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Tag Archives: Iain Sinclair
Posted on July 17, 2015 by jolitson
Reginald Theatre, Seymour Centre, July 16
Iain Sinclair has directed a production of John Steinbeck's Of Men and Men for Sport for Jove that feels heartbreakingly truthful.
Steinbeck himself adapted the play from his classic 1937 novella set during the Depression. Two itinerant ranch workers George Milton (Anthony Gooley) and Lennie Small (Andrew Henry) have been roaming California looking for work. To keep them going, George inspires Lennie with the dream that one day they will buy their own property (from some elderly folk he knows) where they will keep a few animals including Lennie's longed-for fluffy rabbits.
The trouble is that Lennie is a bit soft in the head. A gentle-minded giant who doesn't know his own strength, he keeps petting small animals to death. Arriving at a farm, George tells Lennie to say nothing, keep his head down and do what he says in the hope that they will be left alone and all will be well. And Lennie so wants to do the right thing but when situations conspire against him, he just can't help himself.
Sinclair has directed a beautiful, understated production that unfolds at an unhurried pace, while still building the feeling of inexorable tragedy. It is a clear, empathic reading that strikes at the heart, while the play feels as timely as ever given the vast numbers of displaced, disenfranchised, struggling people the world over.
Michael Hankin's set design – a wooden slatted wall, four long wooden poles and a dirt floor with wood chips, along with basic wooden beds, tables and crates – feels just right, while Sian James-Holland's lighting creates changing moods and captures the passing of time.
Sinclair has cast it perfectly – right down to the poor old dog, which is taken out and shot because it is stinking up the place. It's a tense moment as we wait, seemingly for ages, to hear the shot – foreshadowing things to come.
Laurence Coy, Anthony Gooley and Andrew Henry. Photo: Marnya Rothe
Henry gives an unforgettable performance as Lennie. He is a tall man and naturally slim but he stacked on around 20 kilos for the role. It certainly gives him a sense of bulkiness, emphasised by the way he stands very squarely and solidly when still, feet planted apart, and lumbers around the stage in his dirty overalls.
He also captures Lennie's naivety beautifully with a slightly bemused expression. When something delights him, he gives this childish little jump of joy accompanied by a beatific smile. At times, it's almost unbearably touching, knowing what's coming.
Gooley balances him perfectly as the loyal, steady George who battles constant frustration but stands by Lennie through thick and thin. The two of them really do convey the feeling of a long-standing relationship and of great love.
They are surrounded by an impressive ensemble: Christopher Stollery as Slim, a decent man with natural authority, Laurence Coy as Candy, an old-timer who has lost one hand and who allows himself to dream of a better future with George and Lennie, John McNeil as the bullish Carlson, Tom Stokes as the young, inexperienced Whit, Andre de Vanny as the boss's aggressive son Curley, Anna Houston as Curley's unhappy wife, Terry Serio as the Boss (who also plays some guitar blues), and Charles Allen as the segregated black worker Crooks.
Running around two hours and forty minutes including interval, the production keeps you gripped throughout. As it moves to its shattering conclusion you can feel people holding their breath. On the night I saw it there was a long silence at the end – a mark, I think, of how deeply affected people were.
Of Mice and Men plays at the Seymour Centre until August 1. Bookings: www.seymourcentre.com or 02 9351 7944
Posted in Theatre	| Tagged Andre de Vanny, Andrew Henry, Anna Houston, Anthony Gooley, Charles Allen, Christopher Stollery, Iain Sinclair, John McNeil, Laurence Coy, Michael Hankin, Sian James-Holland, Sport for Jove, Terry Serio, Tom Stokes	| Leave a reply
2013: The Year That Was
The last day of 2013 seems a good time to look back over what happened on the boards during the last 12 months. Here are some personal arts highlights from Sydney theatre predominantly: productions and people that will live on in my memory long past tonight's Sydney Harbour midnight firework display heralding a new year.
Tony Sheldon, Katrina Retallick and Matt Hetherington in Dirty Rotten Scoundrels. Photo: Kurt Sneddon
It was a pretty patchy year in musicals. My two out-and-out highlights were The Production Company's Gypsy in Melbourne and Dirty Rotten Scoundrels in Sydney.
Caroline O'Connor was phenomenal as Rose, giving us everything we'd hoped for and so much more: a stellar, unforgettable performance that was both monstrous and heartbreaking. For me, it was the musical theatre performance of the year.
Dirty Rotten Scoundrels
Matt Hetherington was impressive as Herbie in Gypsy but really came into his own with a superb performance as the vulgar Freddy Benson in Dirty Rotten Scoundrels. Co-starring with Tony Sheldon – who made a welcome homecoming from the US as the suave Lawrence Jameson, a part tailor-made for him – Scoundrels was a delightful, perfectly cast, stylish, laugh-out-loud production. Amy Lehpamer shone as Christine Colgate and Katrina Retallick was riotously funny in a scene-stealing performance as Jolene Oakes (after another scene-stealing turn in The Addams Family earlier in the year). Scoundrels was a real feather in the cap for up-and-coming producer George Youakim. The show deserved to sell out but despite reviews your mother might write, it struggled at the box office. Instead Sydney audiences opted for the familiar, even when reviews were much less favourable.
Squabbalogic
Confirming its growing value to the Sydney musical theatre scene, indie musical theatre company Squabbalogic led by Jay James-Moody enlivened things immeasurably with terrific productions of Bloody Bloody Andrew Jackson and Carrie with Hilary Cole making an impressive debut as Carrie.
The British arena production starring Tim Minchin, Mel C and Ben Forster really rocked with Tim Minchin in commanding form as Judas – giving a superstar performance, in fact.
ELSEWHERE IN MUSICALS….
The Lion King proved just as stunning visually a second time around but the first act felt flat with the dialogue scenes slowing the action, not helped by some underpowered performances. However, Nick Afoa made a promising debut as Simba.
Premiering in Melbourne, King Kong was an ambitious production and the puppetry used to create Kong himself was breathtaking. In fact, Kong the creature was awesome, the musical's book less so. Esther Hannaford was lovely as Ann Darrow.
Lucy Maunder was the standout in Grease, owning the role of Rizzo. Her moving rendition of "There Are Worse Things I Could Do" was the emotional and musical highlight of the production.
Michael Falzon as Leo Szilard. Photo: Gez Xavier Mansfield Photograph
Michael Falzon was in superb voice as physicist Leo Szilard in new musical Atomic, giving a beautifully wrought performance. In fact, the entire ensemble was terrific. Written by Australian Danny Ginges and American Gregory Bonsignore (book and lyrics) and Australian Philip Foxman (music and lyrics), the structure of the musical could do with some honing but the show has great potential.
I also enjoyed Jaz Flowers and Bobby Fox in the 21st anniversary production of Hot Shoe Shuffle. And what a treat to be able to see Kristin Chenoweth and Idina Menzel in concert at the Sydney Opera House within 10 days of each other.
It was an impressive year in Sydney theatre both in the mainstream and independent sectors with a large number of excellent productions and performances. Never has the discussion among the Sydney Theatre Critics in the lead-up to the Sydney Theatre Awards (to be presented on January 20 at Paddington RSL) been so protracted, agonised and, at times, heated.
Among my own personal highlights were:
Waiting for Godot, Sydney Theatre Company. Directed by Andrew Upton after an injured Tamas Ascher was unable to fly to Australia, this was a mesmerising production full of tenderness, humanity, pathos and humour to match the bleakness. Richard Roxburgh, Hugo Weaving, Philip Quast and Luke Mullins were all exceptional. Wow to the power of four.
Hugo Weaving, Philip Quast, Richard Roxburgh and Luke Mullins in Waiting for Godot. Photo: Lisa Tomasetti
The Secret River, Sydney Theatre Company. Eloquently staged by director Neil Armfield, Andrew Bovell's stage adaptation of Kate Grenville's novel used both English and the Dharug language to tell the story movingly from both sides.
Rosencrantz and Guildenstern are Dead, Sydney Theatre Company. Another fabulous STC production starring Toby Schmitz and Tim Minchin, directed by Simon Phillips on a brilliant set by Gabriela Tylesova that played with optical illusion.
Angels in America, Belvoir. Staging Parts One and Two, this marvellous production directed by Eamon Flack confirmed that Tony Kushner's play is a truly sensational piece of writing that sweeps you up in its epic vision. The fine cast included Luke Mullins, Amber McMahon, Marcus Graham and Mitchell Butel – all superb. (Mullins also gave a fine performance in Kit Brookman's Small and Tired Downstairs at Belvoir. What a year he's had).
The Floating World, Griffin Theatre. A devastatingly powerful production of John Romeril's classic Australian play directed by Sam Strong. Peter Kowitz's performance left you utterly gutted. Valerie Bader was also excellent.
The Motherf**ker with the Hat, Workhorse Theatre Company. The independent scene was unusually strong in Sydney in 2013 and this was one of the real stunners. Directed by Adam Cook in the intimate space at the TAP Gallery, the tough play kept you on the edge of your seat. Troy Harrison and Zoe Trilsbach gave riveting, grittily truthful performances. If you missed it, the production has a return season at the new Eternity Playhouse in September.
Cyrano de Bergerac, Sport for Jove. Sport for Jove's outdoor Shakespeare productions are now a highlight on the Sydney theatre calendar. Damien Ryan's production of Edmond Rostand's sweeping, romantic comedy Cyrano de Bergerac was gloriously uplifting with an inspiring, verbal tornado of a performance by Yalin Ozucelik as Cyrano.
Lizzie Schebesta and Yalin Ozucelik in Cyrano de Bergerac. Photo: Seiya Taguchi
Jerusalem, New Theatre. A wonderful production of Jez Butterworth's brilliant play directed by Helen Tonkin that has justly snared a large number of nominations at the Sydney Theatre Awards.
Penelope, Siren Theatre Company. Kate Gaul directed a tough, challenging, indie production of Enda Walsh's play, set in the bottom of a drained swimming pool, which riffs on the ancient myth. Another clever use of the small TAP Gallery, here playing in traverse.
Sisters Grimm. It was great to see the acclaimed, "queer, DIY" Melbourne company in Sydney with two of their trashy, gender-bending, outrageously funny productions: Little Mercy presented by STC and Summertime in the Garden of Eden as part of Griffin Independent. A hoot, both of them. (How drop dead beautiful was Agent Cleave in Summertime in drag and beard?). Can't wait to see their production of Calpurnia Descending at STC in October.
All My Sons, Eternity Playhouse. The beautiful new Eternity Playhouse, a gorgeous 200-seat venue now home to the Darlinghurst Theatre Company, opened its doors with a fine, traditional production of All My Sons directed by Iain Sinclair with great performances all round, among them Toni Scanlan and Andrew Henry.
OTHER OUTSTANDING PERFORMANCES….
Besides those mentioned above I loved Sharon Millerchip in Bombshells at the Ensemble, Lee Jones in Frankenstein also at the Ensemble, Cate Blanchett in The Maids for STC, Paul Blackwell in Vere for STC, Ewen Leslie in Rosencrantz and Guildenstern are Dead and in Hamlet at Belvoir (where he took over from Toby Schmitz whose performance I also liked very much), John Bell as Falstaff in Bell Shakespeare's Henry 4 and Damien Ryan as Iago in Sport for Jove's Othello.
The Ring Cycle, Opera Australia. I was lucky enough to see The Ring Cycle in Melbourne. It was my first Ring and I was utterly thrilled by it. Numerous visual images will stay with me forever as will performances by Terje Stensvold, Stefan Vinke, Susan Bullock, Warwick Fyfe and Jud Arthur among others. As is his forte, director Neil Armfield brought the relationships to the fore and found enormous emotion and humanity. Conductor Pietari Inkinen, who took over at short notice, harnessed the musical forces superbly. A very special experience.
David Hansen and Celeste Lazarenko. Photo: Keith Saunders
Giasone, Pinchgut Opera. At the other end of the spectrum, small-scale, indie company Pinchgut delivered a sparkling production of Francesco Cavalli's baroque opera with countertenor David Hansen dazzling in the title role.
Cinderella, Australian Ballet. Alexei Ratmansky's beautiful, witty Cinderella was a joy with some meltingly lovely pas de deux for Cinderella and her Prince, divinely performed by Leanne Stojmenov and Daniel Gaudiello. Jerome Kaplan designed the gorgeous costumes and some clever surrealist staging effects.
VISITING PRODUCTIONS AND ARTISTS
How lucky we were to see Angela Lansbury and James Earl Jones in Driving Miss Daisy, the National Theatre's brilliantly bonkers production of One Man, Two Guvnors, Kneehigh Theatre's Brief Encounter, the Paris Opera Ballet's exquisite Giselle, Semele Walk at the Sydney Festival, which gave Handel's oratorio a wacky twist in a catwalk production with costumes by Vivienne Westwood, and firebrand soprano Simone Kermes singing with the Australian Brandenburg Orchestra.
There was much, much more. Barry Humphries' Weimar cabaret concert for the Australian Chamber Orchestra, for example. In the end, too much good stuff to mention it all.
And now, bring on 2014….
Posted in Musical Theatre, Opera, Theatre	| Tagged Agent Cleave, Alexei Ratmansky, All My Sons, Amber McMahon, Amy Lehpamer, Andrew Bovell, Andrew Henry, Andrew Upton, Angela Lansbury, Angels in America, Ash Flanders, Atomic, Australian Brandenburgh Orchestra, Australian Chamber Orchestra, Barry Humphries, Bell Shakespeare, Belvoir, Ben Forster, Bloody Bloody Andrew Jackson, Bobby Fox, Bombshells, Brief Encounter, Caroline O'Connor, Carrie, Cate Blanchett, Cinderella, Cyrano de Bergerac, Damien Ryan, Daniel Gaudiello, Danny Ginges, Darlinghurst Theatre Company, David Hansen, Dirty Rotten Scoundrels, Driving Miss Daisy, Eamon Flack, Ensemble Theatre, Esther Hannaford, Eternity Playhouse, Ewen Leslie, Frankenstein, Gabriela Tylesova, George Youakim, Giasone, Giselle, Grease, Gregory Bonsignore, Griffin Independent, Griffin Theatre Company, Gypsy, Hamlet, Helen Tonkin, Henry 4, Hilary Cole, Hot Shoe Shuffle, Hugo Weaving, Iain Sinclair, Idina Menzel, James Earl Jones, Jay James-Moody, Jaz Flowers, Jerome Kaplan, Jerusalem, Jez Butterworth, John Bell, John Romeril, Jud Arthur, Kate Gaul, Kate Grenville, Katrina Retallick, KIng Kong, Kneehigh Theatre, Kristin Chenoweth, Leanne Stojmenov, Lee Jones, Little Mercy, Lizzie Schebesta, Lucy Maunder, Luke Mullins, Marcus Graham, Matt Hetherington, Mel C, Michael Falzon, Mitchell Butel, National Theatre, Neil Armfield, New Theatre, Nick Afoa, One Man, Opera Australia, Paris Opera Ballet, Paul Blackwell, Penelope, Peter Kowitz, Philip Foxman, Philip Quast, Pietari Inkinen, Pinchgut Opera, Richard Roxburgh, Rosencrantz and Guildenstern are Dead, Sam Strong, Semele Walk, Sharon Millerchip, Simon Phillips, Simone Kermes, Siren Theatre Company, Sisters Grimm, Sport for Jove, Squabbalogic, Stefan Vinke, Summertime in the Garden of Eden, Susan Bullock, Sydney Festival, Sydney Theatre Company, TAP Gallery, Terje Stensvold, The Floating World, The Lion King, The Maids, The Motherf**ker With the Hat, The Production Company, The Ring Cycle, The Secret River, Tim Minchin, Toby Schmitz, Toni Scanlan, Tony Kushner, Tony Sheldon, Troy Harrison, Two Guvnors, Valerie Bader, Vere, Vivienne Westwood, Waiting for Godot, Warwick Fyfe, Workhorse Theatre Company, Yalin Ozucelik, Zoe Trilsbach	| Leave a reply
All My Sons
Posted on November 13, 2013 by jolitson
Eternity Playhouse, November 5
Meredith Penman, Marshall Napier and Andrew Henry. Photo: Brett Boardman
Darlinghurst Theatre Company has christened the new Eternity Playhouse with Arthur Miller's first commercially successful play, the gut-wrenching All My Sons from 1947 – and both the venue and the production have come up trumps.
The sensitive conversion of the newly restored Baptist Tabernacle, a 126-year old, heritage-listed building in Burton Street, Darlinghurst features a spacious timber foyer and a beautifully appointed 200-seat theatre with excellent sight lines and acoustics. It all feels fresh and welcoming, while original features such as the ornate ceiling and stained glass windows add to the venue's charm.
Miller's tightly plotted play resonates powerfully in the intimate space. Set in the aftermath of World War II, Joe Keller (Marshall Napier) and his wife Kate (Toni Scanlan) are living a life of suffocating denial.
Convicted for knowingly supplying faulty aircraft engine parts from his factory, which caused the death of 21 pilots during the war, Joe was subsequently exonerated leaving his business partner Steve to take the rap. Kate, meanwhile, clings to hope that her son Larry, a fighter pilot, is still alive despite having been missing for three years.
A sense of tragedy hangs over the play from the beginning, as Joe and Kate's other son Chris (Andrew Henry) invites Larry's former sweetheart Anne (Meredith Penman) to stay, hoping to marry her. Anne, who grew up next door, is Steve's daughter.
When Anne's brother George (Anthony Gooley) arrives, having just visited their father in jail, dark secrets are revealed leaving no possibility of a happy outcome for any of them.
Unlike many of the auteur, re-imagined productions of classics that we have seen in Sydney of late, Iain Sinclair directs a traditional production set in the period and using American accents, but it is fluent, well paced and beautifully performed, unfolding with the inexorable undertow of Greek tragedy.
Scanlan breaks your heart as the desperate, deluded, at times feverish Kate who dares not admit the possibility that her son is dead, while Napier convincingly conveys the gruff bonhomie covering a dark, gnawing secret.
Henry excels as the open-hearted Chris who longs to step out of Larry's blighted shadow and live his own life, while Gooley ramps up the energy with a bristling anger as George.
On opening night, Penman brought a sparkling warmth to the role of Anne, but due to a major television opportunity has since been replaced by Anna Houston.
In the supporting roles, Sinclair (who plays a doctor as well as directing), Mary Rachel Brown, Briallen Clarke and Robin Goldworthy all acquit themselves admirably.
Luke Ede's set works well enough and is subtly lit by Nicholas Rayment. Occasionally Nate Edmondson's music feels a little too overtly manipulative emotionally as in a film score, particularly in the climactic scenes when it is distracting and unnecessary, but that's a minor quibble.
Performed with an intense honesty, Miller's timeless story about the link between commerce and war, and self-interest in the name of the family, still rings devastatingly true in this stirring production.
All My Sons runs at the Eternity Playhouse until December 1
An edited version of this review ran in the Sunday Telegraph on November 10
Posted in Theatre	| Tagged All My Sons, Andrew Henry, Anthony Gooley, Arthur Miller, Briallen Clarke, Darlinghurst Theatre Company, Eternity Playhouse, Iain Sinclair, Luke Ede, Marshall Napier, Mary Rachel Brown, Meredith Penman, Nate Edmondson, Nicholas Rayment, Robin Goldsworthy, Toni Scanlan	| Leave a reply


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"Beijing Express" returns on Thursday February 16 on M6 with a new rule
The channel will broadcast the 17e season of his adventure show with several new features that will turn the game upside down.
The years pass and "Beijing Express" continue to surprise. Season 17, called "Beijing Express: the secret choice" and whose M6 will launch the broadcast on Thursday, February 17, is full of new features.
Strategies and alliances on the agenda
Stephane Rotenberg, still at the presentation of the show, will announce to the candidates a new rule that will upset the show which takes place, this time, in South America. Previously, the pair who came last at the end of the stage had to choose their opponent for the final duel. This time, it will be up to all the candidates to designate (secretly) the participants they want to see participate in this eliminatory challenge.
Read also"Beijing Express": find out where the 17th season will take place
Only stage winners and immunity holders cannot be chosen. A new rule which could put in difficulty the strongest candidates, until then rather protected in this challenge. "It brings strategies and alliances that will change the program"confides Thierry Guillaume, the producer of the program.
The rule of the hidden binomial will not return but will, on the other hand, be replaced by another which promises to be surprising. Another novelty: the arrival of the infernal roulette wheel that Stéphane Rotenberg will spin and which will give participants handicaps such as hitchhiking in silence or while singing.
A boss/employee duo who uses you
Eight new pairs will launch an assault on this new adventure which promises to be full of twists and turns. Among them, we find a Belgian couple who discover on this occasion the joys of travel for the first time, a gay couple, two close but very different sisters, a pair of strangers with always opposite profiles or even a boss/employee duo who see you! All will set off to attack Bolivia, Paraguay – a new country on the show – and Brazil.
Read also"Beijing Express": what do the candidates' backpacks contain?
In the second part of the evening, the prankster cousins Tarik and Ahmed, semi-finalists for season 15, will take back their red backpacks for the show "Beijing express: itinerary bis". They will travel a parallel route and will face many challenges.
Tags: beijing, buzz tv, Express, February, M6, media, returns, rule, Stephane Rotenberg, television news, Thursday, tv news, TV program, tv quiz
Previous Our review of the documentary Berlin 1933, the newspaper of a capital: the great swing into hell on Arte
Next the revival of a series that marked the 2000s
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The disastrous legacy of the oil industry, highlighted on France 5

redpajama_set_name: RedPajamaCommonCrawl


The Obama administration's regulatory czar on Monday said his office is simply vetting policy changes, not directing them, and new rules will lead to billions of dollars in benefits.
The president's regulatory program has drawn fire from both conservatives, who say the administration is guilty of overregulation, and liberals, who cite delays in long-sought health and safety protections.
At the center of the tussle is the small but influential Office of Information and Regulatory Affairs (OIRA), the White House's clearinghouse for major federal rules.
Speaking Monday at the Washington headquarters of the left-leaning Public Citizen, OIRA Administrator Howard Shelanski defended Obama administration regulations, saying they generated net economic benefits approaching $160 billion over the president's first term.
Shelanski said he anticipated $25 billion in net benefits for fiscal 2014.
"The administration has tried to be very clear that it is trying to do more to regulate in ways that help the environment — that puts in place needed safety and health and welfare regulations — but that it does so in a common-sense way that's consistent with the business community's ability to grow and expand and move our economy forward," Shelanski said.
"I think business is always going to be critical — no matter how few rules we have, no matter how good those rules are — of anything that requires them to undertake a cost," he said.
But Shelanski pushed back against assertions that OIRA is using its authority to impose policy preferences by declining to release regulations, even in cases in which Congress has set a deadline.
Rather, he said OIRA is striving to carefully weigh costs and benefits of draft rules submitted to the office.
"We don't set agencies' policy agendas," Shelanski said, adding that the office staff of roughly 40 can only review 500-600 of more than 3,000 rules now in the pipeline at agencies across the federal apparatus.
He said the agency is committed to end a series of delays in the administration's twice-yearly release of the governmentwide rule-making agenda and is seeking to clear rules within 90 days after agencies submit them for review.
The latter effort, however, is not feasible for all regulations.
"That's a nice goal," Shelanski said, "but one size doesn't fit all."


Minutes of the meeting held on Wednesday 24 October 2018 at 7.00p.m.
On proposal by Cllr Stevenson and seconded by Cllr James it was resolved to move the minutes for 26 September 2018 as a true record. This was agreed unanimously.
Parking Issues at Froghall Wharf: Cllr Malyon reported that there is to be a meeting with the County Council and other interested parties and that they are discussing moving the large boulders in order to allow more space for parking.
Pot Holes in Brookfields Road: It was noted that only one had been repaired.
Staffordshire Commissioner for Police – Fire & Rescue – Crime: Confirmation that the Commissioner will be attending a meeting on Wednesday 7th November had been received and they asked to know of any likely questions. It was agreed to advise him that the future of Fire Service and Ipstones Fire Station and about local Policing levels.
Trees, near Foxt Cross Roads: The Clerk reported that the Lengthsman has looked and stated that he will be able to trim the trees using a hand saw.
Survey re Doctors Branch Surgeries: Cllr Malyon reported that she has heard that the Doctors would have liked to have had input into the questionnaire.
'Dead Conifer' on the Green at Foxt: it was noted that this has now been removed and that they are now going to tidy up the Bus Shelter.
at Sharpcliffe Hall, Bradshaw Lane, Ipstones.
Mr S, Foxt re Application for addition of a Public Footpath at Town End, Foxt: The letter raised a few queries regarding this application which was due to be heard by the Countryside and Rights Panel on 19th Unfortunately, the letter had arrived while the Clerk was on annual leave, so it had not been possible to respond before 19 October. It is understood that the County Council's Legal team are to make a site visit before making the final decision.
Mrs A re Hedge bordering her property: The letter was read out and it was agreed to ask the land owner if they could have a word with Mrs A.
Leek Town Council re Leek Moorlands Hospital: The e-mail invited for a representative to attend working group meetings which have been arranged with a view to maintaining the services at the Moorlands Hospital. Cllr Malyon agreed to go if she could.
SCC (technical Review Officer) re Foxt Bank: An e-mail advised that he is going to visit the site with one of his engineers but advised that the 'slip plane' is very deep rooted and equally difficult to solve. Cllr Stevenson mentioned that there are also cracks appearing at the bottom of the bank near the Lime Kilns and he thought that there used to be a stream that ran under the road, he wondered if this was contributing to the problems. It was agreed to ask to be kept informed of the situation.
County Councillor Heath re Drainage Work, Belmont Road: the e-mail was read out and it was agreed to send a letter of thanks for getting work completed so quickly.
Staffordshire Moorlands Parish Assembly: information had been received from their last meeting.
Poppy Appeal. This was seconded by Cllr Mycock and agreed unanimously.
there might be some 'online' courses that may be suitable.
Burial Grounds: As it has been several years since the last 'Risk Assessment' was completed on the mature trees in the Cemetery it was agreed to arrange for a Risk assessment to be carried out and quotes are to be sought.
Audit/Financial Regulations/ Internal Audit Review: It was agreed that there is no need for any changes to the Audit and Financial Regulations/Internal Audit.
Cemetery Fees Review: Following a short discussion it was proposed by Cllr Shuttleworth and seconded by Cllr James not to increase the fees this year but to review again in October 2019. This was carried by 7 votes in favour with 1 member abstaining.
PAT Testing: It was agreed to check if this must be done now as some members thought that it is no longer a legal requirement.
127/18. GARDEN PLOT LEASES: It was noted that the leases expire on 31 December 2018.
leases to the existing Lessees from 1st February 2019.
have carried out the inspections in previous years.
Equipment but it was difficult as you can't get vehicle down the lane.
second person said that they are too busy to do the job so had not quoted.
they should think about any projects etc that may need to be considered.
set a precedent. It was agreed to think about this and put it on the next agenda.
Cart Lane: It was thought that there needs to be a width restriction on Cart Lane to deter wider vehicles attempting to drive along the lane. It was agreed to invite County Councillor Heath to a meeting to discuss this.
Foxt Kiosk: Cllr Mycock suggested that a letter of thanks be forwarded to Mr Pickstock for the good job he has done in repairing and painting the Kiosk and tidying up the area immediately round the kiosk.
Bus Shelter, Froghall Road: Cllr Malyon reported that she has found someone who could clean the bus shelter inside and out for the cost of £132. On proposal by Cllr Stevenson and seconded by Cllr James to authorise this to be done but in April. This was agreed.
The date of the next meeting was set for Wednesday 21 November 2018 at 7.00p.m.


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    /**
     * {@inheritDoc}
     */
    @Override
    public Field<Integer> field2() {
        return PersonSchedule.PERSON_SCHEDULE.PERSON_ID;
    }

    /**
     * {@inheritDoc}
     */
    @Override
    public Field<String[]> field3() {
        return PersonSchedule.PERSON_SCHEDULE.TIMETABLE;
    }

    /**
     * {@inheritDoc}
     */
    @Override
    public Field<Date> field4() {
        return PersonSchedule.PERSON_SCHEDULE.UPDATED;
    }

    /**
     * {@inheritDoc}
     */
    @Override
    public Integer value1() {
        return getSchedId();
    }

    /**
     * {@inheritDoc}
     */
    @Override
    public Integer value2() {
        return getPersonId();
    }

    /**
     * {@inheritDoc}
     */
    @Override
    public String[] value3() {
        return getTimetable();
    }

    /**
     * {@inheritDoc}
     */
    @Override
    public Date value4() {
        return getUpdated();
    }

    /**
     * {@inheritDoc}
     */
    @Override
    public PersonScheduleRecord value1(Integer value) {
        setSchedId(value);
        return this;
    }

    /**
     * {@inheritDoc}
     */
    @Override
    public PersonScheduleRecord value2(Integer value) {
        setPersonId(value);
        return this;
    }

    /**
     * {@inheritDoc}
     */
    @Override
    public PersonScheduleRecord value3(String[] value) {
        setTimetable(value);
        return this;
    }

    /**
     * {@inheritDoc}
     */
    @Override
    public PersonScheduleRecord value4(Date value) {
        setUpdated(value);
        return this;
    }

    /**
     * {@inheritDoc}
     */
    @Override
    public PersonScheduleRecord values(Integer value1, Integer value2, String[] value3, Date value4) {
        value1(value1);
        value2(value2);
        value3(value3);
        value4(value4);
        return this;
    }

    // -------------------------------------------------------------------------
    // Constructors
    // -------------------------------------------------------------------------

    /**
     * Create a detached PersonScheduleRecord
     */
    public PersonScheduleRecord() {
        super(PersonSchedule.PERSON_SCHEDULE);
    }

    /**
     * Create a detached, initialised PersonScheduleRecord
     */
    public PersonScheduleRecord(Integer schedId, Integer personId, String[] timetable, Date updated) {
        super(PersonSchedule.PERSON_SCHEDULE);

        set(0, schedId);
        set(1, personId);
        set(2, timetable);
        set(3, updated);
    }
}

redpajama_set_name: RedPajamaGithub


But it follows nicely on to a question I had, what helmet is currently used on the PC-7MkII's and Hawks. It looks like a newer version of the 316?
It is the Elno FPH500.
Sorry, I thought H1017412 meant on what types the 316 is still being used.
Pilots of the following types used the 316: Harvard, Buccaneer, Impala Mk I, Impala Mk II, PC-7 Mk II, Mirage III, Mirage F1, Cheetah C, Cheetah D, Cheetah E and Hawk.
What helmets did the Cheetah C guys use? I think I have noticed at least three types. The 316 is one. Then one that looks a bit more close fitting with bulges around the ears and a protector for the visors then a USAF ACM type one with a clear and yellow visor fastened with elastic straps and no protector. I think someone said the USAF one offered little protection in the case of ejection, but the pilots could adjust their seat up high so they kept it.
The Cheetah pilots used a number of helmet types, which I'm still researching.
Apart from the 316 (Cheetah C, D and E), the Cheetah C pilots also used a number of other local and international helmets. As mentioned, there was a USAF ACM type (still researching this one), an Israeli helmet (donated by exchange pilots) and two different versions of the South African produced Lafe helmet.
Just collected from the Post Office my leather American A-11 helmet and B-8 goggles I purchased on UK eBay in May! As used by the early SAAF Mustang pilots in Korea (with A-14 mask).
Happy New Year ... Happy with new helmet.
A very small Mk3A helmet in immaculate condition, as used with helicopters and light aircraft from the 1970's to the 1980's.
This is a P-1A helmet, the first type of hard helmet mass produced for standard issue to the United States Air Force. It is of the same type used by SAAF pilots (Mustang and Sabre) in Korea.
I picked this worn example at a collectable shop in Cape Town yesterday, it may have been used by a Spitfire or Sabre pilot in South Africa.
Been wanting this combination for quite some time: Type C helmet, Mk VIII goggles and Type H mask, as used from late WWII to the 1950's.
Waoh! This WWII helmet is a great find. Are these still easy to find or are they not quire scares?


Music by David Evans, lyrics by Faye Greenberg. Adapted from the classic novel by J.D. Wyss. Commissioned and originally produced by Theatreworks/USA. First production, directed by Tony Phelan. Opened at Town Hall, NYC, April, 1996, followed by a two-year national tour. Cast included Sean Dugan, Pauline Frommer, James Judy, Maureen Silliman.


text:
Real life: "I battled breast cancer and chemotherapy while pregnant"
Days after a happy pregnancy announcement, Erin, 34, from Canberra received devastating news. Here, she shares her incredible story.
By Lorna Gray
Hitting the 12-week mark of your pregnancy is always such an exciting time. You can officially announce your happy news to the world, and there's no more hiding the nausea, or making up questionable excuses to refuse a drink.
My husband Sean and I were ecstatic as we excitedly shared the news on Facebook that we were pregnant again in 2015.
We already had a 2-year-old, Laila, and we couldn't wait for our family of three to become four.
As any expectant mum will know, you're a lot more conscious of your body and, had I not been pregnant, I might not have taken much more notice of the stinging sensation in my right armpit.
I got up and looked in the mirror, noticing it was really swollen.
"I'm going to get it checked out, just in case," I told Sean.
I was worried in case I'd caught some sort of infection that would affect my baby.
"It feels very tender, like something's digging in," I explained to my doctor. The doctor immediately arranged an ultrasound and a biopsy. That had me worried
BodyKaftan Queen Camilla Franks diagnosed with cancer just months after giving birth
BodySisters fight breast cancer at the same time on opposite sides of the world vow to recover and see each other again
Two days later, I got a phone call telling me to come back in.
I knew before I even got there, it wasn't good news. If it was, they would have told me over the phone.
But I was only worried about my baby, preparing myself to be told it was an infection. The actual diagnosis completely floored me.
"You have breast cancer," the doctor said softly.
At first, I thought I must've misheard. A thousand thoughts ran through my mind.
I was petrified for myself, but more so for my baby. We had to wait a further two agonising days to find out the type of cancer as there was a chance I wouldn't be able to go through with the pregnancy.
"We need you," Sean whispered to me during those painful days. I couldn't bear to imagine losing my baby as well as fighting cancer.
How was it only a few days ago we were sharing our happy news?
But the cancer turned out to be triple negative, which meant I could be treated and carry my baby to full term. Having this type of cancer means that the three most common types of receptors known to fuel breast cancer growth aren't present in the tumour. Triple negative breast cancer also generally responds well to chemotherapy.
While I was still pregnant with my baby, I had to have a mastectomy and chemotherapy. Then I'd have to do a course of radiotherapy after I'd given birth.
As I was entering the second trimester of pregnancy, I was being booked in to have a mastectomy.
Timing was everything. I'd have my right breast and 23 lymph nodes removed before 16 rounds of chemotherapy.
I was petrified of the risks but knew I had to fight – for me and my precious cargo.
Two weeks after the diagnosis, I went in for surgery.
Luckily, everyone in the hospital was amazing from the anaesthetist to the obstetrician to the surgeons themselves.
Afterwards, I didn't have long to recover before I started chemo.
I had a port administered and would sit in a ward being pumped with chemicals every few weeks. It was always on a Wednesday and I always dreaded it.
I got an allergic reaction and would have these sneezing fits but I wasn't allowed antihistamines because I was pregnant. I thought that was quite ironic – I wasn't allowed an antihistamine but I was allowed chemotherapy.
Chemo was as awful as you'd imagine, but I think being pregnant perhaps helped me cope with the nausea. It was just like continued morning sickness.
I suffered all the regular side effects along with the severe nausea – aching body and hair loss, including my eyelashes.
That was really hard as I had this burgeoning baby bump but I looked so sick.
People would stare at me when I went out as it was very apparent I had cancer, but when they clocked my bump, I could see the confusion then horror on their faces.
Also, I was downright exhausted. Having a 2-year-old is tiring enough before throwing in a pregnancy, operation and chemotherapy into the mix.
Chemo finally finished three weeks before I had my baby, but I didn't celebrate. I was too terrified it'd be tempting fate.
When I went into labour, it was so surreal. I really felt that cancer had robbed me of the joy of pregnancy.
I can't begin to describe the emotion I felt looking at my beautiful baby boy Harlyn as he came into the world – we'd made it.
But I still had a fight ahead of me.
I couldn't breastfeed and I did feel less 'womanly' this time around, in that I was embarrassed about my body and carefully selected what I'd wear when I was giving birth. With Laila, I'd just let it all hang out.
I was also robbed of Harlyn's first precious few weeks, as I had to spend the first six weeks in hospital. I started radiation, getting 30 rounds over five weeks.
Honestly, it felt like my skin had been cooked as it began flaking off. But I persevered.
Finishing the radiotherapy was a wonderful feeling, but I still didn't feel like I was out of the woods – I guess I still don't after such a traumatic experience.
Slowly as my skin healed and my hair grew back, I started to feel more like myself again. When I was told I was finally in clinical remission a year later, I felt hope again for the first time.
Sometimes when I think back to this time, it's almost like it happened to someone else. I don't know where I got the strength from – I guess you just have to keep going.
While it was undoubtedly the hardest thing I've ever had to endure, I am proud of myself. And I know Sean is too.
And when the kids are old enough, I'll tell them about the battle and what a little miracle Harlyn proved to be.
Sean was an unwavering source of support and is the best dad to our kids. And, of course, if ever I was having a down day, there was little Laila to keep my spirits up. I couldn't have done it without them.
My advice to any women out there is to really know your own body and listen to it if something doesn't feel right.
I know how lucky I am we caught the cancer when we did and I make sure to cherish each and every day because of it.
Cancer Council are working hard to make sure women like Erin have more time to spend with their families, by funding vital cancer research. Support them on their website
BodyNot all heroes wear capes: Why this mum-of-two living with breast cancer is our kind of superwoman
BodyThe one thing no-one tells you about having breast cancer
10 Million Words,
Female Futures
undefined: Lorna Gray


We were really successful in predicting the teams qualified for the 2018/2019 UEFA Champions League Play-off. 87.5% success rate is something we can be proud of. And, of course, we would like to prove, that group stage success was not pure luck, but we really know soccer. Round of 16 gives us another opportunity to prove it. Just check our predictions below.
Who will win Champions League 2018/2019?


text:
Viewing cable 08BRASILIA5, A/S SHANNON'S MEETING WITH ITALIAN AMBASSADOR TO
If you find meaningful or important information in a cable, please link directly to its unique reference number. Linking to a specific paragraph in the body of a cable is also possible by copying the appropriate link (to be found at theparagraph symbol). Please mark messages for social networking services like Twitter with the hash tags #cablegate and a hash containing the reference ID e.g. #08BRASILIA5.
08BRASILIA5 2008-01-03 11:11 2011-02-13 00:12 CONFIDENTIAL Embassy Brasilia
R 031114Z JAN 08
INFO RUEHAC/AMEMBASSY ASUNCION 6474
RUEHRO/AMEMBASSY ROME 0338
RUEHROF/AMCONSUL FLORENCE 0002
RUEHMIL/AMCONSUL MILAN 0023
RUEHRON/AMCONSUL NAPLES 0003
TAGS: PREL ETRD IT BR XM XR VE UNSC
SUBJECT: A/S SHANNON'S MEETING WITH ITALIAN AMBASSADOR TO
Classified By: Charge d'Affaires Phillip Chicola, reasons 1.4 b and d.
¶1. (C) Summary. Michele Varensise, Italian Ambassador to Brazil, told WHA A/S Thomas Shannon on December 13 that Brazil is the centerpiece of Italy's South American strategy. Italy sees Brazil playing an increasingly larger role in maintaining stability, economic growth, and integration. He praised President Lula's performance, calling him "a compromiser, not a maximizer." He said Brazil's aspiration for a permanent seat on the UN Security Council is divisive within the region, and the G-4 line may be losing support. Varensise said the Senate's rejection the previous day of an extension of the tax on financial transactions was a "slap in the face of remarkable proportions" for President Lula, and compared the "normal, more mature" Brazilian reaction to the "completely different" Venezuelan reaction after losing the constitutional referendum. He said he did not note much change in the last few years in outlook or receptivity to foreign overtures within Itamaraty, the Ministry of External Relations, saying they are good professionals and wait patiently. While administrations come and go, Itamaraty remains. End summary.
Brazil is Italy's South American Centerpiece - - - - - - - - - - - - - - - - - - - - - - -
¶2. (C) Michele Varensise, Italian Ambassador to Brazil, told A/S Shannon, accompanied by EEB A/S Daniel Sullivan, Ambassador, and poloff (notetaker), that Italy has a "beautiful" relationship with Brazil, there are 30 million Brazilians of Italian origin, and the Italian government feels it can be frank with Brazilians. While Chavez sees himself as the alternate regional leader, Varensise said, Brazil will emerge as the region's leader, and Italy looks to Brazil to play an increasing role in maintaining stability and fostering economic growth and integration. Brazil is the centerpiece of Italy's South American strategy, along with Chile and Argentina, he said. Varensise said bilateral trade between the two countries has increased, and Brazilian trade with Italy has grown more than with any other EU member.
Brazilian UNSC Aspirations - - - - - - - - - - - - - -
¶3. (C) According to Varensise, the GOI has told Brazil that it does not share Brazil's view on UNSC reform. The chief problem with the Brazilian approach is that it does not propose changes in the overall structure or representativeness of the Council. Italy is negotiating openly with Brazil in New York on reform, and the Italian concept is that it would be better to promote regional consciousness. Brazil's proposal, its "self-nomination as one of 18," to represent Latin America is divisive, since countries such as Argentina and Mexico could arguably make a claim to represent the region, Varensise said. While Brazil is undoubtedly an important part of the area, it creates many problems for itself, he noted. Varensise concluded that there is a "creeping process of disaffection" in which the G-4 line is losing popularity.
CPMF Defeat: Brazil Compared with Venezuela - - - - - - - - - - - - - - - - - - - - - -
¶4. (C) Varensise said the Senate's rejection the previous day of an extension of the tax on financial transactions (CPMF) was a "slap in the face of remarkable proportions" and a "political earthquake" for President Lula. He compared the "more mature" Brazilian reaction with the Venezuelan reaction after losing the constitutional referendum: even though the Brazilian government was beaten, Varensise said, the reaction here was "completely different," "more normal," as demonstrated by the government's immediate response that it would simply try again. He praised President Lula's performance, calling him "a compromiser, not a maximizer." Lula has always sought balanced solutions, and that is a virtue in regional terms, he concluded.
BRASILIA 00000005 002 OF 002 Itamaraty's Patience
¶5. (C) Asked whether he had noted any change in Itamaraty's receptivity or support for foreign overtures during his three years as ambassador in Brasilia, Varensise said he had not. He observed that Itamaraty gives the Presidential Palace a great deal of leeway in the conduct of policy within Latin America while it concerns itself with other areas, "so long as the nothing bad happens," and takes this approach out of a conviction that eventually the government, unlike Itamaraty, will change, allowing the diplomats to ensure continuity.
Mercosul - - - - -
¶6. (C) Varensise noted that the discussion of accession to Mercosul has changed: whereas in the past people used to admire the EU's detailed accession rules and want the same for Mercosul, no one talks about strict accession criteria any more. (Comment: This probably reflects the Lula government's view that it is more important to "anchor" Venezuela in Mercosul than to demand strict compliance with Mercosul accession conditions. End comment.)
Chicola


text:
Rescue Run
"Live out what you believe in"
by Ryan Bartels | Aug 9, 2018 | Jessie's Place | 0 comments
Volunteer of the Month: Dana DePew
Dana DePew's face is a happy, familiar, and welcome one around the halls and rooms of Jessie's Place. The Hewitt-Trussville High School nurse and student leadership program sponsor has been volunteering at the shelter for just shy of a decade and her relentless love for the Mission has helped lead countless others to follow in her footsteps.
"I have a heart for children," she said with a joyful laugh while resting the palm of her hand over her heart. "I always look for a way to work with children."
DePew began volunteering at Jessie's Place with her own children in 2008. When she assumed responsibility of the high school's leadership program in 2009, the shelter became an obvious choice for service involvement.
"We will sometimes do events with the Boys & Girls Club and recently started working some with Independence Place, which is an adult special needs program in Trussville," DePew said. "Children in need and special needs are two groups very close to my heart, but Jessie's Place is where we volunteer on a regular basis."
In the beginning, the program hosted Christmas community service projects at Camp Cullman where the women and children enjoyed parties complete with dancing, food, and presents.
Over the years, the leadership program exploded from 40 members to 120 and the group's involvement with Jessie's Place was scaled down to weekly volunteer efforts to keep personnel more manageable. The group now provides an hour of childcare every Tuesday evening so the mothers have time to focus on other activities ranging from Bible study to laundry.
The crew has also volunteered to wrap Christmas presents for the children, provided cakes for birthday parties, and even orchestrated special events.
"Our leadership program was approached by Chick-fil-A to participate in a program called Leader Academy," Depew said. "It's a great, nation-wide program all about servant-leadership, which is what our program is trying be about. Sometimes the students don't understand how leadership and service go together when they sign up for the volunteer hours, but in reality, leadership is all about service. That's all it is!"
Individuals in DePew's group can apply for placement on what she calls a Leadership Team, a smaller group of volunteers that helps direct the program's involvement. This team also represents the school in the Leader Academy.
"The Academy organizes monthly meetings that culminate in a community service impact project," DePew said. "The students come up with ideas for the project and apply for grant money."
This year she proposed an Easter celebration for Jessie's Place. The Leadership Team liked that idea and was later awarded $1,000 from Chick-fil-A to help make it a reality.
The experience at Jessie's Place has led several students to continue volunteering even after their program-required hours have been fulfilled. "They get exposed to service and then they keep coming back," DePew said with a proud grin. "They love it."
The program's efforts have even reached the desks of judges in the Trussville area and low-risk youth in need of community service hours are often sent DePew's way and plugged into the work at Jessie's Place.
She admits that volunteering isn't always easy. "Life gets difficult and there may be other things you really need to do," she stressed. "It never fails though, when I come on those nights something happens and I'm so glad I'm here for it."
DePew hopes that the Hewitt-Trussville students learn more than just servant-leadership in their time with the program.
"I want them to understand how important it is to be kind to people," she emphasized. "I want them to value respect for others and decency. I want them to be good people and good parents. You have to live out what you believe in."
Click HERE to find out more about how you can help today.
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2. Payments to Licensor. In full and complete consideration to Licensor for all of the Licensed Rights granted to Jukin hereunder, the receipt and adequacy of which are hereby acknowledged, Jukin shall pay Licensor a share of fifty percent (50%) of all proceeds and net revenue earned and received by Jukin from the exhibition, distribution, broadcast, licensing and other exploitation of the Licensed Rights, excluding proceeds from Promotional Use and deducting costs related to rights management ("Revenue Share"). In order to be attributable to the Revenue Share, any revenue must be directly attributable to, and trackable against, the specific Images to which the Licensed Rights are related. For the avoidance of doubt, revenue attributable to the Revenue Share will exclude proceeds or revenue generated from Promotional Use of the Images, including, without limitation, revenue generated from third-party platforms that display produced content containing the Images (e.g. compilations, etc.) intended to drive direct licensing and direct sales demand of and for the Images. Licensor shall be responsible for and agrees to report any taxes relating to payments it receives to the appropriate tax authority and governmental entities. Licensor agrees to complete all additional forms required by Jukin including, but not limited to, an additional signed license agreement, any additional information requested by Jukin relating to the Images, and the submitted Images in a format acceptable to Jukin in order to receive payment, and must be able to grant to Jukin all rights set forth in such forms, including without limitation, the consent forms and/or other releases as required by Jukin (collectively, the "Releases"). For the sake of clarity, Jukin's requirement related to completion of the Releases is not intended to, and does not, alter that exclusive ownership of the Images that is granted to Jukin upon the Licensor's electronic submission of the Images to Jukin's website.
If any payment, or any portion thereof, is undeliverable to Licensor for any reason, the opportunity for the Images to receive publicity and/or possible inclusion in Jukin's programming is the sole and sufficient consideration due to Licensor. Payments are non-transferable and no substitution of payment is offered, except at the sole discretion of the Sponsor.
Submissions by an eligible Licensor who is a minor in his/her state of residence will be awarded payment to minor's parent or legal guardian who must sign and return all required documents. The Licensor shall be required to provide Jukin with a valid social security number or tax identification number before the payment will be made for tax reporting purposes, and may be required to sign an IRS W-9 form. Licensors will be issued an IRS 1099 tax form.
3. No Guarantee Regarding Revenue: Licensor acknowledges and agrees that Jukin is not making any representation, guarantee or agreement regarding the total amount of revenue, if any, which will be generated by the Licensed Rights. Licensor agrees that the judgment of Jukin regarding the exploitation of the Licensed Rights shall be binding and conclusive upon Licensor and agrees not to make any claim or action that Jukin has not properly exploited the Licensed Rights, that more revenue could have been earned than was actually earned by the exploitation of the Licensed Rights, or that any buyout or one-time payment to Licensor is insufficient in comparison to the revenue earned by the exploitation of the Licensed Rights. Nothing in these Terms shall obligate Jukin to actually use or to exploit the Licensed Rights. If Jukin is unable to exploit the Licensed Rights and actually utilize the Image(s), Jukin may terminate this Agreement at any time without legal justification or excuse.
4. Licensor Representations and Warranties.
(a) Owner of Rights: Licensor has the sole, exclusive and unencumbered ownership of all rights of every kind and character throughout the universe in and to the Licensed Rights and has clear title to the material upon which the Images are based. Licensor has the absolute right to grant to Jukin, all rights, licenses and privileges granted to or vested in Jukin under these Terms. Licensor has not authorized and will not authorize any other party to exercise any right or take any action that impairs the rights herein granted to Jukin.
(b) Rights Are Clear: Licensor has obtained all clearances and paid all monies necessary for Jukin to exercise its exclusive rights hereunder and there will not be any other rights to be cleared or any payments required to be made by Jukin as a result of any use of the Images pursuant to the rights and licenses herein granted (including without limitation, payments in connection with contingent participations, residuals, clearance rights, moral rights, union fees, and music rights). Licensor has not previously entered into any other agreement in connection with the Images. All of the individuals and entities connected with the production of the Images, and all of the individuals and entities whose names, voices, photographs, likenesses, appearance, works, services and other materials appear or have been used in the Images, have authorized and approved Licensor's use thereof, and Jukin shall have the right to use all names, voices, photographs, likenesses, appearance and performances contained in the Images in connection with the exploitation, promotion, and use of the Licensed Rights. It is expressly understood that Jukin has not assumed any obligations under any contracts entered into by Licensor.
(c) No Infringement: No part of the Images, any materials contained therein, or the exercise by Jukin of the Licensed Rights violates or will violate, or infringes or will infringe, any trademark, trade name, contract, agreement, copyright (whether common law or statutory), patent, literary, artistic, music, dramatic, personal, private, civil, property, privacy or publicity right or "moral rights of authors" or any other right of any person or entity, and shall not give rise to a claim of slander or libel. There are no existing, anticipated, or threatened claims or litigation that would adversely affect or impair any of the Licensed Rights.
5. Termination: Licensor may seek to terminate its agreement to these Terms at any time; however, these Terms shall only be terminable upon the mutual agreement of the parties, the consent of which may be granted or denied in Jukin's sole discretion. No termination shall impact any prior license of the Images by Jukin prior to termination, which shall continue in full effect under these Terms.
6. Release and Indemnity. Licensor hereby agrees to indemnify, release and hold harmless Jukin, its successors, licensees, sub-distributors and assigns, and the directors, officers, employees, representatives and agents of each of the foregoing, from any and all claims, demands, causes of action, damages, judgments, liabilities, losses, costs, expenses, and attorney's fees arising out of or resulting from (i) any breach by Licensor of any warranty, representation or any other provision of these Terms, and/or (ii) any claims of or respecting slander, libel, defamation, invasion of privacy or right of publicity, false light, infringement of copyright or trademark, or violations of any other rights arising out of or relating to any use by Jukin of the rights granted under this these Terms. Licensor acknowledges that Jukin is relying on the representations made by Licensor in accordance with these Terms and a breach by Licensor would cause Jukin irrevocable injury and damage that cannot be adequately compensated by damages in an action at law and Licensor therefore expressly agrees that, without limiting Jukin's remedies, Jukin shall be entitled to injunctive and other equitable relief.
7. Publicity/Confidentiality. Licensor shall not release, disseminate, issue, authorize or cause the release, dissemination or issuance of any publicity or information concerning the Licensed Rights, Jukin, or these Terms without Jukin's prior specific written consent (including, without limitation, posting, participating or engaging in social media discussions, news stories, blogs, reports or responses thereto), and Licensor shall direct all licensing or other inquiries relating to the Images solely to Jukin. Licensor acknowledges that these Terms are confidential in nature and agrees not to disclose the content or substance thereof to any third parties other than: (i) Licensor's respective attorneys and accountants, and/or (ii) as may be reasonably required in order to comply with any obligations imposed by these Terms, or any statute, ordinance, rule, regulation, other law, or court order.
8. Miscellaneous. Licensor acknowledges and warrants that its agreement to these Terms has not been induced by any representation or assurance not contained herein. These Terms supersede and replace all prior agreements, negotiations or understandings in connection with the Licensed Rights, including without limitation any simplified explanation of the terms herein, and in the event there are any inconsistencies between this English-language contract and any translations of terms and conditions, the English-language version shall prevail. These Terms contain the entire understanding of the parties and shall not be modified or amended except by a written document executed by both parties. If any provision of these Terms is found to be unlawful or unenforceable, such provision shall be limited only to the extent necessary, with all other provisions of these Terms remaining in effect. The waiver by either party or consent to a breach of any provision of these Terms by the other party shall not operate or be construed as a waiver of, consent to, or excuse of any other or subsequent breach by the other party. Jukin shall have the right to assign freely the Images, the Materials, the Licensed Rights and/or any of Jukin's other rights hereunder to any person or entity (by operation of law or otherwise). Licensor may not assign its rights hereunder.
9. Choice of Law/Dispute Resolution. These Terms shall be deemed to have been agreed upon within the State of California, and the rights and obligations of the parties hereunder shall be construed and enforced in accordance with, and governed by, the laws of the State of California, without regard to the conflicts of law principles thereof. The parties agree to the personal jurisdiction by and venue in Los Angeles, California, and waive any objection to such jurisdiction or venue irrespective of the fact that a party may not be a resident of that State. Except for Jukin's equitable rights as set forth in these terms, the parties hereby agree to submit any disputes or controversies arising from, relating to or in connection with these terms or the parties' respective obligations in connection therewith to binding arbitration in Los Angeles, California in accordance with the rules of the American Arbitration Association and only for actual monetary damages, if any. In the event of any dispute, Licensor shall not be entitled to, and does hereby waive all right to, any equitable relief whatsoever, including the right to rescind its agreement to these Terms, to rescind any rights granted hereunder, or to enjoin, restrain or interfere in any manner with the marketing, advertisement, distribution or exploitation of the Licensed Rights. All rights to recover consequential, incidental and/or punitive damages are waived by Licensor.
10. Time Limitation on Claims. Licensor agrees that any claim it may have arising out of or related to its use of Jukin services or relationship with Jukin, must be filed within one year after such a claim arose; otherwise Licensor's claim is permanently barred.
11. Terms & Conditions. Licensor may be required to agree to additional terms and conditions displayed on the Jukin website at www.jukinmedia.com or other Jukin-owned websites, which will be incorporated herein by reference and subject to change. By continuing to access or use Jukin-owned websites after revisions become effective, Licensor agrees to be bound by the revised Terms.


There are six floors and the value of the products increase as the shopper ascends the flights. The shopper may choose any item from a particular floor, or may choose to go up to the next floor, but you cannot go back down except to exit the building!
A store that sells new wives has opened, where a man may go to choose a wife. Among the instructions at the entrance is a description of how the store operates: You may visit this store ONLY ONCE!


text:
package cdsclient

import (
	"context"
	"io"

	"github.com/rockbears/yaml"

	"github.com/ovh/cds/sdk"
)

func (c *client) RBACImport(ctx context.Context, content io.Reader, mods ...RequestModifier) (sdk.RBAC, error) {
	var rbacRule sdk.RBAC

	body, err := io.ReadAll(content)
	if err != nil {
		return rbacRule, err
	}

	if err := yaml.Unmarshal(body, &rbacRule); err != nil {
		return rbacRule, err
	}

	path := "/v2/rbac/import"
	_, err = c.PostJSON(ctx, path, &rbacRule, &rbacRule, mods...)
	return rbacRule, err
}


If you are interested in creating your own party with a group of your favorite friends or family members, please consider a fun creative painting event at my home. You may want to paint in the style of a favorite artist, choose your own theme or allow me to help you with ideas and customize your personalized gathering to your liking. All necessary art supplies will be included.


text:
Psalmopoeus maya är en spindelart som beskrevs av Witt 1996. Psalmopoeus maya ingår i släktet Psalmopoeus och familjen fågelspindlar.

Artens utbredningsområde är Belize. Inga underarter finns listade i Catalogue of Life.

Källor

Fågelspindlar
maya

redpajama_set_name: RedPajamaWikipedia


← Booking your car in is easy.
I'm toying with the idea of heading up to Auckland for a couple of installs soon.
P.S. It'll be an Obsessive Tour so lets not have any requests for any lame Mongoose of RhinoCo systems!
This entry was posted in Installers, Just for Fun!, Obsessive Installs. Bookmark the permalink.


text:
The birthplace of modern India
Of course I am exaggerating a little, because nothing as big as a nation has a single origin. But you could make a case that the British Raj took the First War of Independence of 1857 as an excuse to destroy the old India. Today's nation, in a sense, is a work of restoration, made up by sticking together recoverable bits of the old with serviceable new pieces from elsewhere. When you stand at the tomb of the last Mughal emperor, Bahadur Shah Zafar, random thoughts like this are inevitable.
After the war was lost, the British Raj was established and Bahadur Shah Zafar was exiled to Yangon to live out the last days of his life. This was a mirror of the exile of Burma's last king, Thibaw, to Ratnagiri. Bahadur Shah was a poet, and perhaps one of the most famous poems attributed to him starts with the line "Lagta nahi hai dil mera, ujre dayaar mein" (I find no pleasure in this derelict city). The problem with this neat story is that city is more likely to be Delhi than the then-little port of Yangon, apart from the fact that there is a recent dispute about the authorship of this ghazal.
When Bahadur Shah died in 1862, his body was buried in secrecy. Over the years a tradition grew which said his body was buried in the mosque in Yangon named after him. The photo you see here is a modern tomb constructed next to the jamaatkhana (prayer hall) of the mosque. The grave with the neon crown is supposed to be the emperor's and the other two are supposed to be of two of his wives.
Strangely, an excavation in the late 1980s revealed a hidden grave one level below this, and studies eventually led to the conclusion that the hidden grave genuinely contained the remains of the last Mughal emperor. In 1994 Myanmar and India together constructed the little underground memorial which you see in the featured photo. It stands directly below the traditional spot in the other photo.
Myanmar has a treasure trove of British documents from these last years of Bahadur Shah's life, stored as pdf files in its national archives. They were first described in William Dalrymple's book on Bahadur Shah, but I'm sure there is material enough for many historians in Yangon.
Categorized as History, India, Myanmar Tagged 1857 war of independence, Bahadur Shah Zafar, Thibaw, tomb of Bahadur Shah Zafar, Yangon
By I. J. Khanewala
I travel on work. When that gets too tiring then I relax by travelling for holidays. The holidays are pretty hectic, so I need to unwind by getting back home. But that means work.
View all of I. J. Khanewala's posts.
Pingback: The Indian Diaspora in Myanmar – Don't hold your breath
Reclining man, reclining Buddha
Sula Mani Guphaya Temple in Bagan


text:
Spencer Museum receives $20K from NEA to research exhibition on 'Bold Women'
Elizabeth Kanost
elizacat@ku.edu
LAWRENCE — The Spencer Museum of Art at the University of Kansas has been awarded $20,000 from the National Endowment for the Arts (NEA) to support research and development of the exhibition "Bold Women: Changing the World and Art." With an international assemblage of women and nonbinary artists, the exhibition will foster conversation at the intersection of race and gender. The exhibition is scheduled to open at the Spencer Museum in 2023.
"The National Endowment for the Arts is proud to support this project from the Spencer Museum of Art," said Ann Eilers, NEA acting chair. "The Spencer Museum is among the arts organizations across the country that have demonstrated creativity, excellence and resilience during this very challenging year."
With approximately 100 works of art representing a variety of cultures and identities, "Bold Women" will trace women's artistic roles in creating change and advancing social justice during the past 150 years. The exhibition will include textiles, sculpture, metalwork, painting, video and photography from the Spencer Museum's collection and loans.
Support from the NEA will enable Susan Earle, Spencer Museum curator of European and American art, to assemble and work closely with a team of advisers who will help select artwork for the exhibition and co-create educational materials, programming and marketing. Committed advisers include Marla A. Jackson, Lawrence-based artist; Rose Bryant, Spencer Museum board member; Kimberli Gant, the McKinnon curator of modern and contemporary art at the Chrysler Museum of Art; and Wanda Nanibush, curator of Indigenous art at the Art Gallery of Ontario.
"This exhibition will champion overlooked accomplishments of underrepresented groups to open thinking beyond conventional constructions of race and gender boundaries," Earle said. "As such, many voices and perspectives will be included in the project's development."
The grant will also help support a graduate student intern who will conduct exhibition research, collaborate with the advisory group, and integrate student perspectives and experiences into the show and related programming. Additionally, NEA funds will support visits by artists who will carry out residencies at the Spencer Museum during the run of the exhibition in 2023. As part of preparatory visits, the artists will meet with community and campus partners as well as KU faculty and students. These planning activities will strengthen the integration of "Bold Women" into KU curriculum and ensure the project has relevance for KU students and community members.
Image: Mary Sibande, "Sophie-Ntombikayise," 2009, museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund, image courtesy of the Spencer Museum of Art, University of Kansas.


text:
Scripps La Jolla Named Among 100 Great Hospitals in America
Annual listing by Becker's recognizes excellence, innovation
Becker's Hospital Review has named Scripps Memorial Hospital La Jolla one of the 100 Great Hospitals in America for the fourth consecutive year in its list of innovative health care centers that provide high-quality patient care.
According to the health care industry trade publication, the hospitals included on the 2017 edition of its list are "well-known for … having a strong history of innovation, providing top-notch care to patients, leading clinical advancement with forward-thinking research or holding an irreplaceable spot in their communities."
"We are honored to receive this recognition from Becker's Hospital Review for the fourth year in a row," said Gary G. Fybel, senior vice president and chief executive of Scripps Memorial Hospital La Jolla. "It really speaks to how hard everyone in our organization works each and every day to provide the highest level of care to our patients."
To develop the 100 Great Hospitals in America list, Becker's editors analyzed several health care ranking sources, including U.S. News and World Report, Truven Health Analytics, Healthgrades, the American Nurses Credentialing Center and The Leapfrog Group.
Latest national recognition
Earlier this year, Truven Health Analytics named Scripps Memorial Hospital La Jolla one of the top 100 hospitals in the nation for the second consecutive year. Scripps La Jolla was recognized in the large community hospitals category and was the only health care facility in San Diego County to make the prestigious list.
Established in 1924 by Ellen Browning Scripps, Scripps Memorial Hospital La Jolla offers 444 licensed beds and a wide range of clinical, surgical and specialty services.
In 2015, Scripps opened its Prebys Cardiovascular Institute at the Scripps La Jolla campus. The most advanced heart care center in San Diego County features world-class physicians, ground-breaking research and state-of-the-art technology. The tower houses two hybrid operating rooms, four cardiovascular operating rooms, 59 intensive care unit beds and 108 private inpatient rooms.
In 2016, the Barbey Family Emergency and Trauma Center opened on the campus with 51 private beds, four ambulance bays and the latest technology for treating everything from cuts and falls to major life-threatening injuries. And earlier last year, opened a six-story outpatient clinic, the Scripps Clinic John R. Anderson V Medical Pavilion, which includes more than 70 physicians practicing in 12 specialties including internal and family medicine, cardiology, dermatology, gastroenterology, endocrinology, general surgery, pulmonary medicine, neurology and integrative cardiology.
Learn more about Scripps Health, a nonprofit integrated health system in San Diego, Calif.
Keith Darce
darce.keith@scrippshealth.org
Follow me: @KeithDarce
If you would like more information about this topic or a referral to a Scripps doctor or program, call 858-252-1335, Monday - Friday, 7 am - 7 pm, to speak with a member of our call center.


The ability to make use of cloud hosting services today has completely changed the landscape of the business world. All of the advances made in technology over the last ten years or so have allowed for much greater flexibility in how you operate your business, store and share information. The needs of the computer systems in your company have changed drastically in that time so that you no longer have to rely simply on the hard drives of your desktop systems or the network servers you have in your office. You are now able to do much more with your systems than ever before. If you make use of the cloud hosting providers UK offers today you will find a cloud host London has can provide you with just what you need for your business to grow.
When you make use of cloud hosting you will find that your company can have flexibility that you never had before. The services allow you to not only have greater storage of data and information thanks to cloud services but also the flexibility needed for your employees to share information more freely and work together easily. You no longer will have to worry about information, data, reports, documents and more being saved in one place and found on a computer so it can be disseminated to others. No it can all be saved to the cloud and shared among those that need to see it and work on it right away.
. It's not just Microsoft saying that Office 365 is growing. Last year, cloud security company Bitglass said traffic analysis gave Google twice the market share of Office 365 among its customers, with 16.3 percent of the market; that went up to 22.8 percent this year as more companies switched to cloud services. Contact WinMax IT for your Cloud based Office 365 Requirement to start a 30 days free trial for complete satisfaction.
Using cloud services can be a significant financial savings to your company. The costs your business is accruing every time you need to upgrade and install software and applications on all of the desktops in your office can be very high and very time consuming, cutting into the productivity of your employees while they wait for the upgrade. Using the cloud can work to significantly lower your IT expenses since you will not have to spend hours or days performing updates, buying new software or hardware and having your IT department take the time to do everything. You also get much greater storage capacity with cloud systems so that you will not have to invest in larger servers or hard drives for your system to store information. On top of the financial savings, the systems are much more reliable and secure so you will not have to worry about downtime of applications that can cut into your work.
The key to cloud host services today is finding the right company that can provide you with everything you need. You will find among the cloud computing London services available today that WinMax IT can offer everything that you need. WinMax IT is highly experienced in cloud services and can offer you a variety of different service options that can meet the exact needs of your business. This can give you a much more affordable and effective option for your computer services.


Issued a comprehensive report on the state of health care in California, "Priced Out: The Crisis in California Health Care"
California must have the best education system so our workers can compete with knowledge and skill in the competitive world market place.
We must maintain the environmental quality of our Golden State.
I will work toward every Californian having universal access to affordable health care.
I began the movement to abolish California's car tax that now saves an average family $490 in annual DMV fees.
I am spearheading the effort to stop government from seizing one citizen's property for the private gain of another.
And I continue to battle waste and fraud in Republican and Democratic administrations.
3 Strikes. 50 years in prison for stealing $153 worth of video tapes, is cruel and unusual punishment!
Immigration Reform & A Living Wage. The problem is not people trying to survive, the problem is the lack of a living wage!
Has experience as a business owner currently and over 25 years of corporate mangement experience.
Make state government more efficient.
Do away with the California state income tax.
Maintain the family unit as the most important social cell.
Protect California labor, free college education, establish affordable health care and establish affordable housing statewide.
Protecting the environment, derail planning for a 10 mile tunnel through the Cleveland National Forest, No Liberty Quarry, end dependency on oil.
Creating jobs by building for our future; now is the time to design and build electric cars, hydrogen vehicles, and light rail systems.
Cal-Access Campaign Finance Activity of candidates - Click on candidate name under "Lieutenant Governor"


Tooth Fairy Traditions - Yvette Vernor-Dye, DDS | Aubrey Kids Dentist | Pediatric Dentist Serving Aubrey, Crossroads, Savannah, Little Elm, Paloma Creek, Frisco, Oak Point, and the surrounding Texas communities!
Every child looks forward to the Tooth Fairy when they lose a tooth, and what a fun tradition to start with your children. We have compiled just a few of our favorite Tooth Fairy traditions we wanted to share.
If your child is a light sleeper, consider a "tooth fairy dish" by his/her bed at night.
Sprinkle "Fairy Dust" (we use glitter) on the windowsill or leading up to the door to show how/where the fairy flew in.
Leave a note from the Tooth Fairy. Our favorite method is sized three font on a scroll, rolled and tied with floss.
Instead of money, what about a fun new toothbrush to emphasize the importance of oral health.
Attach a doll house door to the wall next to your child's bed so the Tooth Fairy knows how to get in the room.
A tooth fairy receipt. There are a lot of great ones on Pinterest.
Spray down the money with glitter hairspray. Everyone knows the Tooth Fairy loves glitter!
A personalized Tooth Fairy bag to keep the tooth safe until the Tooth Fairy comes to pick it up.
A tiny Tooth Fairy mailbox.
Losing the first baby tooth is such a big milestone. Be sure and document it for your future self! Keep the Tooth Fairy magic alive!