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Home / Artist / Walangkura Napanangka
Walangkura Napanangka
REGION Tjiturrulnga
Walangkura was born at Tjiturulnga, west of Kintore. She is the daughter of Inyuwa Nampitjinpa and Tutuma Tjapangati and sister of Pirrmangka Napanangka. Her family moved to Haasts Bluff in 1956, along with a group of Pintupi people. The family returned to Kintore in 1981. Walangkura's career commenced when she participated in the Kintore-Haasts Bluff canvas project 'Minyma Tjukurrpa', in 1995. She began painting for the Papunya Tula Artists in 1996. AWARDS
2005 1st prize Redlands Westpac Art Prize
Aboriginal Art Museum, The Netherlands. Art Gallery of New South Wales. Artbank. Gabrielle Pizzi Collection. Museum and Art Gallery of Northern Territory. The Kelton Foundation, USA.
2004 Walangkura Napanangka, Utopia Art Sydney.
2003 Walangkura Napanangka: Recent Paintings, Gallery Gabrielle Pizzi, Melbourne.
Papunya Tula Artists, Gallery Gabrielle Pizzi, Melbourne, Victoria; Luminus: selected works from the Helen Read Collection, touring; Papunya Tula Artists – new work for a new space, Utopia Art Sydney.
Pintupi Art 2004, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia; Papunya Tula Artists
Gallery Gabrielle Pizzi, Melbourne, Victoria;
All About Papunya, Chapman Gallery Canberra, Australian Capital Territory;
The Inner And The Outer, Stadtgalerie Bamberg, Villa Dessauer, Bamberg, Germany; Mythology and Reality – Contemporary Aboriginal Desert Art from the Gabrielle Pizzi Collection, Heidi Museum of Modern Art, Melbourne
21st Telstra National Aboriginal & Torres Strait Islander Art Award, Darwin, Northern Territory;
EXPLAINED, A closer look at Aboriginal art, Aboriginal Art Museum, Utrecht, The Netherlands;
Ma Yungu/Pass It On, Framed Gallery, Darwin, NT;
Melbourne Art Fair 2004, Royal Exhibition Building, Melbourne;
Pintupi Artists, Papunya Tula Artists, Alice Springs, NT;
Mythology & Reality, Heide Museum of Modern Art, Melbourne, Victoria.
Pintupi Art 2003, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia;
Recent Paintings By The Women Artists Of Kintore And Kiwirrkura, Gallery Gabrielle Pizzi,
Melbourne; Aboriginal Art 2003, Scott Livesey Art Dealer, Melbourne, Victoria;
Pintupi Art From The Western Desert, Indigenart, Perth, Western Australia; Masterpieces From The Western Desert, Gavin Graham Gallery, London, United Kingdom;
Papunya Tula Artists – A Gift From The Desert, Utopia Art Sydney, New South Wales; Pintupi Artists,Papunya Tula Artists, Alice Springs, Northern Territory.
Paintings From Our Country, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia;
Aboriginal Art 2002, Scott Livesey Art Dealer, Melbourne; William Mora Galleries, Melbourne;
Pintupi Mens' and Womens' Stories, Indigenart, Perth;
Art Born Of The Western Desert, Framed Gallery, Darwin, Northern Territory; Saluting Papunya, Chapman Gallery, Canberra, Australian Capital Territory;
Pintupi Artists, Papunya Tula Artists, Alice Springs, Northern Territory;
Melbourne Art Fair 2002, Royal Exhibition Building, Melbourne.
2001 Size Doesn't Matter – Papunya Tula Painting
William Mora Galleries, Melbourne;
Art of the Pintupi, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia;
Six Painters From Papunya Tula Artists, Utopia Art Sydney, Sydney;
Dreamscapes-Contemporary Desert Art, Mostings Hus, Frederiksberg, Denmark; Papunya Tula Aboriginal Art, William Mora Galleries, Melbourne;
Papunya Tula 30th Anniversary Exhibition, Chapman Gallery,Canberra, ACT; Indigenart, Perth; The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern Territory;
Pintupi Exhibition, Papunya Tula Artists, Alice Springs, NT;
Kintore and Kiwirrkura, Gallery Gabrielle Pizzi, Melbourne;
Museum, Utopia Art Sydney, Sydney;
31st Alice Prize, Araluen Art Centre, Alice Springs, Northern Territory;
Flinders University Art Museum, Flinders University, Bedford Park, South Australia.
Aboriginal Art, Aboriginal Art Galerie Bahr, Speyer, Germany;
Papunya Tula: Genesis and Genius, Art Gallery of New South Wales, Sydney;
Framed Gallery, Darwin;
Gallery Gabrielle Pizzi, Melbourne;
Pintupi Women', Papunya Tula Artists, Alice Springs, Northern Territory.
Utopia Art Sydney, Sydney;
Flinders University Art Museum, Flinders University, Bedford Park, South Australia; 16th National Aboriginal & Torres Strait Islander Art Award, Museum & Art Gallery of the Northern Territory, Darwin; Gallery Gabrielle Pizzi, Melbourne; New Horizons
2000 Gallery Gabrielle Pizzi, Melbourne.
The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern Territory; Gallery Gabrielle Pizzi, VIC;
15th National Aboriginal & Torres Strait Islander Art Award, Museum & Art Gallery of the Northern Territory, Darwin;
Art Of The Aborigines, Centre for Contemporary Art, Ujazdowski Castle, Warsaw, Poland;
Melbourne Art Fair, Melbourne.
14th National Aboriginal & Torres Strait Islander Art Award 1997, Museum & Art Gallery of the Northern Territory, Darwin;
The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern Territory; Chapman Gallery, Manuka, Canberra.
Papunya Tula Artists Pty Ltd, Alice Springs, Northern Territory;
Museum & Art Gallery of the Northern Territory, Darwin;
A/S Art Foundation, Araluen Art Centre, Alice Springs, Northern Territory.
SELECT BIOGRAPHY
Isaacs, J., Spirit Country: Contemporary Aboriginal Art, Hardie Grant Books, San Francisco, 1999. Mellor, D. and Megaw V., Twenty Five Years and Beyond, Papunya Tula Paintings, exhibition catalogue, Flinders Art Museum, Flinders Press, Adelaide, 1999. Papunya Tula: Genesis and Genius, exhibition catalogue, Art Gallery of New South Wales, Sydney, 2000. Bardon, Geoffrey; Ryan, Judith; Pizzi, Gabrielle; Stanhope, Zara., Mythology and Reality – Contemporary Aboriginal Desert Art from the Gabrielle Pizzi Collection, Heidi Museum of Modern Art, Melbourne, 2004. Walangkura Napanangka: Recent Paintings, exhibition catalogue, Gallery Gabrielle Pizzi, 2003. Bahr, Elizabeth. The Unseen in Scene, exhibition catalogue, Aboriginal Art Galerie Bahr, Speyer, Germany, 2000. Dreamscapes-Contemporary Desert Art, exhibition catalogue, Mostings Hus, Frederiksberg, Denmark, 2001. Scott Livesey Art Dealer, Aboriginal Art 2002, exhibition catalogue, Melbourne, 2002. Scott Livesey Art Dealer, Aboriginal Art 2003, exhibition catalogue, Melbourne, 2003. Scott Livesey Art Dealer, Masterpieces From The Western Desert, exhibition catalogue, London, 2003
© Discovery Media, Documentation Pty Ltd, and the Australian Institute of Aboriginal and Torres Strait Islander Studies
Bertie Blackman
Vince Vozzo
BORN 1954 Sydney Australia BIOGRAPHICAL NOTES 1975-77 Studied Art @ East Sydney College, Art Certificate 1978-81 Studied Art at Alexander College of Adv.Edu. Art Diploma 1981-85 Art teaching at Charlton … read more →


She has supported acts such as Sea of Bees as well as performing at Truck Festival and headlining the Shh Stage at Wilderness. After Jess released her debut ep 'Red Jumper' she was described as 'one to watch' on the Oxford scene by Nightshift magazine.
Her debut album was released February 24th with a special sold out launch gig 21st February at the beautiful Holywell Music Room in Oxford.
A soulful vocalist and innovative multi-instrumentalist, award-winning singer/songwriter and producer Rachael Sage has become one of the busiest touring artists in independent music, performing 100+ dates a year throughout the US, UK, Europe and Asia. She has earned a loyal following for her dynamic piano playing, delicate guitar work, soulful vocals. and improvisational audience interaction. Sage has shared stages with Sarah McLachlan, A Great Big World, Judy Collins, Colin Hay, Shawn Colvin, Marc Cohn, The Animals and Ani DiFranco. Her latest album on MPress Records is "Blue Roses", and the new single "Coloring Book" is out now.


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Eco Business fund for SME Development in Latin America
Total LAIF contribution (€):
Total budget (€):
Types of Support:
Support to SMEs
Lead financing institution:
Co-financing institutions:
Latin America is characterized by its wealth of biodiversity and natural resources. Six of the world's 17 megadiverse countries are situated in this region. It is also a rich genetic reservoir for potential pharmaceutical drugs and for agricultural species preservation as well as biotechnical processes. Its ecosystems provide essential resources for its inhabitants (e.g. water quantity and quality, fertile soil, food, coastal preservation) and for the world environment (CO2-retention, climate control).
This natural ecosystem is threatened by the detrimental practices of some of its inhabitants. The most important drivers for degradation are changes in land use (mostly "large scale" agriculture), water pollution, and non-sustainable forms of fishery, forestry and tourism, among others.
Café Casal is a 255-hectare family-run coffee farm and mill located in the Ahuachapan Province of El Salvador. It receives financing from Banco Hipotecario, one of the eco.business Fund's partner financial institutions, to modernize its ecological coffee mill and to renovate its plantations of shade-grown coffee. In El Salvador, where native forests represent only 2% of the territory, coffee forests (coffee trees and shade trees) are one of the few remaining refuges for biodiversity. The presence of wild frogs, tiger cats, deer, foxes and the Izote flower (El Salvador's national flower) on Casal's plantations provides concrete evidence of the benefits of this agroforestry system.
"We ensure sustainability in every step of our operations - from growing coffee forests that serve as carbon sinks, to our milling process. We have a protected reserve of more than 50 hectares of native forest and we plant an average of 90 000 trees yearly. For us, it is extremely important to conserve the native forests and the secondary forest made of coffee trees. Not only the environment, but also our business benefits from this, because it helps us to save water, reduce our water consumption, and to adapt to the effects of climate change by preparing us for rainfall scarcity". - Miguel Menéndez CEO, Café Casal
The eco.business Fund is a joint initiative of investors intent on providing dedicated financing to support businesses and consumption practices that contribute to the conservation of biodiversity, to the sustainable use of natural resources, and to mitigate climate change and adapt to its impacts, in Latin America and the Caribbean.
The Fund focuses on sustainability in four economic sectors: agriculture and agro-processing, fishery and aquaculture, forestry, and tourism.
The financing can be provided directly or through local financial institutions with the capacity to reach the eco.business Fund's target group, i.e. local enterprises engaged in or intending to engage in business activities related to the Fund's environmental goals.
In addition, final beneficiaries and local lending institutions can count on high impact technical assistance provided by the eco.business Development Facility.
LAIF is an investor in the eco.business Fund and also provided a technical assistance grant for the eco.business Development Facility.
Environmental and socio-economic impact
Since inception in December 2014 up to December 2018, the eco.business Fund has contributed to:
47,000 hectares under agroforestry systems receiving support.
70,000 hectares of farmland under soil conservation practices.
3,269 businesses and producers supported.
4.3 million tons of CO2 stored by agroforestry activities.
4.2 million cubic meters of water saved.
Portfolio and investments
Since inception in December 2014 up to December 2018, the eco.business Fund has achieved:
USD 291.5 million of cumulative investments made in partner financial institutions;
USD 457 million disbursed to end borrowers;
USD 2.4 million invested in technical assistance projects;
investments in 7 countries;
7 public and 6 private investors in the Fund;
42 technical assistance projects approved, of which 21 have been completed;
14 financial institutions supported with financing in 7 countries;
11 financial institutions supported with technical assistance in 7 countries.

redpajama_set_name: RedPajamaCommonCrawl


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News Sports Opinion Life Obituaries eNewspaper Legals
Woman says she chose to sell heroin, not sex
dwalker@muncie.gannett.com
A Muncie woman who told authorities she was selling heroin to support her own drug addiction was arrested Tuesday night.
Amanda Jo Crose, 34, of the 1700 block of West 16th Street, was preliminarily charged with dealing in a narcotic drug, a Level 5 felony carrying up to six years in prison. She was being held in the Delaware County jail on Wednesday under a $5,000 bond.
According to an affidavit, Crose was arrested about 9:15 p.m. after selling the drug — for $120 — to an agent for the Delaware County Sheriff's Office's narcotics unit near the Madison Street underpass.
Crose allegedly told investigators "she had been selling heroin for the past two weeks to avoid selling her body to make enough money for her drug habit." She also said she had anticipated being arrested.
The Muncie woman was charged in February with drug-related crimes, and was scheduled to plead guilty on June 1, but failed to show up for the hearing. A warrant was then issued for her arrest.
She was convicted of two counts of possession of a controlled substance in 2010.
© 2023 www.thestarpress.com. All rights reserved.


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Danny Valles
Find A Home List With Me Northern Colorado Monthly Market Reports Company Info About Me Contact Me
About The Group, Inc.
About Me Contact Me
In our fifth decade in business, we haven't lost sight of what sustains our success – it's the people, businesses, and communities of Northern Colorado. And we believe as much today as when we were founded in 1976, that it's our responsibility to contribute our time, money, and professional skills to help make this region one of the country's most desirable places in which to live.


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Disney Brings Back James Gunn as the Director for "Guardians of the Galaxy 3"
photo credit: Sarunyu L // Shutterstock
Marvel's "Guardian on the Galaxy" have brought their former director James Gunn back for the third movie. He was let ago after old tweets resurfaced of him basically talking crazy in some pedophile-sounding tweets. The tweets were like 10 years old, he claims that in the time the tweets were made, he would just said anything crazy that would get attention. He was simply an attention seeker. Other than the tweets, Gunn has never engaged in any negative behavior.
After he was fired, the Guardian cast came together, putting their full support behind him. Chris Pratt, Zoe Saldana and Vin Diesel accepted Gunn's apology and hinted that Disney only fired him out of fear of public outcry. David Bautista, who plays Drax, even went public saying he didn't know if he would continue working with Disney after they fired Gunn. Soon after his firing, fans created a petition urging Disney to reconsider.
Gunn has also signed on to go Suicide Squad 2 for DC Comics.


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// Copyright 2011-2013 Microsoft Open Technologies, Inc. All rights reserved.
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// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at
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//     http://www.apache.org/licenses/LICENSE-2.0
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// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
// limitations under the License.
// </copyright>

using System;
using System.Diagnostics;

namespace Microsoft.AspNet.Razor.Owin
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redpajama_set_name: RedPajamaGithub


Arrow's Lone Gunmen did very well in Canada.
Arrow Overnight Ratings For "Lone Gunmen" – Still Great!
Arrow has kept its audience for Lone Gunmen.
Arrow Ratings: How Did "Honor Thy Father" Do?
Arrow's repeat got over 2 million viewers.
Arrow scored with over four million viewers.


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Perfect World CEO still believes game consoles can succeed in China
Robert Xiao, CEO of Perfect World, at ChinaJoy 2015.
Above: A Perfect World tablet game, advertised in the back of a Shanghai cab.
GamesBeat: Is that because of the game brands you've brought?
Xiao: Partially, yes. But you come back to the fundamentals. We've developed several good quality games. That, plus our brands, and our publishing strategy, and our distribution strategy, and our partnerships—Many factors combine into a successful business so far. The next question is, how do we get into the global market? We're starting to try that out in the mobile sector.
GamesBeat: What's your impression of China Joy this year, and how it's grown as well?
Xiao: It's getting bigger, more crowded, hotter. We have more and more participants in terms of game companies. The development community has gotten bigger and bigger over the last 10 years. This is almost the second-largest game show in the world now. It's the second or third. It's been an impressive run, and it can get much better. There's room to improve, but every year I see progress.
GamesBeat: The government official I heard was talking a lot about encouraging game companies to think globally – to make games that include Chinese culture, but also approach the world in some way. What are your thoughts about the potential your self-produced games have to get out into the wider market?
Xiao: The government is doing a lot of surveys on the industry and encouraging the industry to move globally. We're leading the pack, I have to say. For us, it's not only about Chinese IP. It's about using a blended culture. If I could use a maybe not-so-appropriate comparison, it's like the Hollywood way. Mulan was a traditional Chinese story and a traditional Chinese character fit into an animation product that could appeal to a global audience. Things like Chinese kung fu and the Chinese symbol of the panda became Hollywood products that were accepted on a global basis.
That's the right way to do it. It doesn't matter exactly where the thing comes from, whatever cultural element you're using. The way you use that cultural element, plus a modern process of production, plus a value expression that fits with the majority of consumers' needs globally—That's what I call a globalized view. We will use a lot of Chinese elements, as well as a lot of American elements, in different projects with different teams.
We want to do global development. Say I have a Chinese cultural element. I'll use a Japanese artist who understands this element to form it into characters. I'll use American designers to build the storyline and design the interaction with the game. I'll use technologists in China to create the servers and the engine. I'll use the Chengdu team to mass-produce graphical assets. That all combines to form a true global project.
Above: Attendees take a break on their mobile phones at ChinaJoy 2015.
GamesBeat: Phil Spencer at Xbox was talking about his definition of success as a Chinese-made game designed in China for Chinese audiences being successful on a global scale.
Xiao: I'm happy he mentioned our name, too. We've made good progress and had initial success on Xbox One with Neverwinter. Of course, Neverwinter is a U.S. property and it was designed as a mainstream U.S. game. We've tried to launch it in China, even though Xbox One hardware sales in China haven't been satisfying so far. Out of all the games now running in China on Xbox One, Neverwinter is showing some of the best statistics. It's been accepted by the gamers who play it.
GamesBeat: Console sales are expanding across the whole nation now. Are you more optimistic?
Xiao: I've always been optimistic. It's just a matter of time. Sooner or later consoles will be everywhere in China, and it'll be a brand-new market. It'll give global platform players like Microsoft and Sony a good return. The tactics they use to sell hardware will make a difference. Once you reach a certain amount of hardware, your whole ecosystem can start running. They haven't reached the threshold yet.
GamesBeat: You have to plan for a more gradual expansion?
Xiao: Exactly. It's about long-term planning. In the next two to three years it'll be there. It's just a question of how. We're trying, in our capacity, to do what we can do in terms of perfecting the game and working with our partners to find the best way to fit in the Chinese consumer market. For them it's more of a question of how to boost hardware sales.
GamesBeat: How many people work for you now, globally?
Xiao: About 5,000. I have several projects ongoing for the Chinese market, although I can't give detailed numbers. Not two, not three, but several console products being developed globally – in the U.S., in China, everywhere.


Border officials announced last week that our southern border is at a breaking point. Almost 100,000 people illegally crossed the border this month and Homeland Security believes a million people will cross illegally this year. 12,000 migrants are in custody in El Paso. To provide perspective, border patrol officers there said this week that 4,000 is extremely high – 6,000 is a crisis and 12,000 is unprecedented. Nearly a dozen immigration checkpoints along our southern border were closed this week, as hundreds of border patrol agents were pulled from other ports of entry to help in El Paso. In the Rio Grande Valley, border officials say they have been forced to release undocumented immigrants because of the massive influx. Incredibly, some left-wing progressives continue to ignore the skyrocketing numbers, calling it a "manufactured crisis," but in Texas, we know the crisis is real.
Since I have been Lt. Governor, I have allocated $1.6 billion in the budget for additional boots on the ground at the border as well as boats and other surveillance equipment. We have put an additional $800,000 in the new budget.
Yesterday, Beto O'Rourke said illegal immigration make us safer, even though drug dealers, gang members and other criminals are among those who are crossing the border illegally. In fact, the drug cartels control illegal crossings through extortion and worse. I was on Varney & Co last week talking about the crisis at the border. In case you missed it, you can watch the interview here.
Texans support President Donald Trump's charge to secure the border, including building a wall in places where it is desperately needed. If you agree that securing the border is essential to keep Texas communities safe, sign your name to our petition.
Human trafficking is just one by-product of the failure to secure our border. It is yet another reason we must build the wall. There are over 234,000 victims of human trafficking in Texas at any given time. Last week, the Texas Senate unanimously passed Senate Bill 20 – the Stop Human Trafficking bill, authored by Sen. Joan Huffman, R-Houston. SB 20 strengthens penalties for human traffickers and will help us prosecute this heinous crime. Read my official statement on the passage of the Stop Human Trafficking Act here.
Ending taxpayer funded lobbying is a priority for me. I know many of you were outraged in February during hearings on the property tax reform bill when dozens of taxpayer funded lobbyists showed up at the Texas Capitol to testify AGAINST letting taxpayers vote if local entities raise your taxes by more than 2.5%. Almost 100 people testified IN SUPPORT of reining in property taxes and none of them got paid to do it. Senate Bill 29 – by Senator Bob Hall, R-Edgewood, will end taxpayer funded lobbying. We also got another victory in this fight this week when Senate Bill 702, by Senator Paul Bettencourt, R-Houston, passed the Texas Senate. SB 702 will require every taxing jurisdiction to report how much money they are spending on lobbying. Taxpayers have a right to know, and this bill will make sure the information is clear and easily accessible online.
The Texas Senate honored the Houston Astros for their 2017 World Series win last week with a proclamation on the Senate Floor. The Astros are a team of champions that has won the heart of Texas and the rest of the world. I was honored that the players presented me with a team jersey and I am all in to "Take It Back in 2019." Here's the photo.


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The heartbreaking path from school to prison
Arts & Entertainment // Arts & Theater
Robert Hurwitt
July 16, 2015 Updated: July 16, 2015 2:30 p.m.
1of6Anna Deavere Smith in her one-woman multi-character show "Notes from the Field: Doing Time in Education, The California Chapter" at Berkeley Repkevinberne.comShow MoreShow Less
Anna Deavere Smith delves deeply into another huge aspect of American life with her customary consummate artistry in "Notes From the Field: Doing Time in Education, the California Chapter."
Transforming herself into many different people, remarkably re-created from her extensive interviews, she draws indelible connections between the high rates of incarceration of marginalized youth and other national problems in a manner as eye-opening and provocative as it is sure-handed and emotionally moving.
It's also, as the title may indicate, not finished. That's intentional. The piece that opened Wednesday at Berkeley Rep is labeled "a work in progress" for several reasons. This "California Chapter" is the first of several, with Baltimore, Philadelphia and probably more chapters to come. "Notes" could continue to evolve without ever finding a final form. And, as Rep Managing Director Susan Medak explained, the current format — designed to enhance discussion of the issues — is "a big experiment."
Smith sets the table with an eloquent Sherrilyn Ifill of the NAACP Legal Defense Fund detailing the shift in "massive public investment" projects from funding the growth of suburbs and the interstate highway system in the 1950s to the steady buildup of a huge incarceration system — noting how the commitment to funding public education declined after "my predecessor, Thurgood Marshall," won the battle over racial segregation in schools.
From there, Smith weaves her interviews into an extraordinary tapestry, depicting everything from the school-to-prison pipeline, with educators and African American, Latino and Yurok youth describing how school discipline infractions land kids in jail, to ever-larger issues of public policy: how our justice system works and the trauma of growing up in crime-ridden neighborhoods. As UCLA Professor Pedro Noguera asks: When a society throws its mentally ill on the streets, "who's really mentally ill?"
The subject grows as wide as the fabric of society, but the artistry makes the expansion work, with director Leah C. Gardiner's smooth segues and potent use of background video clips and composer Marcus Shelby's bluesy deep bass lines. Smith's transformative powers are so great that you almost don't notice how even the shape of her face changes to fit each character, as her mouth and cheeks expand to conform with the person's speech patterns.
The discussion segment, at least in its present form, seems unnecessary. The audience is broken into small groups for an extended intermission, with facilitators running sessions too rigidly structured to promote any real discussion.
Smith's works ("Fires in the Mirror," "Twilight: Los Angeles") have never stopped prompting widespread public debate and action, and this is no different. Her portraits of a compassionate Philadelphia judge, detailing one man's path from innocent boy to convict, and principal Linda Wayman, giving moving details about coping with kids in her high school, are guaranteed to stick in your mind and alter your thinking long after you've dried your eyes.
Robert Hurwitt is The San Francisco Chronicle's theater critic. E-mail: rhurwitt@sfchronicle.com Twitter: @RobertHurwitt
Notes From the Field: Doing Time in Education, the California Chapter: Solo docudrama. Written and performed by Anna Deavere Smith. Directed by Leah C. Gardiner. Through Aug. 2. $50-$89, subject to change. Berkeley Rep's Roda Theatre, 2015 Addison Ave., Berkeley. Two hours, 20 minutes. (510) 647-2949. www.berkeleyrep.org.
Reach Robert on
Robert Hurwitt came to the San Francisco Chronicle as theater critic in 2000 after serving in the same position for the San Francisco Examiner for the previous decade. As a critic and reporter, he has covered the remarkably active and diverse Bay Area theater scene for publications ranging from the East Bay Express to California Magazine and the Los Angeles Times since 1978. A graduate of New York University, with a master's degree from UC Berkeley, he has served several times as a juror for the Pulitzer Prize for drama and is a recipient of the George Jean Nathan Award for dramatic criticism. He is also a proud father and grandfather.


My eflite hurricane had a 60 amp esc as stock which had a switch on it.
If it were me i would use a 60amp turnigy plush esc from hobbyking.
I have had good luck with these esc.
Also if you have not got one already. Is buy yourself a wattmeter that way you can have a play with different props and not worry about burning anything out. Apologees if you already know this.


text:
est un jeu vidéo de course en véhicule tout-terrain publié en 2000 sur console PlayStation et en 2002 sur Game Boy Advance. Une suite intitulée ATV Quad Power Racing 2 est publiée en 2003, qui devait elle-même être suivie par un troisième suite, ATV Quad Power Racing 3, au début de 2005, mais annulée, Acclaim Entertainment ayant déposé le bilan.

Système de jeu
Le jeu comprend quatre modes de gameplay : championnat, course simple, contre-la-montre, et deux joueurs. Dans le mode championnat, le joueur peut choisir entre six différents personnages et douze pistes. Les pistes sont divisées en trois thèmes : désert, forêt et neige. L'objectif est de remporter la première place face à cinq adversaire contrôlés par intelligence artificielle. Dans le contre-la-montre, et la course simple, l'objectif est d'inscrire le plus haut score par temps et place, respectivement. Le mode deux joueurs et une course par écrans interposés entre deux joueurs. Le groupe comprend aussi une option pour le temps extérieur.

Accueil
 est négativement accueilli par la presse spécialisée. GameRankings lui attribue une moyenne générale de 46 sur 100.

Shane Satterfield de GameSpot explique que  IGN n'accorde pas une bonne critique, expliquant que  Game Vortex attribue une note de 86 sur 100  mais conclut que  Allgame lui attribue une note de 2,5/5.

Notes et références

Jeu PlayStation
Jeu Game Boy Advance
Jeu vidéo de quad
Jeu vidéo sorti en 2002
Jeu vidéo développé au Royaume-Uni
Jeu vidéo développé en Australie
Jeu Acclaim Entertainment
Jeu Climax Group
Jeu Tantalus Media

redpajama_set_name: RedPajamaWikipedia


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BREW Pub & Kitchen to close at end of the month
Owner says business has not recovered from 416 Fire impacts
Monday, March 25, 2019 10:59 AM
Updated: Friday, March 29, 2019 8:43 PM
Erik Maxson, co-owner of BREW Pub & Kitchen, said the brewery hasn't been able to recover since business took a hit during the 416 Fire. As a result, BREW will close at the end of the month.
Durango Herald file
Durango will soon be down to just four breweries.
Erik Maxson, co-owner of BREW Pub & Kitchen, has announced the brewery in downtown Durango will close March 31.
"It's an incredibly emotional period in my life," Maxson said.
After working at Carver Brewing Co. for nearly 15 years, serving as head brewer there for 12 of those years, Maxson in 2013 opened BREW at 117 West College Drive.
But Maxson said the brewery has been unable to recover since business took a hit during the 416 Fire.
"When that began June 1," he said, "we just haven't seen a return to normal."
By the end of summer, Maxson said he was unable to keep up with rent. He said business has been down an estimated 30 percent for the past eight months.
Around the end of February, Maxson said the building's landlord, Durango & Silverton Narrow Gauge Railroad owner Al Harper, ran out of "patience and generosity."
"It got to a point where they didn't feel like trying to find a way to help us get caught up," he said. "They decided they weren't willing to come up with a plan that allowed us to get to May, where business starts to pick up."
Harper, when contacted Wednesday, said he tried to be as accommodating as possible: he let BREW operate even though it hadn't paid rent in seven months.
The two sides tried to come up with a plan to keep BREW afloat, but none of the ideas proposed by Maxson actually would have paid Harper back, Harper said.
"I can't go forever without him paying rent, and it just came to an end," Harper said.
Maxson said since word spread BREW is closing, he's seen an uptick in business. On Saturday, there will be a "Grand Closing Party" open to the public.
A GoFundMe campaign was also launched to help save the business by raising $100,000. As of Monday morning, the effort raised nearly $3,000.
Maxson said it's unlikely BREW will relocate, but "anything is possible."
As for life after BREW, he said, "Maybe I might take a deep breath."
With BREW's closing, Durango now has four breweries: Animas Brewing Co., Carver Brewing Co., Ska Brewing Co. and Steamworks Brewing Co.
Last August, Durango Brewing Co. abruptly closed its taproom, fired all of its local employees and moved its operations to La Junta, taking the Durango name with it.
Durango train purchases building, prompting two businesses to relocate
Durango Brewing Co. closes taproom, fires employees, moves to La Junta
New brewpub in town
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Home / Normal / Years after Kadhafi death, Libya fears grow
Years after Kadhafi death, Libya fears grow
22/10/2013 Press Articles
Libya will mark the second anniversary of Liberation Day on Wednesday (October 23rd) amid a tense atmosphere of unrest and widespread insecurity.
From near-daily bombings and assassinations to the growth of militant extremism and the failure to build a professional army, Libyans are increasingly fearful for the future, just two years after the death of Moamer Kadhafi.
"Libya has become a total chaos by all measures," said Abdel Wahab Elourfi, an education ministry employee.
Other Libyans interviewed by Magharebia echoed the dim outlook.
"There's the influence of extremist groups in the country, calls for federalism, and other demands for secession," said Hosni al-Akouri, a police brigadier. "I think that the country will go in very bad scenarios in the coming days given the details of the current political scene."
In her turn, Nour al-Hoda Issa, a 17-year-old secondary school student, said she hoped things would improve "because weapons are spread everywhere and there is no stability in the country".
"Two years after Kadhafi's death, the situation in Libya became one of murder and death," said Hanan Khalifa, a dentist at Benghazi Dental Centre. "It's extremely scary down here, but we have to remain optimistic that the future will be better."
Othman al-Shahibi, a graduate student in Britain, said that the country has become chaotic, with the state being built slowly. "Security will be gradually restored as time passes, but it will take a while. The constitution will be inevitably drafted," he added.
"Libya is facing a tough and dangerous situation," said Mesbah Khalifa, an architect. "However, it will, God willing, be able to produce its own model of civilisation. We must struggle for our country."
Faraj Ahmed, a painter from Tripoli, said some people might have abused their newfound freedom but he remained optimistic: "Libya is in an intensive care unit, but it will recover with the will and determination of its people and support of the international community."
"After the liberation of Libya, I tasted freedom when I breathed the air of our dear country," commented Hesham Mahmoud. "As for now, unfortunately, I have a feeling of fear and doubt about what's going to happen. I feel extremely depressed."
Saleh al-Briki, a director, said Libya has become a new Lebanon.
Ahmed Elourfi, a teacher from al-Marj, said that "Kadhafi had confined Libya to his person. After his death, there was no figure possessing the charisma of leadership and patriotism."
Elourfi said that the situation became worse than in neighbouring Arab Spring countries "due to the absence of state institutions, arms proliferation and theft of Libya's wealth by the state, represented by ideological parties, [and] armed militias that were made legitimate".
"This is despite the availability of money and oil in the country. Libya is now headed toward destruction," he said.
"The political scene in the country has become uncertain following the fall of former regime," noted Adel al-Talhi, a Tripoli-based journalist.
"Everyone agrees that Libya is facing several challenges, foremost among which is perhaps arms proliferation and lack of institutions to fill the vacuum created by the fall of regime. This is in addition to the spread of illegal armed groups and the appearance of regional speech that is now spreading among media outlets," he added.
Nasser al-Hawari, 39, an interior ministry employee, said, "Two years after Kadhafi's death, Libya has changed from an injured country where bloody and lengthy confrontations took place to a state full of chaos under militias' command. The state has lost its control over the situation."
"Killings have spread in a scary way, as 100 assassinations, mostly against army and police commanders, took place," he added. "The armed groups went as far as besieging the government and parliament headquarters, as well as some ministries in their aggression. The militias even kidnapped the prime minister."
Al-Hawari said that Libya requires "dialogue, reconciliation, national concord, return of displaced people, and release of detainees from prisons", adding that "Libya needs an army and police, and to put an end to armed militias' presence in the streets."
Article by Asmaa Elourfi, Magharebia.
This article was originally published here.
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