video Archive. To listen to the recording, please contact them at ero.enquiry@essex.gov.uk or 033301 32500.
[???] shows words that are not clear enough to interpret and so have had to be omitted.
[?] after a word shows that its interpretation is not certain.
Later explanatory additions by JG or the transcriber are in square brackets [e.g. explaining locations etc.]
Mr N: I have recollections of going to school down 'ere, opposite the church, [Chipping Hill Infants] that school (Q: Really?) and I used to go and, 'cos I was living in Braintree Road then, as a youngster and used to go down there bottom where that goes into what is it, Albert Road opposite the seed factory, the very last house on your right-hand side was Miss Claydon and she took in teachers as lodgers and my teacher was Miss Black and I have recollections as I say, three of four of us used to go down there just before, say quarter to nine of a morning and she used to get hold of our hands and take us to school.
Q: I've not heard of that before. Made sure you got there didn't she?
Mr N: That's right. Then I had a spell at the Guithavon Road [Street] school and I say my mother died, I'm telling a lie then, my mother had nerves and they had to take her away, took her to Braintree, institution there. Which is St Michael's hospital now I think. Of course she died during the War. They sent me a telegram to say I could have, I think it was 24 hours leave, special leave to bury her. Because there was nobody else. My father had messed off years ago.
Q: So did she stay in there all the time after.
Mr N: Yes, she stayed in there for years. And they took me in that home at Bocking and there was thirty-four of us there. I landed there and the person, the matron, well both of them, come from Witham. Miss Paterson [actually Miss Patten] and Miss Evers. Miss Evers was assistant matron and Paterson [Patten] was the matron.
Q: Was that Miss Paterson [Patten]?
Mr N: Her father, kept that shop next to that bakery that's shut there, Kings [85 Newland Street]. He had that, her father did. That was the turn of the century 1900 something
Q: Was his shop a bakery or was his the one next door?
Mr N: No, next door to the bakery, as that, that's never gone has it? (Q: No.) This bakers still stands there idle.
Q: So what did Mr Paterson [Patten] do?
Mr N: He was a jeweller and watch repairer.
Q: Were there any brothers and sisters of yours then?
Mr N: No, I've got nobody. I'm a loner. [laugh]
Q: So do you remember much about your mother at all?
Mr N: Only that she used to go down and she made friends with the people at the Swan Inn, down the town. She used to go and play the piano there. And the people there, I can see her now, she was a nice old lady, well, old, middle aged. Mrs Noble, Ernie Noble the husband's name was and Mrs Noble. And I've got a photo at home of her nursing a dog, little terrier she'd got. How I come to have that, I reckon it was through my mother, give it to my mother, and I got in in my, I'll hunt that out one day. She used to cart[?] me down there. I forget what I used to do. Then another friend she had, my mother, was the Bibolinis in that big house opposite the forge [Barnardiston House, 35 Chipping Hill] Italian people'd got that, called Biblolini and they used to invite my mother in there to play and they used to sing. I remember them singing, and dance.
Q: You went there sometimes did you?
Mr N: Yes, I went there sometimes. I had to sit still there and not mess about.
Q: That was when you were quite little was it?
Mr N: Oh yes, yes, I was about five or six I expect.
Q: Did she used to work, did she have a job at all before you, before she was married or any thing like that, do you know?
Mr N: No, not my mother, no. I've heard her say that her mother, my granny, used to do a bit of washing to keep things going in them days. Because we lived next to Gaymers (Q: Oh yes.) and of course Miss [Kath] Richards mother was a Gaymer, wasn't she, before she married..
Q: That was in Braintree Road?
Mr N: That's it. Well I lived next door, Portland Villa, it was where I was born, there. The other side of me was Sainty.
Q: I know, so you were …
Mr N: Used to do television, he used to re-charge batteries and all that for your wirelesses and all that sort of thing. I don't know where he worked, the old boy, I'm talking about the son he done batteries. Then he moved on and went down further on, that road before you get to Crittall's, what is it? (Q: Albert Road), Albert Road, yes. He moved in there. That's where he done his business from there. Sixpence a time he used to charge for recharging an accumulator. And I remember my little set that time of day was an Alba. You know, wireless. That was in the times of Savoy Orpheans were very popular and Charlie Coons and all those. I used to like … The first time I ever listened in was at Claydons up Bridge Street there. They had a shop up there, they called him Botchy Claydon. Used to go in there with his son and we used to put these earphones in teacups and listen to it. Surprising how much louder that was. We enjoyed it. Used to like the dance bands in them days.
Q: How old would you be then about?
Mr N: About sixteen, seventeen[?] then, when I was doing that.
Q: Quite an experience that was.
Mr N: Yes, it was, Cause I was with, they were fairly old people that I was in digs with. They weren't really old when I first went there but they were much older than me. And they'd got a son and a daughter. Taylor was their name. Lena Taylor and George.
Q: Was that in Witham then?
Mr N: Yes, he worked for Bradshaws outfitters [72 Newland Street] at that time of day, opposite Mondy;s, where Mothercare [Adams?] is now. Then there was old Afford, he had a papershop business on the corner. And further down in Guithavon Road [Street]there was like a little building, they used to do printing there, years ago, a chap named Mr English ran it.
Q: So where were your lodgings?
Mr N: In Mill Lane. Near the tan yard. Called Hope Cottages. But they had one tap between four people and toilets up the yard, you'd have to go right up the yard to the toilet. It was amusing, about that, I don't know if I oughter, if it is going on tape, it's nothing really rude or anything, I used to like a cigarette and I bought these packets of Woodbine, they were five for tuppence and I used to get one, not every night, because money was scarce them days you know. There weren't a lot of money about. So I used to make 'em last as long as I could. And I used to go up the toilet and smoke one. And one day I went in, so my landlord said, 'There', he said, 'Cecil you seem to spend a lot of time up that toilet. I often say to Annie, what do you think that boy is doing up there? I'll creep up there one of these times'. And that's what he done, I never heard him nor nothing. So he said to me then, 'Is anything the matter with you boy? You spend a lot of time up there?' of course I must have turned red, I said 'I don't know' but he said 'We do. We timed you. You've been up there sometimes ten minutes or quarter of an hour', he said. He said, 'By chance you don't smoke up there my boy?' Of course I must have coloured up more and course I had to come out with it. And he told me. He said 'If you'd told lies about it, I can tell you was smoking' he said 'because you've got lattice work' and as I drew that cigarette and, dark nights it were, and he could see that little glow [laugh]. So I was caught both ways. He said, in future 'Now look in future always tell the truth' he says. 'If you'd asked us both could I have a cigarette Mr Taylor' he said 'We wouldn't refuse you, because you're nearly sixteen but I went the wrong way about it. But I never done it no more.
Q: [laugh] Kids still do that don't they?
Mr N: Oh yes, endless people do it, even now. But in those days it was more of a crime, the same if a girl was having a baby or something, oh dear, they were outcasts, as the saying goes. Well I always thought that way. Used to look down on them and all that.
Q: Did you know girls that were doing that?
Mr N: One or two, can't think of their names. There was one or two. I wouldn't say there was a lot, as I say, looked on as a crime.
Q: So what happened to them normally?
Mr N: Well, I dare say, I didn't enter into anything or conversation with any of them, I don't know how they used to treat them. I've heard my landlady talking about them and it was an awful crime. Fancy that and all this. She wouldn't go out no more like that. She'd be at home Me, I had to be in at nine o'clock when I was in digs. Once when I was doing the same, there was a young lady from Leyton and we hired a bike, both of us. They were only one and six for the day at Glovers. That's where the electric light shop is now [38 Newland Street]. And we went to Wickham Bishops and all round there. Blow me if I didn't get a puncture. No puncture outfit nor nothing, so I had to walk home, well we both did and she'd got relations up Cressing Road. She had to walk further than I did. I had to go up Mill Lane. When I got there, I thought there's a right kettle of fish here, so I tried the door and couldn't get in. So I got the prop and tapped the window. [laugh] Up went the window and she said 'Now then, my boy, where have you been?' I told her. She said 'That's a good tale'. You know the time you should be in, nine o'clock', I said 'Yes, I said, but I had a puncture'. I did, I really did have a puncture. That passed off but she gave me a dressing down. 'Don't do that no more my boy, or your days will be tallied and you'll be away from here'. Give me a warning, at that time of day. Very strict on things. And we'd go to church every Sunday and go to communion every Sunday morning. I can see her now, she used to put a threepenny bit in George's (her son) and my hand for the collection. And she'd see me put it in too.
Q: So really she was acting like a mother to you ?
Mr N: Yes, she was. I was fourteen when I went there. Because I come out of that home. They give me a tin trunk with a full set of clothing you know. And the Sunday School where I went to at Braintree, forget the name of the hall now, there's a hall there near the Co-op. they give me fifty pence, ten shillings. Which was a lot of money in them days, to start in life. The priest, or the speaker at Sunday School. And of course I only moved from, because I'd got a mother they only moved me from Braintree to Witham, but some of them went to Australia under the Salvation Army Scheme, but they hadn't got any parents. They were all on their own with nobody sort of. And that's likely what would've happened to me if I hadn't got a mother alive, they'd have done the same with me. But there was a lot of them went to Australia.
Q: Did you ever see your mother after she went into the, did you see your mother after she went into the hospital at all?
Mr N: Oh yes, I used to go and visit her, every Sunday, or nearly every Sunday. Used to go with a man named Mr White, Jim White. He had his wife in there. (Q: I see.) that time of day, used to go on the train (Q: From here?) From here. Used to run Sundays, you see, not like they do now.
But I don't think there were so many, I forget, whether that was a full schedule or not. That's what we done, done that for several years. Old Jim White. I think his name was Jim. He worked at Crittall's. Because he's got two or three sons. One of them had an operation about two years ago but he's dead. He was a nice chap, can't think of his name. Got one named Doug, and he had a daughter, she lives in them bungalows opposite the Bridge home. Can't think of her married name.
Q: Was Jim White at Cross Road?
Mr N: Yes, I believe so. Do you know them?
Q; I've met him.
Mr N: He was a real Labour man, he was. I think he was doing a bit of canvassing here about two years ago, before he had his operation. You know local elections.
Q: Yes, because local politics, they had more meetings and that in those days? I suppose there wasn't the television, elections were more exciting then.
Mr N: I always remember Lord Crittall, Sir Valentine getting in, and there was Labour headquarters right opposite Mondy's, you go up the steps there, that time of day and up steps. There was a big old house, back of that shop, millinery shop. You know where I mean? (Q: Yes [Medina House, 80-84].) Anyway I was going to tell you, the car that was all dusty and dirty and it had all written on the back. Forty-nine majority. So he must have got in by forty-nine majority that first time. A chap named Burrows was his agent at that time of day.
Q: Did you have much to do with it? Politics or anything?
Mr N: No, no, I didn't vote in them days did I, know.
Q: What did you do with your spare time then?
Mr N: Oh I've got plenty to do. I don't go anywhere, mess around at home, doing a bit of gardening in the summer and all that.
Q: I was thinking of when you were a young fellow. When you were younger I was thinking.
Mr N: Oh when I was a youngster. We used to go in cliques then, funnily enough, like they do here but we didn't haul things down and break things up. That was the difference. And there was always police about in the town. I always remember Sergeant Haggar saying that to me, I was looking at this shop, there was three of us 'Hello boy, you still hanging around the shops, ain't you got a home to go to?' And if you cheeked them then they'd soon clip you, so we used to move off and go away quietly, I mean doing practically nothing, them days. I was friendly with several of em and I used to play football for the school, With a school, Church School. I mean I didn't play much for em as a lad because I finished most of my time at Bocking, Bocking School.
Q: But you played after you left school?
Mr N: Yes, I played for Witham Town. Then I joined the Scouts.
Q: Did you like the Scouts?
Mr N: Yes, it was very nice. I was there with another Witham chap, Ken Bull. His father was a photographer. Just by that George there, where they sell motor parts and that [34 Newland Street]. His father was a good photographer, took some lovely photographs. And he got a job in the Bank. He was in the Scouts and I always remember, he was the laziest chap he was. He used to buy these plates, you know, like cardboard plate. He had tin plates but he …, and when he'd had them he'd sling them across the field out of the tent, open the tent flap and they used to go sailing. [laugh] And he had a little BSA, one and a quarter horsepower.
And he worked at Dunmow Bank. He as in the bank there. Dunmow. Used to go back and forwards every day on that. One and a quarter horsepower. Little round tank. He sold it for about thirty-eight pounds.
[chat about biscuits etc. Step daughter at Belchamp St.Paul near Sudbury]
Q: Because your wife lived in England for quite some time didn't she?
Mr N: Oh yes, She was in the Army you see too. Russia come and took them and hauled them all over to there. She was in Russia a long while. She was ill treated there, terrible, things she told me. (Q: She's Polish was she?). She was Polish yes, and she got away from there and then she got to Egypt and that and that's where she caught up with her husband again. Through the Red Cross. She had one boy born out there, Jan was born out there, Tel Aviv. And she'd got a little girl when they took her to Russia, a baby. But I mean treating them so rough and not looking after them properly, it died out there. She's had a rough time. She's been here, I don't know how many years, a good many. I know she came to these parts when they got these dockets for clothing. You had a docket for clothes didn't you or furniture and all that. They had a job to get something for themselves and that. Because she didn't know what they were. And informed her. In the end she did get what she wanted but it took a long while and she never forgot it. She holds a grudge against them. Clothes.
Q: The people that gave the dockets out you mean?
Mr N: Well I expect so, yes. I mean they didn't know a lot of English did they, coming here like that. She was at Brandon at Suffolk, then she come this way with some friends. And they could try and get a place here or they could go to America. They had two choices. And her husband he didn't want to go to America so they got round here and they got a house in St Nicholas Road, not far from where we are now.
Q: I see. What was their surname before?
Mr N: Kovachek. I had a job to pronounce that myself and write it, I can do it now but it was a kind of real tongue tester to me.
Q: So how did you meet her then?
Mr N: Just casually, when I walked through the fields. She was sitting on one of the seats near the railway bridge. I forget the name of these roads now. Anyway it was near the railway bridge. When you go on to the …
Q: Armond Road way you mean was it or?
Mr N: Well if you come down from the blacksmiths, go down the Chase [Moat Farm Chase] as we called it and then you come into those houses there, well down that road there was a railway bridge, viaduct that's right. Well along that walk towards the mill, Blyth's[?] Mill. She was sitting on the seat there eating nuts. She said as I passed 'Oh, I've hurt my finger'. She said to this girl she was with, and I said 'Is it much?' I could just see her, hit it on the seat, you know, where you rest your arms on the seat, and she'd bashed it with her hand, this nut. It's a wonder she didn't split it open.
And that went on from there. Started talking to her and so forth. My wife was nearly dead at that time. She come and see her once with me, but she didn't know nothing. Because she was in Severalls, that's where she died, my first wife. Had nine years on my own. I was grateful I found this person, she'd come and help me with the house at times. Rotten living on your own and trying to work too, do everything then get Sundays I always went down there to see her.
Q: When was this about?
Mr N: Oh, seventeen years ago.
Q: That's when your wife died?
Mr N: Yes, seventeen years. Been married eighteen years this Christmas time, twenty-first December. Talking about that I remember Blyth's, that I was saying about, on that river walk, goes round to Blyths. They were nice people. Biggish family. Millers they were of coures. They used to have this old chain and the old sacks come down on to the waggons and that was where that chapel is now – Guithaven Road [Valley]. (Q: Oh was it?) Yes, that's where they had their buildings and that. Of course it was all pulled down and they built this chapel, and that was built in 1932 because I worked on that. I was working for Richards then, that time of day, Richards the builders. We done all the painting there, me and a chap named Arthur Shelley. He was a fireman, part time fireman, he was.
Q: I've often wondered about that. The chapel there is two buildings isn't it? There's two buildings at the chapel. There's the one with the date on it 1932 and there is the little one next to it. Were they built at the same time or was one there before the other?
Mr N: No, I think that was built after. We just done the chapel first. I think so, I think I'm right in saying that, 1932. Richards built that and that dome up there I painted when it was first getting a coat of pink primer.
Q: You can go round the town looking at what you've done then can't you? [laugh]
Mr N: Oh yes, I've been in lots of place, Coopers. One of the first places I went to was Coopers in Collingwood Road. That's up nearly opposite where Doctor Foster lives. Where it starts there's a little road goes up to some flats [Nicholas Court] and that. Well it's the first house on your left as you are going towards the station. That was one of the first places I went. And this old boy, the Miss Coopers looked after him, what his name was I don't know but I know they were Miss Coopers. I went there and Manning was the boss at Lewis's and Son at that time of day, manager. Because they were a Colchester firm and he was manager. He employed me. They employed about seven or eight of us. Anyway he said 'got a little job for you this morning Cecil, you come along of me' he said. 'Bring a bucket and brush and stripping knife and a swab and a brush' and he took me in this room and everything was covered up. And he said 'Now I want you to be careful and he stripped the paper and said 'what sort of man I can make of you'. He showed me what they do and of course I done it. Didn't seem too bad I thought to myself but when I come to the other wall, I thought this game again another one and I began to get tired of it and he said 'How are you getting on matey?' when he come that night. I told him not too bad, 'Look I done this I washed it all ways'.. He said 'we shall see what its like tomorrow and if its not smooth enough we'll get Lou and them to rub it down with a bit of glass paper before they hang the paper'. He said 'You'll learn, any rate'. And that's how I went on. I noticed I got a lot of pushing the truck about if they wanted, they had what they called kegs, fifty-six pounds. of distemper That was ordinary whitewash in those days.
And I had to push them round the town to different places. Two kegs and brushes or a little bit of scaffolding, two pairs of steps and a board. All by truck, not a lorry to come and pick it up for you. Oh yes, been to several places. Doctor Ryder Richardson, went to his once. he'd got a limp, he walked with a limp. And he had two plum pudding dogs, big danes I think they called them, whiteish but they'd got these big round polka dots. He had two of them. In the house where Doctor Baquai is. He's over there now. He has like an nursing home.[Witham Nursing home, Avenue Road]. (Q: Avenue Road.) That's right, yes, Dr Ryder Richardson.
Q: So were you sort of an apprentice?
Mr N: Yes, well after a fashion, but not official no. They took me to see if they could make something of me sort of. Only I'd got nobody to, no mother or father, well, got a mother but she, wouldn't have done no good, she was hopeless then, them times. Gone by it. (Q: Sorry.) My mother gone by it then, she wouldn't have known what to do, no.
Mr N: When she got bad, it worried her, all the War and that. And my grandfather, he had a cab business up in London, Kensington, You know this old cab and a horse, big old whip, like you've seen on postcards.
Q: What was their surname that side of the family? (Mr N: Newton.) Sorry, your mother's side?
Mr N: I always knew her as Newton, (Q: Your mother?) Yes. They've always been anything like that. (Q: And so your grandfather?) She was his daughter. And he's buried in Witham. I can't remember what happened to my grandmother.
Q: So they came. It was him that moved to Witham from London was it?
Mr N: In the end he did. He wasn't here long if I remember, and its only vague, I don't think he was here very long before he died.
Q: Because a lot of people seem to have moved from London to here even in those days, quite often. (Mr N: Yes.) After work often I suppose (Mr N: Yes.) And what was your mother's first name? (Mr N: Edith.) So you never knew your father at all?
Mr N: As I was saying grandfather wasn't down here till later. It was just her and her mother used to, and I've heard her say, that she used to do a bit of washing to keep things on the, for a few pennies, in Braintree Road. And then of course we moved. After Braintree Road we moved down opposite the church, them old cottages there [28-44 Church Street], which they've renovated now, they look very posh now but they weren't in them days. Old cottages. There was an old boy used to work for the farm up by the Victoria. He used to live next door to us, because there was only me and my mother lived there. It was the time the Zeppelins were going over. I always remember that, seeing one go over Chipping Hill church one day. That scared us! I think a lot of that got on her nerves and it made her worse.
Q: If she was on her own, if you've not got anybody to talk to.
Mr N: I mean there was a lot of Army people about here in them days. the Black Watch were here. They were stationed, were encamped up by the Victoria pub at that time. They had a lot of mules, you know like a donkey. (Q: Really?) And they used to shoe 'em at this forge here [18 Chipping Hill). And when well, you know, young boys, mates, you know what it is at a young age, get together. We used to go to them houses at that time of day which come by the White Horse. All them houses up there. They'd commandeered a lot of them places. They used to have field kitchens out there. And they'd give us some soup some times or, dogs biscuits, big old biscuits, and a tin of bully beef. They used to give us and Ticklers jam they called it (Q: Did they?) I used to take 'em home to my mother and she used to get on to me. 'You can't eat that – make you sick.'
Q: Whereabouts was that, then, in the fields you say, the kitchens?
Mr N: No they had what they called the field kitchens were in them back gardens because they've a good, not massive gardens. Them houses on the left hand side when you come from the White Horse and you're going to the station [c numbers 4 – 16 Chipping Hill]. All big houses there. Well they commandeered a lot of them. This was 1914-1918 War.
Q: So what year would you be born ? (Mr N: 1908.) So you'd remember that quite clearly then?
Mr N: Yes, I remember that, us going there, messing around them field kitchens. Used to watch how the fire was burning. Yes, used to cook our grub there.
Q: Did you see them actually, presumably they'd come here really for training had they? Did you see them practising or anything? (Mr N: No, didn't see them practising, no) Perhaps they were just waiting?
Mr N: Yes, waiting to go to the front line.
Q: You didn't have any living with you did you?
Mr N: No, there was none boarded out or lodged out. I think they all slept in those houses they commandeered. I mean they are big houses, a lot of room in them.
Q: Were you frightened at all by the War or did you not know what was happening?
Mr N: I didn't really realise what it was. It was only them Zeppelins that frightened us that particular day. They weren't very high, neither. (Q: I suppose they didn't even have aeroplanes …) There were no fighters in those … They had one at Goldhanger. There was a spotter planes, a little bi-plane there. Because me and a chap named Winston Alderton used to go down on that Smith's farm [Moat farm], that's opposite the blacksmiths, there used to be a farm there and they had two horses. They had one called Mousie and one called Bonnie. And we used to go up and down with this old boy that done the ploughing, Mr Barnet. He used to wear these buskins. And he used to say to us 'Come on matey', that's what he used to say to us. 'Come on little mates', lets go and do it' And up we'd go with him and when he finished dinner time, he'd put us on one of the horses. 'Which one do you want to ride on', he'd lift us up on and take 'em for their feed in the stables. A good old chap. Him and a chap named Daizley used to live round there. We used to collect the eggs up out of the manger and take to him, and now and again he'd say 'Here you are matey there's a nice little egg there for your breakfast in the morning'.
Q: That's Moat Farm?
Mr N: That's right. They've got a nice house there now haven't there. Got them big dogs. (Q: That's right.) That was in there, that was where the farm was, chickens and cockerels strutting about there all day. Lovely scenes really. Never see it today. Gone for ever. All battery stuff isn't it. Lovely colour them eggs in them days.
Q: I should think you were quite pleased to get one of them weren't you?
Mr N: Yes, I was! Well, they were scarce. Things like that.
Q: I should have thought if your mother was on her own, what would she have to live off? Did you know, or did you not think about that when you were small? (Mr N: No.) Where the money came from?
Mr N: No, couldn't say.
Q: What sort of things would you eat at home when you weren't having eggs, was that much the same as now?
Mr N: I think so, I can't quite picture myself. I know she used to say I'll go and get a ha'porth of this or pennyworth of this. There was a shop by the, of course its converted into a house now, Doole's had that [45 Chipping Hill]. It was a bit of a Post Office and all that if I remember rightly. We used to go there and get stuff. Nice family the Dooles. They had one son called Reg and two or three daughters but I don't know nothing about them.
Q: Because I think it was Mrs Grape …
Mr N: Yes, that's it, she was one. He was something to do with Lord Rayleigh her husband.
Q: What sort of things did they sell in the shop?
Mr N: Butter and cheese, biscuits. Biscuits were in a tin in them days, what had got shavings in, paper shavings.
Q: How did you take them home then?
Mr N: In a little paper bag. And sweets were done in newspaper sometimes like a cornet, got sweets in them. Specially when I was older down at Uncle Ellis's down at the bottom of town. Used to make a cornet and put mixtures in of sweets.[149-151 Newland Street]
Q: Because Albert [Poulter] lived near him didn't he?
Mr N: Yes, he lived there, his house was there.
Q: You say you went to school up here first [Church Street].
Mr N: Yes, I went here first and then I got down there for a few years, two or three perhaps and then, any rate I was only about ten or eleven I reckon when I went to Braintree.
Q: How did you feel about that?
Mr N: What, going to Braintree? Well it was strange at first, start, yes it was strange. You see the discipline you got there. You weren't allowed to do this. You'd got to do that, everything'd got be done as the matron said. Not that she was hard or cruel, nothing like that, but you had got to do as you were told. I mean I'd had a, I used to do what I liked, and I took advantage of my mother, you may depend, go anywhere. She used to worry about me when I went up to see them soldiers and that, and that with the field kitchens. And I took things home and she'd say 'You'll be sick you mustn't eat them', but I used to say 'Oh yes, I'm going to eat this one, and they were hard them dog biscuits, nearly break your teeth. She told me off many a time for that.
Q: So when you were at home, as you say, you just could go out and play at any time.
Mr N: Yes, used to go out anytime. I don't remember so much when it was really dark, because I've always been on the nervous side I shouldn't say I'd done a lot of that when it was really dark. But during the daylight hours, as long as I could.
Q: You were a bit nervous then?
Mr N: Yes, was a little bit nervous at night time.
Q: What did you expect was going to happen to you?
Mr N: I don't know. I mean my mother was the same of a nervous disposition, so that didn't help did it. She used to worry sometimes about the food, getting the food. So she must have had a hard time. I don't know what, I mean rents them times, I don't know what they paid
Q: Just managed to make ends meet. Were you actually born in Witham?
Mr N: Yes, I was born here.
Q: She was in Witham when you were born. So when you went to Braintree, where abouts was the home, er Bocking, whereabouts was the home in Bocking?
Mr N: It's a big big house, called the Friars. It's a biggish house and its got a big old archway like that, where they tell me that these stagecoaches used to use it years and years ago. I think I did hear that the Yanks had taken it over. There was thirty-four of us there. A fair number really, it was big house with a lot of rooms. But of course there was three, four, five of us in one room at that time. We were expected to clean our own bed space at that time at that time of day; keep it clean and wait till the matron see it before you was allowed to go downstairs and get ready for breakfast. And when you are top boy, oldest boy, you had the kitchen range to clean. I had to get the flue boxes all, and rake the soot with this long handled steel with a hook there in that angle, and clean all them out and then emery cloth the lead on the stove and blacken the rest. It would take a good half hour and they'd show you how to do it and then expect you to do it and perfect too. She used to be very strict on the soot. If you didn't clear all the soot out she'd soon tell you off. Then all the wood was dried, near the fire at night and then that was put away from the fire so it couldn't catch anything and then you'd go there and lay it, but she wouldn't let you light it.
She'd light it. In case you'd get burned. Well, she'd got a lot of responsibility hadn't she. Now I was getting on for fourteen when it come my turn. I didn't do it very long. Some boys done it much longer than me. But you was what they called top boy. You was the oldest one there and that was your job. (Q: Top boy of the whole place) To do that kitchen range. She never done nothing to it. She'd only put you right if it was dirty or there was a bit of soot there. Very strict she was on that.
And then another thing you had to do when you was top boy, there was no playing about when you come out of school, go straight home and turn the mangle for the woman what done the washing. Old fashioned mangle, two old rollers with splinters on the rollers.
Q: It was hard work then, wasn't it (Mr N: It was.) And did you have other jobs when you were lower down?
Mr N: Yes, the gardener. Older boys helped the gardener. They had a gardener there then. Had to help him. And mend your own socks and put your buttons on your things and everything. And they had to be done properly your socks. You had to do up and over so there was a nice patchwork. And if you pushed it through what she called cobbled, the matron said, 'That's cobbled, cut that out, do it again and go to bed when you have had your tea for four days. No football'. I used to like my football, I used to do mine properly.
Q: Did they play football actually at …?
Mr N: Yes, at the back on a big field at the back of our place, that home. At that time of day, of course, its all eaten up with houses these days. There was a lot of space them days for playing in etcetera.
Q: But you went out to school somewhere different did you?
Mr N: Went to Bocking School. As I say I was about ten to eleven.
Q: I should think you missed your friends as well as your home ?
Mr N: Yes, well they kept coming in and going out. I mean when a boy was fourteen they had to try and find him a job. As I say most of them hadn't got parents so they went to Australia under the Salvation Army scheme that they had got.
Q: I was thinking when you first went there, you'd miss your friends from Witham?
Mr N: Yes, I did naturally. Jennings. There was a chap, Cyril Jennings, I was always playing about with him.
Q: You mean at Bocking or at Witham?
Mr N: At Witham. He lived down there. There's two houses opposite the vet. You know the vet's there. Opposite there there's two houses, the first two you come by. Where that goes over the River Walk.
Q: Where Mr Springett used to live.[now nos 6 and 8 Powershall End, previously 1 and 2].
Mr N: That's it, Springett used to live there [???].
Q: Opposite Spring lodge. Can you remember them telling you?
Mr N: I think the Jennings lived in the second one, Springetts lived in the first.
Q: Can you remember anything about when they told you you had to go or anything like that, or who told you that you had to go to Bocking or who told you?
Mr N: No, it all happened in a maze to me, it was all a maze to me, upside down.
Q: You didn't know what was going on really?
Mr N: It was Christmas time if I remember right, they said 'You're going to have a nice Christmas over at Braintree with your mother'. And of course I expect that helped to tide me over. I went there and there were two little boys. It was called the Union in them days, not the hospital. So I went there.
Q: So you were there with her to start with?
Mr N: Yes, but not actually living with her. In another section. Where the children were. But you went to see her every day, but not live with her.
Q: And that was when she was ill?
Mr N: Yes, and then after a while, they found me this place down the Bocking Home. There was a vacancy and I presume that they put you with your mother, or if you was on your own perhaps they put you there, until there was a vacancy down there. Because it was run by the County Council. Board of Guardians they used to tell us, run by the Board of Guardians.
Q: Do you remember anything about when you were at the Union, what that was like?
Mr N: A big old place it made me. Make you feel small. Huge place it looked to me I always remember that. Had toys to play with and football. There was two boys there with me for a while but what happened to them I don't know. You see they used to bundle people in there. The tramps used to get there too and they used to have tramps at that time of day, and put them in there for the night. They tell me, because I mean I was only young. they had to do a portion of gardening for their keep, for staying there. Then they gave them a night's rest and breakfast, so I understand, but they had to do something for it. Either sweep all round the place or do something on the gardens.
Q: So that was in the holiday[?] time?
Mr N: Yes, that was in the years 1917 1918.. Well, I come here in April 1922 when I was fourteen. They found me this job here.
Q: They did (Mr N: Mm.) So when you came back to Witham then did you remember your friends?
Mr N: Yes, Cyril Jennings, I was with him again. We were getting older.
Q: When you were in Bocking did you get a chance to come back to Witham ever?
Mr N: No, never come back. Not to say come back. (Q: Not even to see people?) No. My mother used to come. They brought her over twice when I was in digs with Mrs Taylor. Only twice. But she just sat there and did nothing much.
Q: So how did you feel about that then, did that worry you?
Mr N: Well it did in a sense, yes. Not very happy.
Q: It's a bit sad isn't it. What a shame.
Mr N: Your mother come to another person's house to see you, seemed funny to me. Yes.
Q: But when you were in the Union and you went to see her, what did you do then?
Mr N: Well just sat there talking to her and that, perhaps you'd have a walk round in the summer, have a little walk round and sit on a garden seat and that. You had to give your name in every time you went there too. No matter how often you visited you had to see the lodge keeper and put your name in the book. Mr. White used to do it.
Q: So there was a lot of people in there was there?
Mr N: I presume there was because I never went in every ward but I mean, where I was there was, I should say there was about eight in the ward where she was. I've got an idea that Mr White's wife was there in that early part, but I really forget.
Q: Did she ever say how she felt about being there at all?
Mr N: Yes, she used to say about people getting on her nerves and that. Because she could play a piano and you go in there with people, I expect that always played on her mind, I'm in here and I can play a piano and I haven't got one to do it and all that. It's a job to know how she did feel. But I mean she'd been used to going around playing and that and they all tell me she was a good pianist. Everybody's told me that. Especially the Bibolinis, they thought a lot of her. But I was only a youngster. They used to welcome us.
Q: You didn't have a piano yourselves? (Mr N: No, no.) They cost a lot of money didn't they? (Mr N: Yes.) I wonder where she learned to play?
Mr N: I don't know. They might have sent her for lessons you see, her parents, mightn't they.
Q: Are you musical yourself at all?
Mr N: No, I'm not [laugh] not at all. I like to listen to music, but I've never been like I wanted to play anything, like a piano or anything. The only thing I'd play was a gramophone [laugh] I had one of them. (Q: Did you?) Yes, and I was on the dole at the time and it was an Apollo, the make, cabinet gramophone.
I had several records, HMV, Layer and Wharton, they were good singers then, Layton and Wharton, I'm not quite sure. Any rate they were good records and I enjoyed that. A beautiful thing it was. It was when I was in digs with Mrs Taylor and as I say unfortunately got out of work. I was about seventeen, and being on the dole for several months and that they had to come to see what you'd got in your house see and to help you pay, they'd confiscate it. They came to see me this chap and he said have you got anything, I said 'Yes', innocently enough, here I said, 'This belongs to me'. He said 'Oh that was rather an expensive thing wasn't it'. I forget what it was now. Any rate, when he'd gone, he didn't say anything, he went, and Mrs Taylor said 'You was a silly boy, Cecil' she said 'Fancy saying that, you should have said it belonged to us and then they wouldn't have been no more'. But do you know I never heard a thing about it. Luckily I managed to get a job, might have been six months after he'd come. I started on my own doing painting for different people and I kept on doing jobs here and there till once Adams and Mortimer, Gerry Mortimer he said to me 'What are you doing boy, working for yourself?'. I said 'Yes.' He said 'Cor, I could have done with you' He said 'We're extra busy' he said 'I'll tell you what, you'll have to pack what you're doing and come with us' he said 'I'll guarantee you a year's work', so that's what I done. And I went over the year and then they got slack and they told me they didn't think there was any more and I went to Silver End, Crittall's. And then I got transferred over here, doing painting and glazing and all that.
Q: I see, so you started out first of all with Richards or Lewises? (Mr N: Lewises.) and then out of work for a bit then you worked on your own and then … (Mr N: That's right.) So how old were you when you went to Adams and Mortimer?
Mr N: I must have been in my twenties.
Q: So you were on your own for quite a time?
Mr N: I had a good run. But then of course your materials and that and I used to put my own stamps on my card. They didn't look into your business in them days for tax and this and that did they? Not them days. I was doing all right in a small way, I was paying my own way, put it that way. Weren't making a profit.
Q: Where were you living then?
Mr N: With Mrs Taylor. (Q: You were still with Mrs Taylor all that time.) I got a job when I, I was working at Richards when I married. I always remember they bought me a copper kettle and a mat for the fire, you know, in front of the fire. Frank Fairhead collected the money and Fred Hawkes. They got it up. It was about twelve people worked for Richards in them days. Bricklayers and labourers and carpenters. Old Jumbo, [Turnage] chum they called him. I remember him coming there as a boy. He worked there as a chippie. Ray Chittick worked on the coffins.
Q: When was it about when you got married?
Mr N: I married in 1932 and we had rooms up the Hatfield Road. Wheelers, near Ashby's garage. Ten shillings for a top front and the bottom one front. And this person Mrs Wheeler had a kitchen range put in this best room with the idea, we weren't the first ones, it had been let to different people before, but it was vacant at that time and we went there. That's where we started our married life. We stayed there three years till there was a bit of a squabble about using the kitchen. You know what, when you live with another family it wants a lot of scheming, and we got a cottage in Mill Lane five and six a week.
Mrs Wheeler's we paid ten shillings and all the electricity we wanted but we had to find the coal and that for the kitchen range and everything like that. And one night he left his, used to get his wood dry in his oven and this particular night he must have shut the door on the oven and it started smouldering somehow and I smelled it and called out and they were abed. So I went downstairs and I could smell this terrific smell. I though 'I can't see a fire or anything' and I went and woke him up. He come down and he said 'Lucky you was about then boy or we'd have had a fire and ruined my oven'. He gave me a week's free rent. I remember him saying 'You needn't pay me nothing next week boy'. Ten shillings we paid.
Q: You were at Taylors all the time until you went to there?
Mr N: Yes, I never had any in betweens. I went with Taylors and stayed with them till I got married. I was 25 or 26 when I got married.
Q: How did you meet your first wife then?
Mr N: No, she came down here for a holiday, from Ilford and I got friendly with her. But we used to go round them times, looking for girls with friends and that and …
Continued on tape 151
Author Janet GyfordPosted on 29th July 2016 Categories Interviews with Witham peopleTags Cecil Newton
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The Bull family
Ebenezer Smith
Witham Carnival in the 1930s
Witham schools c.1700-1815
Witham History Group
Walter Peirce
Ted Mott
Pinkham's glove factory
Marjorie Coleman
Marjorie Brown
Gerald Palmer
Fred Gaymer
Fred Cook
First World War in Witham
Evelyn Gaymer
Evelyn Cook
Edith Hawkes
Edith Brown
Dorothy Ireland
Dorothy Hancock
Dorothy Goss
Crittall's metal window factory
Albert Poulter
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UHNW Institute
GUEST ARTICLE: What Advisors Should Do As The Fossil Fuel Divestment Movement Accelerates
Kristin Hull, January 23, 2018
The author of this article argues that fossil fuel divestment is one of the major levers at the disposal of citizens and governments to address climate change and transition to a clean economy.
A theme that comes up in what is sometimes called socially responsible investing is the idea of divesting in a sector, to withdraw financial muscle from an industry such as tobacco, fossil fuels, gambling and arms. Divestment of course begs the question of what an investor uses his or money for, and highlights that this approach is controversial. (Supporters of the Second Amendment, for example, will contest that divesting in firearms is a good thing, and others may debate the fossil fuel point: fracking has arguably helped the US reduce reliance on oil imports from politically questionable areas of the world such as the Middle East.) But for all the debate about particulars, divestment is something that certain investors and advisors will keep in mind. To that end, Kristin Hull, PhD, founder, CEO and chief investment officer of Nia Impact Capital, addresses some of the questions. The editors of this news service are pleased to share these thoughts with readers and contribute to debate. As ever, the editors don't necessarily endorse all such views and invite readers to respond. Email tom.burroughes@wealthbriefing.com
Should you divest your portfolio of fossil fuel securities?
That is the question on the minds of individual and institutional investors this week after New York City moved decisively away from fossil fuels. Mayor Bill de Blasio announced that the city will divest of $5 billion of its $189 billion pension fund now in fossil fuel investments. The city is also suing five major oil companies, stating they have contributed to global warming. This news follows last month's announcement by New York Governor Andrew Cuomo that the state's $201 billion pension fund is evaluating whether to divest of fossil fuel companies.
Fossil fuel divestment is one of the major levers at the disposal of citizens and governments to address climate change and transition to a clean economy. Yet, for many investors, a key issue is whether divestment is a smart decision in terms of financial performance.
From an investing perspective, the is answer is "yes."
Divestment is a wise financial decision if judged by the financial performance of fossil-fuel free portfolios and the significant risk investors face in holding securities tied to the incumbent fossil-fuel economy. Reallocating that capital to innovative new technologies to support clean, renewable energy can also improve portfolio performance.
Compelling financial reasons
For investors, one fact is clear – fossil fuel companies are a drain on portfolio performance. The latest analysis to make that point is a 2015 study by global finance firm MSCI. The analysis showed that fossil-fuel free stock portfolios have outperformed conventional portfolios each year for the last five years.
That finding is confirmed by the performance of the Nia Global Solutions portfolio, which is fossil-fuel free by design. The Nia portfolio significantly outperformed the S&P500 Index – by 15.77 per cent in 2017. The outperformance of Nia's portfolio is due in large part to its emphasis on investing in renewable energy innovations, such and wind and solar technologies. The portfolio's performance is also the result of our purposeful lack of exposure to any companies profiting from harmful natural resource extraction or to financial institutions that finance fossil fuel projects.
So, what's the impact to index investors when fossil fuel stocks are removed? An analysis of seven years of data by Impax Asset Management, shows that eliminating the fossil fuel sector from a global benchmark index had a small, but positive return effect.
Fossil fuel risks
Fossil fuel has, in large part, built the global economy we live in today. Yet, the investment risks of holding fossil fuel securities are growing over the short, medium and especially long term.
First, oil is becoming difficult to extract refine, transport, and burn. When the Rockefeller family first commoditized oil, it was literally bubbling up from the ground. Those days are long gone. Oil reserves have been drastically reduced by global consumption. Despite currently low prices of oil, drilling and extraction have become more remote and expensive. This increasingly difficult task means potential cuts in corporate dividends and payouts.
Second, fossil fuel companies will continue to lose market share to renewable energy providers. Renewable energy accounts for a growing amount of power production, driven by technologies that harvest energy from the sun, wind and ocean waves. The cost of renewable energy, particularly solar, will likely decline over time, much like electronics and other semiconductor technologies have done for decades. With the development of more efficient batteries to store solar energy near its source or on site, the need to transport this energy is reduced. In some cases, it is entirely eliminated. In short, energy derived from burning fossil fuels will continue to become less relevant. Market dominance, not decline, is what most investors look for in an investment.
Third, there is currently less tolerance for government subsidies for big fossil fuel companies. Each year, the public is more aware of the taxpayer-funded breaks for oil, coal, natural gas and nuclear power production. Any company whose primary business model is still focused on extraction or refinement will be left behind. The transition to clean energy is well under way, regardless of where the White House stands on the issue.
Finally, over the longer term, there is a very real risk that the balance sheets of fossil fuel companies will diminish in value. Many fossil fuel companies count their yet undrilled reserves on their balance sheets as assets. With mounting political pressure to restrict carbon emissions and limit extraction, these "stranded assets," as they are known, face a clear risk of being worth far less than they are today. No intelligent investor wants to be left holding a stock whose underlying value proposition decreases over time.
While climate change stands to affect all holdings, now is a good time for financial advisors, wealth managers, pension plan participants, as well as each of us as individuals, to know what they own and to make prudent decisions according to their values and goals.
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Mentanarvirðislønir landsins (dansk: Landets kulturpriser, dvs. Færøernes kulturpriser) er flere færøske kulturpriser, som er oprettet af og som overrækkes af Færøernes landsstyre, Kulturministeriet (Mentamálaráðið) en gang om året. Priserne uddeles ved en festlig begivenhed på William Heinesens fødselsdag, den 15. januar. Begivenheden ligger ikke noget bestemt sted, den har fundet sted flere steder rundt omkring på Færøerne på et af Kulturministeriet udvalgt sted. I 2016 fandt den sted i Nordens Hus i Tórshavn, i 2015 i Skálavík (Sandoy), i 2014 i Vágur (Suðuroy), i 2013 i Klaksvík (Borðoy), i 2012 i Tórshavn.

En bestyrelse af fem medlemmer giver sin nominering til kulturministeren, som så overrækker priserne. Hovedprisen, Mentanarvirðisløn landsins, er på 150.000 kroner, den næststørste pris kaldes Heiðursgáva landsins og er på 75.000 kroner, Virðisløn til ungt listafólk (Prisen til en ung kunstner) er på 50.000 kroner og sømdargáva landsins er en pris, der gives til en eller flere kunstnere i resten af deres liv engang om året, den årlige ydelse er på 20.000 kroner. Kulturministeren kan efter eget valg vælge at give andre hæderspriser end de nævnte. Afgørelsen for hvem der får de tre kulturpriser blev de første år offentliggjort ca. en måned før begivenheden, men i de senere år offentligøres personerne først på selve dagen den 15. januar. Hovedprisen Mentanarvirðisløn Landsins blev første gang givet i 1998, Færøernes hæderspris eller hædersgave (Heiðursgáva Landsins) blev første gang givet i 2001, Prisen til en ung kunstner (Virðisløn til ungt listafólk) blev første gang givet i 2011.

Kulturprismodtagere

Mentanarvirðisløn landsins – Færøernes Kulturpris

Mentanarvirðisløn landsins er pr 150.000 kr. Nedenfor ses en oversigt over de kultur personer, som har modtaget prisen.

 2021 - Olaf Johannessen
 2020 - Sigrun Gunnarsdóttir
 2019 – Hanus G. Johansen
 2018 –  Bárður Jákupsson
 2017 –  Barbara í Gongini
 2016 – Rúni Brattaberg
 2015 – Annika Hoydal
 2014 – Tórbjørn Olsen
 2013 – Tróndur Patursson
 2012 – Tóroddur Poulsen
 2011 – Jóanes Nielsen
 2010 – Sunleif Rasmussen
 2009 – Kári Leivsson (Kári P.)
 2008 – Ebba Hentze
 2006 – Zacharias Heinesen
 2005 – Tita Vinther
 2004 – Ingen
 2003 – Hanus Kamban
 2002 – Gunnar Hoydal
 2001 – Eyðun Johannessen
 2000 – Ingálvur av Reyni
 1999 – Jens Pauli Heinesen
 1998 – Regin Dahl

Heiðursgáva landsins – Færøernes hædersgave

Heiðursgáva landsins er på 75.000 kr. Nedenfor ses en oversigt over de kultur personer, som har modtaget prisen.

 2020 - Ósbjørn Jacobsen, arkitekt
 2019 – Simme Arge Jacobsen
 2018 – Astrid Andreasen
 2017 – Frits Johannesen
 2016 – Steinprent
 2015 – Jákup Pauli Gregoriussen, arkitekt
 2014 – Tey av Kamarinum
 2013 – Árni Dahl
 2012 – Marianne Clausen
 2011 – Kristian Blak
 2010 – Jonhard Mikkelsen
 2009 – Laura Joensen
 2008 – Martin Tórgarð
 2007 – ingen
 2006 – Jógvan Isaksen
 2005 – Emil Juul Thomsen
 2004 – ingen
 2003 – Ólavur Hátún
 2002 – Axel Tórgarð
 2001 – Fuglafjarðar Sjónleikarafelag (Fuglefjord Teaterforening)

Pris til ung kunstner

Hædersprisen til en ung kunstner er på 50.000 kr. Prisen blev første gang tildelt i 2011. Det er en ekstra ordinær kulturpris, som bestyrelsen kan vælge at uddele.

 2019 – Ingen pris uddelt
 2018 – Búi Rouch, danser og koreograf
 2017 – Konni Kass, sanger og sangskriver.
 2016 – Anna Malan Jógvansdóttir, digter
 2015 – Andrias Høgenni, filminstruktør
 2014 – Mathias Kapnas, musiker
 2013 – Trygvi Danielsen, poet, sanger
 2012 – Silja Strøm, kunstner
 2011 – Sakaris Stórá, filminstruktør

Sømdargáva landsins - Årlig ydelse på 20.000 kr. resten af livet
 2015 – Alexandur Kristiansen
 2014 – Oddvør Johansen
 2014 – Katrin Ottarsdóttir
 2012 – Ebba Hentze
 2012 – Hanus G. Johansen
 2012 – Guðrið Poulsen

Før 2012 har disse personer fået tildelt Sømdargáva Landsins (året for hvornår de modtog hæderen er ikke oplyst, de blev nævt af Færøernes kulturminister, Bjørn Kalsø, da han uddelte kulturpriserne for 2014, som blev sendt direkte af Kringvarp Føroya):
 Óli Petersen
 Hanus Kamban
 Rói Patursson
 Zacharias Heinesen
 Tróndur Patursson
 Bárður Jákupsson

Andre kulturpriser fra det færøske Kulturministerium
Bestyrelsen kan vælge at give en ekstra ordinær kulturpris til en person, som de ønsker at værdsætte. I 2011 blev til givet til en ung kunstner, i 2010 blev den tildelt Jóhan Hendrik Winther Poulsen for hans store arbejde for det færøske sprog, i 2006 og 2001 blev der uddelt en ekstra ordinær kulturpris til Jón Hilmar Magnússon (2006) og til forfatteren Ebba Hentze (2001). Den ekstra ordinære kulturpris består af 50.000 kr.

Málrøktarvirðisløn Landsins
2010: Jóhan Hendrik Winther Poulsen

Ekstraordinær kulturpris (Serstøk virðisløn)
2020: Birita Poulsen, operasanger
2019: Forlaget Leirkerið med brødrene Zacharias Zachariasen og Flóvin Tyril
2006: Jón Hilmar Magnússon
2001: Ebba Hentze

Nævnet for Færøernes Kulturpris 2017-2019
LISA er en sammenslutning af færøske kunstnere af forskellig slags. LISA er forkortet af Listasamband Føroya som betyder Færøernes Kunstforening. Medlemmerne i LISA er Arkitektafelag Føroya, Designarafelagið, Einleikarafelag Føroya, Felagið Føroysk Tónaskøld, Føroysk Myndlistafólk, Føroya Tónleikarafelag, Kórsamband Føroya, Leikarafelag Føroya, Myndlistasambandið, Rithøvundafelag Føroya og Yrkisfotografar í Føroyum. LISA udpeger tre medlemmer til nævnet. Mentamálaráðið (Kulturministeriet) vælger to medlemmer, hvoraf den ene er formand og den anden er næstformand. I perioden 2017 til 2019 er disse personer medlemmer i nævnet:
Alda Joensen, formand
Kim Simonsen
Katrina í Geil
Robert Thomassen

Se også
 Færøernes litteraturpris

Noter

Eksterne links
 Logir.fo KUNNGERÐ NR. 90 FRÁ 28. OKTOBER 2008 UM STUÐUL TIL MENTAN OG LIST (Færøsk lov om økonomisk støtte til kultur og kunst)

Kulturpriser fra Færøerne
Færøsk kultur


text:
Q: problem with infinite loop in python list Am working through Sweigart's "Automate the Boring Stuff with Python." He provides the following example of a simple list program. I am following his coding exactly but the program produces an infinite loop. What am I missing?
tried searching for others who had the same result when working with this example. Could not find anything.
catNames=[]
while True:
     print('Enter the name of cat ' + str(len(catNames) +1) + ' (Or enter nothing to stop.):')
     name=input()
     if name == '':
          break
     catNames = catNames + [name]
print('The cat names are:')
for name in CatNames:
     print('    ' + name)

Result should be:
The cat names are:
   tommy
   spot
   paws
   etc.

Instead, I get an infinite loop of the first print command.

A: You have a small typo here:
for name in CatNames:
     print('    ' + name)

CatNames should be catNames (lowercase c in catNames) then it works. Also, the loop will keep taking names until you stop entering names. Just hit enter without entering a name and the loop will break and the output will be displayed.

redpajama_set_name: RedPajamaStackExchange


text:
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Blog #006: Don't Turn Your Nose Up To TVC's
By Loren Johnson
Don't be a snobby actor that turns up their nose at the idea of acting in a TV Commercial (TVC) because you think they're not arty or prestigious enough, that you'd be somehow lowering your standards, because you'd be misjudging a great opportunity to get into or advance your acting career, as well as many other reasons which I am about to explain.
Any acting experience is valuable. Ok, so it might only be a thirty second TV Commercial, and perhaps your role is only on screen for 5 or 10 seconds but you will be expected to deliver a high-quality of performance in that short time. You may or may not have lines but you will definitely still have to portray a character and convey an emotion of some kind, and in any situation where you have to do that it is invaluable experience for an actor.
Another reason actors should consider auditioning for TVC's is that it's a lot easier to work around your other commitments, whether that's your regular job and/or parenting role. Being in a tv show or film is a large time commitment, usually months of long days. Whereas TVC shoots only last 1 to 3 days, so many people find it more do-able.
Even though it's a short shoot you are still experiencing a professional film & television production in which you'll gain important industry experience. You'll learn what different crew members do and how a professional set operates. In addition, you'll get experience working with other directors and actors. Even going to the auditions is a great way to build up more confidence with the general audition process.
Many of the cast and crew that work on TVC's also work on TV shows and films (especially in a smaller place like Perth) so it's a great way to network and make valuable industry connections and ever-important impressions as it may lead to a break in a TV or film role.
You'd also be silly to pass up on the opportunity to earn some of the highest rates in the industry. For an average TVC you can earn between $1000 to $3000 (not bad for 1 - 3 days work!), and for a big national TVC you could earn much, much more.
Also worth pointing out is that Perth doesn't produce as much adult TV drama or feature films as the eastern states and therefore TVC's are a good way to build up your portfolio of work and general acting experience before advancing to bigger projects, or like some actors, you may find you love doing TVC's and it becomes a successful addition to your life.
Here are some TVC's that our students at Acting Classes In Perth have been in recently:
I hope that helps. Until next time, stay safe and as always - happy acting.
The course is designed to be
fun and creative, and with Loren's technical approach you are able to learn how a director thinks". - Leon Grey
After taking classes with
Loren I have become far more confident in myself and his classes constantly challenge and inspire me, and I have seen the realistic potential of acting as a career. Loren pays attention to his students' needs and he always does his best to fulfill them". - Brendan Ellis
he course was fantastic and
exactly what I was looking for. The workshop went through all the basics and allowed us to put what we learnt into action".
- Elizabeth Williams
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with so many like minded individuals. The class is a great way to build confidence. Without Loren's support I would not be where I am today". - Gary Clementson
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All media published on this page is the property of Atomic Light Enterprises Pty Ltd or is used under license with the agreement of the copyright owner.
For the past eleven years our students have said that our courses are the best they've ever done. So now we guarantee it! We guarantee that all our courses are the most fun, exciting, and value for money workshops that you've ever done or you'll receive a refund, no ifs, buts or maybes! If you're unhappy for any reason once you have completed the full course, we don't want you to go home unhappy. Simply let us know at the end of the second day prior to leaving the workshop, and we'll have a refund issued to you. We've built the reputation of being PERTH'S BEST ACTING SCHOOL FOR BEGINNERS because WE ACTUALLY CARE!
Contact Us I Privacy Policy I Terms Of Service
Copyright 2004 - 2017 © Acting Classes In Perth is a division of Atomic Light Enterprises Pty Ltd (ABN: 32 133 360 291). All media published on this page is the property of Atomic Light Enterprises Pty Ltd or is used under license with the agreement of the copyright owner.


You must ensure your dog is wearing its registration tag at all times. Wearing a registration tag means we can identify your pet if it's lost. If your dog is found without a registration tag, you may receive a fine.
It's also a good idea to put your name and phone number on your dog's collar. This can help us get your dog back to you quickly and easily.
If your dog has lost or damaged its registration tags, you can order a replacement online.
You can walk your dog without a leash in most parks and reserves in Casey.
It's your responsibility to make sure your dog behaves both on or off its leash. If your dog rushes at, chases, bites or attacks a person or another animal, you may receive a fine or face court action.
Please make sure you pick up and correctly dispose of any dog litter. You should always carry a plastic bag or pooper scooper whenever you're out with your dog.
We do not have litter bags in our parks and reserves. You can purchase waste bags from your local supermarket.
If you don't clean up after your dog you may receive a fine or face court action.
Please contact us to make a complaint about dog litter. You may need to provide proof for us to investigate your complaint.
If your dog is at home, you need to make sure it is secure and unable to get out of your property. You can do this by fencing your property and maintaining any fences and gates.
If you live on a large property and can't fence all of it, consider fencing off a section or building a kennel and run.
It can be very dangerous for both your dog and the community if your dog escapes your property. You may receive a fine if your dog is found wandering and it may be sent to the pound.
Dogs bark for a variety of reasons. Sometimes it can't be avoided, but owners do need to make sure the barking isn't a nuisance to their neighbours.
Agriculture Victoria has some steps you can take to stop or reduce your dog's barking.
Find out what you can do if you are having problems with a neighbour's barking dog.
If you've lost your dog or found a wandering dog, please see lost pets.
Agriculture Victoria has more information about how you can best care for your dog.


Does your little roller need new wheels? We've got the children's bike that's right for your mini-ripper. We've got a great selection of children's bikes from brands like Trek, Giant, and Liv. Need help choosing the right bike for your young rider? Contact us and let us help.


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By entering you confirm to be at least 21 years of age. Your data is private and secure. We may use your email to notify you about Club updates and other offers from Flaviar. You can read exactly how we store and manage your personal information in our Privacy Policy.
Flaviar is a band of spirits enthusiasts, inspired by culture, rich history and the art of distillation. We forage the World of Spirits for the finest, rarest and most unique expressions out there and pack it all into a 21st century Members Club. You are what you drink, diversity and quality matter and all that should most certainly be enjoyed with style and in good company.
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Times have changed since the dark era of 1920's Prohibition, when the sale and consumption of alcoholic beverages was outlawed. Unfortunately, the industry is still stuck in the 20th century and we're taking it into the 21st with the spirit of speakeasy.... more inside.
Everything You Wanted to Know About Smoky Whisky, But Didn't Want to Ask
PUBLISHED IN whisky, scotch, irish whiskey, japanese whisky, hakushu
Smoke plays a pretty big role in many Whiskies. It is a key characteristic and is included in the flavour profile of many distilleries and some regions.
We're giving answers to all the questions you want to ask about smoke but were maybe a bit too embarrassed to ask!
What is The Difference between Peated and Smoky Whisky?
This is the first hurdle to get over. Peat and smoke, while similar, are not the same and are not present together in all Whiskies.
If we're really getting down to it, let's first define peat.
Peat is a fossil fuel kind of like soil that is made up of decaying plants and animals have been compressed in wet, bog land areas.
It burns fantastically well and as such is used to dry grains, hence why peat is present in some Whiskies alongside a smokiness that comes from the burning process.
Since it comes from the ground and is very soil like in nature, it imparts earthy, dew covered grassy tones.
Smoke on the other hand is exactly like the smoke you get from a bonfire. It is thick and ashy with a slightly drying quality.
Where Does the Smoke in Whisky Come From?
While peat is used to dry grains in certain distilleries and therefore imparts a peated smokiness to those drams, it is not used universally.
So how does the smoke get into the Whisky without the peat?
This is where the barrel comes in. Many Scotches are matured in Bourbon barrels, which usually have some degree of char on the inside.
This is where the smoky, charcoaly flavour gets in without the peat, from the interaction with the spirit and the wood.
Some Scotches are even matured in barrels that have previously held peated Whisky and some of the smoke can be soaked up this way. This usually results in a dram with a mild hint of smoke.
How is Smoke Measured?
Smoke is measured in Phenol Parts Per Million. This is a way of gauging just how smoky your dram is.
A phenol is a type of carbolic acid found in smoke tar and as such is present in peated and smoky Whiskies.
This is measured in Parts Per Million, or PPM, which is simply a way of counting the Phenols in the Whisky to be able to say how smoky it is.
Is all Scotch Smoky?
Simply put, no. While peat may have been used more often in the past to dry grains there are now more modern ways of doing the job that involve no peat whatsoever.
And of course not every malt is matured in a Bourbon cask, there are sherry casks and wine casks as well, that impart no smokiness at all.
So no, not all Scotch is smoky.
What are the Smokiest Scotches?
Most of the distilleries on the mighty isle of Islay will have heavily peated expressions. Of these, a good Ardbeg, Laphroaig or Caol Ila will certainly tantilise your tastebuds with plenty of peat.
If you're looking for something away from Islay, then look towards the north of Scotland, where we find Highland Park. This is one of the most remote distilleries and packs its drams full of peat.
But maybe you're not a fan of single malts then Compass Box Peat Monster is the one for you! Everything is really in the name here. This is an intensely peated blend that will definitely introduce you to peat.
What are Some Mildly Peated Scotches?
Again, Islay is a good place to find some mildly peated malts, but this is usually in relation to their heavily peated malts, so may not actually be that mild!
Johnnie Walker Black is a good blend to start with. It is rich and deep, with lots of different flavours including a wonderfully wood smoke that is not overpowering in any way.
Another blend with a light smokiness is Monkey Shoulder. This is a fantastic blend that only has the slightest hints of smoke.
In terms of Single Malts, then the Bunnahabhain 12 Year Old is a coastal dram with a delicate hint of smoke and plenty of sweet sherry to complement this.
Are There Other Smoky Whiskies than Scotch?
There are plenty of international smoky Whiskies in existence.
For example, Suntory's Hakushu Distillery often produces smoky malts. One of the most notable would be the Hakushu Distiller's Reserve. This no age statement dram has a wonderful whiff of smoke throughout it that is slightly aromatic in flavour.
Ireland also produces some finely smoked Whiskies, with Connemara Cask Strength Peated and Redbreast Pure Pot Still sticking out from the rest.
The Connemara is an exceptional dram and other Irish Whiskies should take heed from its peated success.
READ MORE ABOUT: whisky, scotch, irish whiskey, japanese whisky, hakushu, connemara, bunnahabhain, monkey shoulder, johnny walker, compass box, highland park, ardbeg, laphroaig, caol ila, casks
Published Feb 9th 2016
By Greg
Greg is a brand strategy consultant, writer, speaker, host and judge specialising in premium spirits. His mission is to experience, share and inspire with everything great about Whisky, Whiskey, Gin, Beer and fine dining through his website, GreatDrams.com, writing, brand building and whisky tastings.
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All Your Questions About Whisky Casks Answered
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Lorna	 February 2, 2016 Denim Campaigns
Paige Denim x Rosie Huntington-Whiteley Spring 2016 Ad Campaign
I'm really excited to share with you the brand new Paige Denim Spring 2016 ad campaign, starring Rosie Huntington-Whiteley for the third season! The campaign just launched today so it's hot off the press! Not only does Rosie star as the face of the photos, she and Paige joined forces together in conceptualizing the ad campaign from start to finish, as well as launching a new accessories line! How exciting is that?
For the Spring 2016 ad campaign shoot, the inspiration was taken from the Summer LA music scenes of the 1960's. Paige Adams-Geller and Huntington-Whiteley of course sat together during many meetings to chat about the inspiration for the collection, as well as choose the location and props (which of course feature a vintage car, an airstream, lots of cacti, ocean views, and more), figure out the styling for the campaign, and hair and make-up. I think it turned out fantastic as well. Not only are the 6 photos simply stunning, but it really does have a vintage, desert feel to it.
'I'm excited to launch the new Spring/Summer '16 ad campaign with Paige Denim. Working on all aspects of the campaign, from the creative direction to production design, it has been rewarding to see it all come together. We are hoping everyone loves it as much as we do.' said Rosie Huntington-Whiteley.
Buy Paige Denim online at Shopbop.com and Paige.com
Paige and Rosie Huntington-Whiteley both turned to Rosie's go-to stylist, Cher Coulter, to help create the looks and showcase the new leather belts and suede pieces which have been added to the collection. The outfits range from a knitted tank top to silk floral-printed blouses, and suede mini-skirts to high-rise cut off shorts in vintage black. Given how well the ready to wear collection is doing, I'm not surprised at all that Paige has gone down this route. Photographer Naj Jamai was on hand for the third time to capture Rosie's natural sense of style and the essence of the Paige brand, which of course works together harmoniously. The creative team was rounded out with hairstylist, Christian Wood and make-up artist, Monika Blunder.
'I've loved working with Rosie on past campaigns but this one is extra special because I turned to her to co-art direct the ad campaign. It was fun to have someone to bounce off and exchange ideas with and I couldn't think of a better person to do so. I'm excited for everyone to see our work.' said Paige Adams-Geller.
You can of course see the full set of 6 images from the Paige Denim Spring 2016 ad campaign below, but I have also included a link to behind the scenes photos as well, to really capture the moment that these were shot as well as the mood from the set. If you want to check out an exclusive video and the behind the scenes of the campaign, you can do so by clicking here and heading to the Paige website. What do you think of the photos? Let us here at The Jeans Blog know!
Diesel SS15 Denim Ad Campaign #DIESELHIGH
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Late in the evening on Sunday and early Monday morning there will occur a total eclipse of the moon over South Florida. The full moon during totality phase will shine directly overhead when viewed from Miami.
The partial phase of the eclipse will start at 10:33 p.m., with the lower left corner of the moon beginning to darken, Totality starts at 11:41 p.m, with the moon completely changed to a coppery, red shade. Totality ends at 12:43 a.m. The eclipse ends at 1:50 a.m.
Plan on viewing from a lawn chair, or a blanket on the ground. Unlike solar eclipses, you don't need safety filters or any special equipment to watch the eclipse. Notice how many more stars are visible during totality.
During mid evening, the moon slips above the bright blue-white star, Regulus, the brightest member of Leo the Lion.
Blazing blue white Venus, and dimmer but bright yellow Jupiter, huddle together in the southeast before dawn. Telescopes will reveal the phase shape of Venus and Jupiter's four largest moons.
The moon passes to the north of bright blue Spica early Saturday morning. This star is the most brilliant object in Virgo.
View Looking South Turn chart to the direction you are viewing.


Cascades, a leader in the recovery and manufacturing of green packaging and tissue products, has unveiled its new brand for retail solutions: Cascades IMGN retail solutions.
"Cascades IMGN is the result of major investments, in both Canada and the United States , to acquire cutting-edge technology — and of the exceptional work done by our teams. Backed by a diversified, integrated range of products, this new brand offers a wealth of solutions for the most challenging needs of customers and distributors who want distinctive brands, personalized consumer experiences and high-quality colour printing," said Mario Plourde, Cascades President and Chief Executive Officer.
"Our packages don't just protect the products they contain, they're also a source of infinite creative possibilities for capturing the consumer's attention. They're custom-designed and manufactured using the highest industry standards in order to attract interest and create the desired impact. The Cascades IMGN retail solutions TM team will help you send a powerful message to consumers through innovative, environmentally friendly solutions," said Charles Malo, President and Chief Operating Officer of Cascades Containerboard Packaging.


Ayat al Kursi APK Latest Download For PC Windows Full Version.Ayat al Kursi APK Apps Full Version Download for PC.Download Ayat al Kursi APK Latest Version for PC,Laptop,Windows.
The Throne Verse or Ayatul Kursi, is the 255th verse of the second Surah Al-Baqara.
It is the most famous verse of the Quran.
This application contains the verse with translation and transcription (you can disable in the preferences). To facilitate memorization, the verse is divided into several parts that you can listen several times.
Also, the ayat can be recited by many reciters (Saad Al-Ghamidi, Mishary Al-Afasy, …).
Currently the application supports English, French, Spanish, Italian, German, Turkish, Indonesian, Malesian, Albanian, Russian, Dutch, Norwegian, Swedish, Hindi, Chinese and Portuguese .
For adding new languages ??or additional features, please, contact me by e-mail.
3.Open Android Emulator for PC,Laptop,Tablet import the Ayat al Kursi APK file from your PC Into Android Emulator to install it.
4.Install Ayat al Kursi APK APPS for PC Windows.Now you can play Ayat al Kursi APK on PC.


text:
Cast Party: Who Should Star In A 'Sandman' TV Series? Part Two
Elle Collins
Welcome to Cast Party, the feature that imagines a world with even more live action comic book adaptations than we currently have, and comes up with arguably the best casting suggestions you're ever going to find for the movies and shows we wish could exist. This week we're returning to the subject of a previous column, Neil Gaiman's Sandman.
In that first Sandman Cast Party, I promised to return to the topic and cast more roles, because Sandman has so many important characters. So we're keeping Adrien Brody as Dream, Jenna Coleman as Death, and so forth.
This time around, I'm casting some more inhabitants of the Dreaming, as well as the Court of Faerie and a few other characters from early in Sandman along the way. I particularly love imagining a prestige TV adaptation of A Midsummer Night's Dream, the story that won the 1991 World Fantasy Award.
Bill Hader as Cain
DC/Universal
It actually comes up in the series that Cain talks like Vincent Price, and we definitely know Hader can do that. And he's so great at character work that he can still make it into more than an impression.
Bobby Moynihan as Abel
DC/NBC
I figured it makes sense to pair Hader with another SNL guy, and Moynihan will make a great Abel. Maybe bring in a bit of Dom DeLuise to counter Hader's Price.
Maggie Smith, Kathy Burke, and Sophie Turner as the Witches
Carnival/StudioCanal/HBO/DC
Three British actresses to play the Three Who Are One. Their importance will grow over the course of the series, just like it does in the comic.
Arthur Darvill as Will Shakespeare
DC/CW
Darvill will bring something really unique to the role of the younger Shakespeare of A Midsummer Night's Dream, and we can make him up to look older when it's time to do The Tempest.
Gugu Mbatha-Raw as Titania
DC/20th Century Fox
Raw has both the beauty and the authority to play the queen of Faerie.
Ben Foster as Auberon
DC/StudioCanal
I don't think Auberon should be entirely CGI, but I like the idea of kind of digitally stretching him out, so his proportions aren't quite normal. Foster's already got an unusual quality to him, which that process will only accentuate.
Jordan Peele as the Puck
DC/FX
Peele excels at over-the-top bizarre characters. And while he generally uses that skill to be funny, I think it would be really interesting to see him push it into the realm of creepy as Robin Goodfellow.
Domhnall Gleeson as Cluracan
DC/Legendary
Gleeson's done a lot of interesting stuff, but he hasn't played a drunk gay elf yet, and I think he can pull it off.
Anna Kendrick as Nuala
DC/Amasia Entertainment
The interesting thing about Kendrick is that she could play the glamorous Nuala and the mousey Nuala with just a minor change in makeup. Plus she can sing.
Aziz Ansari as Mervyn Pumpkinhead
DC/Netflix
Merv's main thing is complaining. Just putting Ansari's voice into that Jack O'Lantern will make his complaints a lot more amusing.
Nicki Minaj as Bast
DC/MGM
Minaj has an Eartha Kitt-like quality that makes me think she'll be great as a cat-woman.
Paul Giamatti as Emperor Norton
DC/Showtime
Star of another great one-shot story, Three Septembers And A January, and also an actual historical figure. Giamatti's a great actor who can really animate the complexities of someone as unusual as Norton, the Emperor of the United States.
Next: Who Should Star In A 'Goldie Vance' Movie?
Filed Under: cast party, Neil Gaiman, Sandman
Categories: DC, Lists, Movies, Opinion, Vertigo


Nope, not vampires in a Buffy movie (much to her fan club's dismay) – she was perfecting recipes for her brand new cookbook, Stirring Up Fun With Food.
(We plan ultimately to divorce.) I understand that there needs to be a period of separation before the courts grant a divorce.
Ho-Jung es una chica guapa e inocente que siempre se enamora de la persona equivocada.
Ho-Jung y Kyu-In, su vecino, son idealistas con el amor.


Ryo has Competent boxing, Mediocre Muay Thai, Superb wrestling and holds a purple belt in Brazilian Jiu Jitsu.
2019-04-15- Ryo Tanaka celebrated his birthday - 30 today!
2019-01-20- Ryo Tanaka celebrated his birthday - 29 today!
2018-10-27- Ryo Tanaka celebrated his birthday - 28 today!
2018-08-03- Ryo Tanaka celebrated his birthday - 27 today!
2018-05-10- Ryo Tanaka celebrated his birthday - 26 today!


text:
Prepona privata är en fjärilsart som beskrevs av Hans Fruhstorfer 1916. Prepona privata ingår i släktet Prepona och familjen praktfjärilar. Inga underarter finns listade i Catalogue of Life.

Källor

Praktfjärilar
privata


text:
package se.fearless.fettle;

import org.junit.Test;

import static org.junit.Assert.assertFalse;
import static org.junit.Assert.assertTrue;
import static se.mockachino.Mockachino.mock;
import static se.mockachino.Mockachino.stubReturn;

public class XorConditionTest {

	@Test
	public void twoWayXor() throws Exception {
		Condition cond1 = mock(Condition.class);
		Condition cond2 = mock(Condition.class);

		Condition condition = BasicConditions.xor(cond1, cond2);

		assertFalse(condition.isSatisfied(Arguments.NO_ARGS));

		stubReturn(true).on(cond1).isSatisfied(Arguments.NO_ARGS);
		stubReturn(false).on(cond2).isSatisfied(Arguments.NO_ARGS);
		assertTrue(condition.isSatisfied(Arguments.NO_ARGS));

		stubReturn(false).on(cond1).isSatisfied(Arguments.NO_ARGS);
		stubReturn(true).on(cond2).isSatisfied(Arguments.NO_ARGS);
		assertTrue(condition.isSatisfied(Arguments.NO_ARGS));

		stubReturn(true).on(cond1).isSatisfied(Arguments.NO_ARGS);
		stubReturn(true).on(cond2).isSatisfied(Arguments.NO_ARGS);
		assertFalse(condition.isSatisfied(Arguments.NO_ARGS));
	}
}

redpajama_set_name: RedPajamaGithub