Last July, President Obama visited a federal prison to put a spotlight on mass incarceration and excessive drug sentencing laws. We applaud Obama's acknowledgment and efforts.
However, as we have mentioned before, it seems as if it took white kids becoming addicted to drugs, especially heroin, in epidemic proportions before any real policy change began to happen.
The following is republished with permission from ProPublica.
Two years ago, President Obama unveiled an initiative to give early release to potentially thousands of federal prisoners serving long sentences for low-level drug crimes. The initiative has barely made a dent, and a resignation letter from the president's recently departed Pardon Attorney lays out, at least, one reason why.
"The position in which my office has been placed, asking us to address the petitions of nearly 10,000 individuals with so few attorneys and support staff, means that the requests of thousands of petitioners seeking justice will lie unheard," wrote Deborah Leff, who resigned in January.Leff also wrote that her office was denied "all access to the Office of White House Counsel," which reviews prisoners' applications before the president gets them.
Leff also wrote that her office was denied "all access to the Office of White House Counsel," which reviews prisoners' applications before the president gets them.
Since his announcement two years ago, the president has granted early release to just 187 prisoners.
Leff's resignation letter was obtained by USA Today.
Dysfunction in the Office of the Pardon Attorney is nothing new: ProPublica reported on problems in the office that stretch back to 2001. Take the case of Clarence Aaron, a black man sentenced to three life terms for a cocaine deal, even though he wasn't the buyer, seller, or supplier.
Rodgers was removed in 2014 and replaced by Leff. Obama ultimately ordered Aaron's release in April 2014.
A statistical analysis of nearly 500 pardon applicants during the Bush administration suggests that advocacy makes a difference. Applicants with a member of Congress in their corner were three times as likely to win a pardon as those without such backing. Interviews and documents show a lawmaker's support can speed up a stalled application, counter negative information and ratchet up pressure for an approval.
Reacting to stories published by ProPublica, the Department of Justice announced in August 2012 that it would commission a study testing racial disparities in presidential pardons. Nothing further has been publicly disclosed about that effort and it's unclear whether the study was ever completed. ProPublica has contacted the department to ask them the status of both that and for further comment on Leff's resignation. They'll update as soon as they hear back.


Attention, lovers of physical fitness: Pursuit OCR has reopened at long last.
The indoor obstacle course closed earlier this year due to development plans involving its previous location at 444 Dufferin Street.
Fortunately, its owners were able to find a new, even bigger home at 75 Westmore Drive in Etobicoke.
The new 30,000-square-foot obstacle course is a high-adrenaline but fun physical workout. The course is a mix of barriers, walls, gymnastic fixtures, ball pits, and more. It tests your ability to sweat, basically.
The staff want you to get a good workout and get your body moving, without the mundane slog through a gym that some people hate.
Pursuit OCR also has a mini arcade, and a pedal-powered drift trike racetrack.
Currently, the space is in a soft launch, with reduced hours. But, it will be opening for full service soon.


text:
Human Resources (HR) Director
Average Human Resources (HR) Director with Employee Relations Skills Salary in Orlando, Florida
The average salary for a Human Resources (HR) Director with Employee Relations skills in Orlando, Florida is $82,057.
Is Human Resources (HR) Director your job title? Find out what you should be paid
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Updated: Fri Jan 03 2020
Job Description for Human Resources (HR) Director
Human resource directors have many different roles and responsibilities in many different organizations. These directors can head up several departments and put in place someone to manage them. They are strategic partners, and proponents for the company and for the people who work for the company. They also have the responsibility of dealing with the day-to-day problems and complaints from their employees, employee benefits, payroll and employee paperwork. They ensure employees' adherence to pol…Read more
Human Resources (HR) Director Tasks
Oversee staff operations, business planning and budget development of HR programs.
Plan, direct and manages all human resources initiatives; recruitment, compensation, benefits, training and employee relations of an organization.
Ensure policies, procedures and HR programs are consistently administered, aligned with organizational goals and are in compliance with professional standards, state and federal regulatory requirements and laws.
Human Resources (HR) Director Job Listings
Popular Skills for Human Resources (HR) Director
Skills in Leadership and Strategic Planning are correlated to pay that is above average. Skills that pay less than market rate include Human Resources (HR), Hiring and Benefits & Compensation.
Pay by Experience Level for Human Resources (HR) Director
An early career Human Resources (HR) Director with 1-4 years of experience earns an average total compensation (includes tips, bonus, and overtime pay) of $63,864 based on 8 salaries. A mid-career Human Resources (HR) Director with 5-9 years of experience earns an average total compensation of $76,883 based on 12 salaries. An experienced Human Resources (HR) Director with 10-19 years of experience earns an average total compensation of $94,355 based on 24 salaries. In their late career (20 years and higher), employees earn an average total compensation of $101,819.
Employees with Human Resources (HR) Director in their job title in New York, New York earn an average of 36.9% more than the national average. These job titles also find higher than average salaries in Los Angeles, California (36.8% more) and Chicago, Illinois (24.4% more).
Late Career
Human Resources (HR) Manager
Human Resources (HR) Generalist
More Cities for Human Resources (HR) Director
Experience Affects Human Resources (HR) Director Salaries
Skills That Affect Human Resources (HR) Director Salaries
Human Resources Information System (HRIS)

redpajama_set_name: RedPajamaCommonCrawl


Ellen Ingram finds her inspiration every May when the Single Parent Scholarship Fund of Pulaski County honor its students who have achieved their educational goals.
As executive director for a nonprofit organization that helps single parents pay for college or vocational school, Ingram sees the many challenges of the students and is awe struck.
"It's too much to ask, but they're doing this," she said of the mothers and fathers in the program.
SPSF-Pulaski County gave out its first round of scholarships in 1998. Fourteen students received a total of $7,000. In 2003, the total had grown to 113 scholarships worth more than $70,000.
Currently, 70 women and one man are in the program, which directly impacts 123 children as it helps their parents prepare for higher-paying jobs.
"Saying we're a scholarship program is a little misleading because we do so much more than that," Ingram said.
In addition to paying for the students' educations with money donated by individuals, foundations and corporations, the program also connects students with mentors who offer guidance and encouragement.
More than 89 percent of recipients since 1999 have earned a degree or certification or continue to work toward that goal, Ingram said. By contrast, 60 percent of undergraduates who enter Arkansas' colleges and universities will fail to earn a degree.
The greatest challenges for SPSF, like many other nonprofits, is boosting donations and visibility among potential donors.
To honor its graduating program participants, SPSF holds a celebration in May that brings together families, the public and the donors. Ingram said that event keeps her going.
"(The children) know this is important [for their parents]. They know education is important," she said. "We're affecting not just these families but these families for generations to come."


Last year I wrote a short essay entitled "Rules for Researching" for Gunnlaugur SE Briem to include in The Briem Report: Letterforms 2012. It will soon be available for free download at his website operina.com. Meanwhile, it has been published earlier this month in Whatever Next: A Discourse on Typography, a book jointly sponsored by This Is Art and the Camberwell Press, both located in London. The essay is a quick guide to doing research for those not trained academically and for those not used to doing research offline. It provides some insight into the methods I use in preparing the detailed material posted on Blue Pencil.


adidas Essential Linear Pant is rated 4.0 out of 5 by 1.
These adidas women's pants are a comfortable, versatile part of any wardrobe. The ribbed cuffs and drawcord waist help ensure a snug fit, and the slim silhouette gives them a modern shape.
Rated 4 out of 5 by Khylie from So comfy Bought these for the upcoming winter as an easy throw on for around the house. They are stunning, beautifully made and super comfy. My only gripe is the sizing is waaay off. I'm usually a 20/22 but had to get a 24/26 to get the perfect fit. No great for morale but they are definitely warm and great for their purpose. Just size up to save disappointment.


LONDON: The UN's Intergovernmental Panel on Climate Change (IPCC) has released a new authoritative report on renewable energy in Abu Dhabi today.
The report shows that close to 80% of the world's energy supply could be met by renewables by the mid-century, leading to greenhouse gas (GHG) savings equivalent to 220 to 560 gigatons of CO2 between 2010 and 2050.
These GHG savings would help reach the goal recognized in the United Nations Climate Convention's Cancun Agreements, of holding the increase in global temperature below two degrees Celsius.
Expected by many to be a defining study, the report is likely to influence government policy and business investment decisions over the next five years and beyond in the renewable energy sector, driving the Clean Revolution.
The stated objective of the Special Report on Renewable Energy Sources and Climate Change Mitigation (SRREN), is to address the information needs of both public and private sector decision makers. According to the IPCC, the report provides this through assessment of renewable energy technologies and the policy and financial instruments needed for their deployment.
Speaking at the report launch, Rajendra Pachauri, Chairman, IPCC, said: "The IPCC brought together the most relevant and best available information to provide the world with this scientific assessment of the potential of renewable energy sources to mitigate climate change. The Special Report can serve as a sound knowledge basis for policymakers to take on this major challenge of the 21st century."
Other chapters in the report look at the integration of renewable energy into both present and future energy systems, the role of renewables in sustainable development, and the mitigation opportunities and costs of the technologies assessed.
Decision makers will also gain greater understanding of energy resources by region, current and projected market and technology development, economic, social, and environmental costs and benefits, and the impact on energy security at national, regional and global level.
Because the IPCC's itself does not undertake primary research but instead draws on existing peer reviewed research, the SRREN is unlikely to contain many surprises for professionals in the renewable energy sector. This does not undermine the value of the report, however. Like the IPCC's comprehensive climate Assessment Reports, the SRREN will provide an independent benchmark for decision makers, particularly those in government.


1.1 These are the terms and conditions on which BeatBox Boxing Studios provide boxing themed cardio and strength workout classes.
1.2 Please read these terms and conditions carefully before you apply for BeatBox Boxing Studios membership under clause 5 or purchase any BeatBox Boxing Studios class or package of classes under clause 6.
1.3 These terms tell you who BeatBox Boxing Studios is, how to join, register, how to purchase classes or packages of classes, how classes are taken, how a class that has been purchased may be changed or cancelled, what to do if there is a problem and other important information. If you think that there is a mistake in these terms and conditions please contact BeatBox Boxing Studios to discuss.
2.1 BeatBox is a trading name of BeatBox Boxing Studios Limited a company registered in England and Wales under company registration number 11074267 and whose registered office is at 57 Horsefair, Rugeley, Staffordshire, England.
2.2 Unless otherwise provided for in these terms and conditions, you can contact BeatBox Boxing Studios by by emailing hitus@beatboxstudios.co.uk or by writing to BeatBox Boxing Studios, 57 Horsefair, Rugeley, Staffordshire, England.
2.3 Unless otherwise provided for in these terms and conditions, if BeatBox Boxing Studios has to contact you it will do so by telephone, email or post at the contact telephone number, email address and postal address you provide to us.
3.2 To protect the health and safety of each client it is important that both BeatBox Boxing Studios and all clients follow and comply with these terms and conditions, and at all times whilst participating in classes clients must have regard to not only their own health and safety but also the health and safety of other participating clients, BeatBox Boxing Studios staff and other persons for the time being present.
4.1 No person may participate in any BeatBox Boxing Studios class unless he or she has become a member of the studios.
4.2 Children and young persons under the age of 16 years are not permitted to participate in any BeatBox Boxing Studios class, and accordingly are not eligible for registration. BeatBox Boxing Studios may require proof of age from any applicant before joining.
4.3 BeatBox Boxing Studios may at any time require any person who has attained the age of 16 years but who is under the age of 18 years to produce a written parental consent in such form as BeatBox Boxing Studios may from time to time require before they apply for membership or are permitted to participate in any BeatBox Boxing Studios class.
4.4 A person may only apply for, and hold, one membership with BeatBox Boxing Studios at any given time.
4.5 A person may apply for membership by completing and submitting a BeatBox Boxing Studios Personal Details Form and a Health Questionnaire. Copies are available online through the BeatBox Boxing Studios website or upon request at any BeatBox Boxing Studios Gym reception.
4.7 The Health Questionnaire must be completed and submitted by the applicant and not by any other person (save to the extent necessary to overcome a disability of the applicant), all the health questions asked must be answered, the answers must be complete and accurate and not misleading, and the applicant must voluntarily disclose all other information relating to his or her physical or mental health or wellbeing which is or may be relevant to him or her participating in any BeatBox Boxing Studios class, other clients participating in the class, BeatBox Boxing Studios staff, or any other person for the time being present. In particular, but without prejudice to the foregoing, pregnant applicants must disclose their pregnancy.
4.8 The duly completed Personal Details Form and Health Questionnaire must be submitted online through the BeatBox Boxing Studios website or by hand to any BeatBox Boxing Studios Gym reception. For the avoidance of doubt, a person may not apply for registration by email or over the telephone.
4.9 Without prejudice to the foregoing provisions of clause 4, the applicant shall provide such further information relating to his or her personal details or physical or mental health or wellbeing as BeatBox Boxing Studios may from time to time reasonably request.
4.10 If at any time after submission any of the content of the duly completed Personal Details Form, or any of the content of the duly completed Health Questionnaire, or any of the further information provided under clause 4.9, changes or is discovered to be incorrect, the applicant must as soon possible give to BeatBox Boxing Studios written notification of the change or correction online through the BeatBox Boxing Studios website or by hand to any BeatBox Boxing Studios studio reception, quoting any reference number that BeatBox Boxing Studios may have assigned to the application. In particular, but without prejudice to the foregoing, pregnant applicants must disclose their pregnancy. For the avoidance of doubt, such notifications may not be given by email or over the telephone. Thereafter the applicant shall provide such further information relating to the change or correction as BeatBox Boxing Studios may reasonably request.
(h) the membership of that person, or the participation of that person in any BeatBox Boxing Studios class, would or could prejudice or harm BeatBox Boxing Studios or its business or affairs or any of its other clients, workers, contractors, agents or representatives.
4.12 If BeatBox Boxing Studios refuses an application for registration it will as soon as practicable notify the applicant of the refusal and the reason for it. There is no right of appeal against a refusal, but a refusal does not prevent further applications for BeatBox Boxing Studios registration.
4.13 Following notification of the refusal, any contract between BeatBox Boxing Studios and the applicant shall terminate, save that any provision of these terms and conditions that expressly or by implication is intended to come into or continue in force on or after termination shall remain in full force and effect.
4.14 If BeatBox Boxing Studios accepts an application for membership it will as soon as practicable notify the applicant of the acceptance, and the following provisions of these terms and conditions shall apply.
5.1 Following notification of the acceptance of an application for membership, BeatBox Boxing Studios will provide the client with a username and an initial password which will enable the client to log in to the BeatBox Boxing Studios website. Once logged in the client may change the password as he or she wishes. The client must at all times keep his or her password secure and confidential.
5.2 If at any time after registration any the content of the duly completed Personal Details Form (as the same may have been properly changed or corrected), or the content of the duly completed Health Questionnaire (as the same may have been properly changed or corrected), or any further information provided under clauses 4.9 or 4.10, changes or is discovered to be incorrect, the client must as soon possible give to BeatBox Boxing Studios written notification of the change or correction online through the BeatBox Boxing Studios website or by hand to any BeatBox Boxing Studios reception, quoting his or her BeatBox Boxing Studios website username. For the avoidance of doubt, such notifications may not be given by email or over the telephone. Thereafter the client shall provide such further information relating to the change or correction as BeatBox Boxing Studios may reasonably request.
(j) the client has no intention of attending any BeatBox Boxing Studios classes, and where the client has failed to participate in any BeatBox Boxing Studios class within any 12 month period BeatBox Boxing Studios will be entitled to presume such an intention.
5.4 If BeatBox Boxing Studios cancels a membership it will as soon as practicable notify the client of the cancellation and the reason for it. There is no right of appeal against a cancellation, but a cancellation does not prevent further applications for BeatBox Boxing Studios membership.
5.5 A client may cancel his or her membership by giving to BeatBox Boxing Studios not less than 90 days' written notice specifying a cancellation date by post using any of the Royal Mail UK letter services for the time being addressed to the postal address set out in clause 2.2 or by hand to any BeatBox Boxing Studios reception, quoting his or her BeatBox Boxing Studios website username. For the avoidance of doubt, a client may not cancel his or her registration by email or over the telephone.
5.6 Following cancellation of a membership, any contract between BeatBox Boxing Studios and the applicant shall terminate, save that any provision of these terms and conditions that expressly or by implication is intended to come into or continue in force on or after termination shall remain in full force and effect. For the avoidance of doubt, the client will not be permitted to participate in any BeatBox Boxing Studios classes after cancellation.
5.7 Following cancellation of a membership, BeatBox Boxing Studios will refund any monies paid by the client on account of any classes taking place after cancellation and in which the client has not participated LESS a cancellation charge equal to 50% of such monies (which the client acknowledges represents a genuine pre-estimate of the loss that BeatBox Boxing Studios will incur as a result of the cancellation).
6.1 From time to time BeatBox Boxing Studios will advertise and market BeatBox Boxing Studios classes and packages of classes describing each class or package and specifying the venue, date, start time, duration and price. In the advertising and marketing material any images relating to a class are for illustrative purposes only. BeatBox Boxing Studios may from time to time offer certain classes or packages on certain terms to certain groups, and in particular, but without prejudice to the foregoing, may offer special introductory offers to new clients, which for the avoidance of doubt may not be available to existing clients or clients who for whatever reason have at any time cancelled their membership and re-registered with BeatBox Boxing Studios.
6.2 From time to time BeatBox Boxing Studios may need to make minor changes to classes or packages of classes to reflect changes in law and to implement improvements to class content.
6.3 Once registered as a member with BeatBox Boxing Studios a client may purchase any class or package of classes, or any other person may purchase any class or package of classes in the name of and for the client. Purchases will be recorded in the BeatBox Boxing Studios website username of the client. For the avoidance of doubt, no person may participate in any class unless he or she is a member with BeatBox Boxing Studios at the time of the class.
6.4 Purchases of classes or packages of classes may be made online through the BeatBox Boxing Studios website, by telephone to the relevant BeatBox Boxing Studios number, or in person at any BeatBox Boxing Studios reception, and must be paid for in full by credit or debit card or cash at the time of purchase. For the avoidance of doubt, purchases may not be made by email.
6.5 Once a purchase has been made for a client using a credit or debit card BeatBox Boxing Studios will record and keep the details of that card for use in future purchases. If the client does not wish for such details to be recorded and kept in this way, or wishes to make a particular purchase using a different credit or debit card or cash, he or she must notify BeatBox Boxing Studios of this fact at the time of purchase.
6.6 A purchase of a class or a package of classes does not guarantee that the client will be able to attend any particular class. Classes are filled on a "first come first served" basis, and if a particular class is full or otherwise not available the cost of that class will be held to the credit of the client to be applied to another class to be selected by the client (subject to availability).
If the client does not have access to emails BeatBox Boxing Studios will upon request give such confirmations and statements by telephone. If the client does not have access to either emails or telephone then he or she must attend at any BeatBox Boxing Studios reception to be given such confirmations and statements in person.
6.8 If BeatBox Boxing Studios has notified the client that a particular class is full or otherwise not available, the client will be added to a "waiting list" if he or she requests this online through the BeatBox Boxing Studios website, by telephone to the relevant BeatBox Boxing Studios number, or in person at any BeatBox Boxing Studios reception, quoting his or her BeatBox Boxing Studios website username. For the avoidance of doubt, such requests may not be made by email. Once on the waiting list BeatBox Boxing Studios may at any time up to 24 hours before the class start time send to the client an email notifying him or her that the class has become available and confirming the date, time and place of the class. If the client does not have access to emails BeatBox Boxing Studios will upon request give such notification and confirmation by telephone. If the client does not have access to either emails or telephone then he or she must attend at any BeatBox Boxing Studios reception to be given such notification and confirmation in person. If no such notification is given during such period the class shall be deemed to be full or otherwise not available to the client. BeatBox Boxing Studios will not disclose any waiting list positions or updates. For the avoidance of doubt, the class cancellation provisions of clause 6.10 still apply where the client is on a waiting list.
6.9 From time to time for various reasons beyond its control, such as injury or illness to a trainer or the unavailability of a venue or studio, BeatBox Boxing Studios may need to cancel a class that a client is due to attend. Not less than 24 hours before the class start time BeatBox Boxing Studios will send to the client an email notifying him or her of the cancellation and confirming that the cost of that class will be held to his or her credit for application to another class to be selected by the client (subject to availability). If the client does not have access to emails BeatBox Boxing Studios will upon request give such notification and confirmation by telephone. If the client does not have access to either emails or telephone then he or she must attend at any BeatBox Boxing Studios reception to be given such notification and confirmation in person.
6.10 A client may cancel any particular class that he or she is due to attend if not less than 12 hours before the class start time he or she gives to BeatBox Boxing Studios written notification of the cancellation by post using any of the Royal Mail UK letter services for the time being addressed to the postal address set out in clause 2.2 or by hand to any BeatBox Boxing Studios reception, quoting his or her BeatBox Boxing Studios website username. For the avoidance of doubt, such notifications may not be given by email or over the telephone. Following cancellation in accordance with clause 6.10 BeatBox Boxing Studios will hold the cost of the cancelled class to the credit of the client and apply that credit to another class to be selected by the client (subject to availability).
6.11 If a client fails to attend a particular class that he or she is due to attend, and has not cancelled that class in accordance with clause 6.10, BeatBox Boxing Studios may (but is not obliged to) hold the cost of that class to the credit of the client and apply that credit to another class to be selected by the client (subject to availability). For the avoidance of doubt, if it is decided not to credit the client, the client will not be entitled to any refund of any of the cost of the class or any other compensation.
6.12 Where BeatBox Boxing Studios holds any money to the credit of the client for more than 12 months or such other period as may be specified in the advertising or marketing of the relevant class or package of classes, the money will be deemed to have been spent by the client with BeatBox Boxing Studios, and the client will not be entitled to any refund of any of the cost of the class or any other compensation.
7.2 Upon arrival a client must report to the BeatBox Boxing Studios reception and provide such evidence of identification as the BeatBox Boxing Studios staff may reasonably request. BeatBox Boxing Studios reserves the right exclude from the class any person who staff are unable to verify as the client for whom the class was purchased. If a person is excluded under this clause 7.2, the client will not be entitled to any refund of any of the cost of the class or any other compensation.
7.3 Without prejudice to any of the provisions of clauses 4 and 5, upon arrival a client must voluntarily disclose to the BeatBox Boxing Studios reception and the trainer taking the class all information relating to his or her physical or mental health or wellbeing which is or may be relevant to him or her participating in the class, other clients participating in the class, BeatBox Boxing Studios staff, or any other person for the time being present. In particular, but without prejudice to the foregoing, pregnant clients must disclose their pregnancy. If the BeatBox Boxing Studios reception or the trainer has reason to believe that the client has not properly disclosed all such information, or that any participation in the class would or could be a risk to the health and safety of the client, other clients participating in the class, BeatBox Boxing Studios staff, or any other person for the time being present, he or she will not be permitted participate. If participation is not permitted under this clause 7.3, the client will not be entitled to any refund of any of the cost of the class or any other compensation, but BeatBox Boxing Studios may (but is not obliged to) hold the cost of that class to the credit of the client and apply that credit to another class to be selected by the client (subject to availability).
7.4 A client must ensure that he or she wears protective equipment appropriate to the class in which he or she is participating, and in particular clients must wear hand wraps and boxing gloves. Clients must supply their own hand wraps, which may be purchased from any BeatBox Boxing Studios gym (subject to availability). BeatBox Boxing Studios supplies boxing gloves for clients to use during classes, but clients may use their own boxing gloves if they wish. No boxing gloves supplied by BeatBox Boxing Studios may be used without hand wraps. If the trainer taking the class has reason to believe that any item of protective equipment, and in particular any boxing gloves belonging to the client, is inappropriate the client will be required to change such item. If the client fails to comply with such a requirement the trainer may require the client to stop all further participation or limit or restrict any further participation as the trainer considers necessary to protect the health and safety of the client, other clients participating in the class, BeatBox Boxing Studios staff, and any other person for the time being present. If further participation is stopped or limited or restricted under this clause 7.4, the client will not be entitled to any refund of any of the cost of the class or any other compensation.
7.5 A client must ensure that he or she wears clothing and footwear appropriate to the class in which he or she is participating, and avoids unsuitable jewellery or other accessories. If the trainer taking the class has reason to believe that any item of clothing or footwear is inappropriate, or any item of jewellery or other accessory is unsuitable, the client will be required to change or remove such item. If the client fails to comply with such a requirement the trainer may require the client to stop all further participation or limit or restrict any further participation as the trainer considers necessary to protect the health and safety of the client, other clients participating in the class, BeatBox Boxing Studios staff, and any other person for the time being present. If further participation is stopped or limited or restricted under this clause 7.5, the client will not be entitled to any refund of any of the cost of the class or any other compensation.
7.7 If at any time during participation in a class a client suffers any injury or illness (however minor), the client must immediately disclose this fact to the trainer taking the class. Thereafter the client shall provide such further information relating to the injury or illness as the trainer may reasonably request. If the trainer has reason to believe that the client has any injury or illness which with any further participation would or could be a risk to the health and safety of the client, other clients participating in the class, BeatBox Boxing Studios staff, or any other person for the time being present, the trainer may require the client to stop all further participation or limit or restrict any further participation as the trainer considers necessary to avoid such risk. If further participation is stopped or limited or restricted under this clause 7.7, the client will not be entitled to any refund of any of the cost of the class or any other compensation, but BeatBox Boxing Studios may (but is not obliged to) hold the cost of that class to the credit of the client and apply that credit to another class to be selected by the client (subject to availability).
7.10 Without prejudice to the foregoing provisions of clause 7, at all times during participation in a class a client must do all such acts and things, and comply with all such directions and instructions, which the trainer taking the class considers necessary to protect the health and safety of the client, other clients participating in the class, BeatBox Boxing Studios staff, and any other person for the time being present. If the client fails to do any such thing, or comply with any such direction or instruction, the trainer may require the client to stop all further participation or limit or restrict any further participation as the trainer considers necessary to ensure such protection. If further participation is stopped or limited or restricted under this clause 7.10, the client will not be entitled to any refund of any of the cost of the class or any other compensation.
9.1 BeatBox Boxing Studios will use the personal information you provide in connection with your membership, your purchase of classes and packages of classes, your attendance at classes, and to inform you about our boxing themed cardio and strength workouts and associated products. You may stop receiving information at any time by contacting us to request this.
9.2 BeatBox Boxing Studios will only give your personal information to third parties where the law either requires or allows us to do so.
10.1 If BeatBox Boxing Studios fails to comply with these terms and conditions, it will be responsible for any loss or damage you suffer that is a foreseeable result of it breaking its contract with you or it failing to use reasonable care and skill, but BeatBox Boxing Studios will not be responsible for any loss or damage that is not foreseeable. Loss or damage is foreseeable if either it is obvious that it will happen or if, at the time the contract was made, both BeatBox Boxing Studios and you knew it might happen.
10.2 BeatBox Boxing Studios may transfer its rights and obligations under these terms and conditions to another organisation. BeatBox Boxing Studios will always tell you in writing if this happens, and it will ensure that the transfer will not affect your rights under the contract.
10.3 You may only transfer your rights or your obligations under these terms and conditions to another person if BeatBox Boxing Studios agrees to this in writing.
10.4 The contract is between BeatBox Boxing Studios and you, and no other person will have any rights to enforce any of its terms.
10.6 Even if BeatBox Boxing Studios delays in enforcing the contract, it can still take enforcement action later. If BeatBox Boxing Studios does not insist immediately that you do anything you are required to do under these terms and conditions, or if BeatBox Boxing Studios delays in taking steps against you in respect of your breaking the contract, that will not mean that you do not have to do those things and will not prevent BeatBox Boxing Studios taking steps against you at a later date.


Sets the application access for a keychain.
In addition to the ACLs for individual keychain items, the keychain itself has ACLs. However, they are currently unused and this function isn't implemented.
A reference to the keychain for which to set the access. Pass NULL to specify the default keychain.
An access object of type SecAccess containing access control lists for the keychain. See Access Control Lists for more information about creating an access object.
Retrieves the application access of a keychain.


Cleaning is not my thing. Often the mere thought of it makes me want to have a cup of tea and watch True Blood instead. However, the sense of satisfaction afterwards makes me feel great. Over the years of forcing myself to clean, I've compiled a list of tricks to instantly clean your home, because I know I can't be the only twentysomething out there who hates cleaning.
To be honest, it's not actually the cleaning part that I hate, it's the thinking about cleaning that totally puts me off. I am my own worst enemy. I always find other jobs to do or make plans to meet up with friends, when really I should be at home vacuuming and scrubbing the tub. When I eventually get going and I've got my favorite music playing and I am watching my progress unfold, I actually feel great. However I often end up cleaning only when I need to because I can't stand the thought of spending my precious spare time on my hands and knees scrubbing the toilet — I mean, who really wants to do that?
So for anyone else out there who is a "I'll clean when I have to" kind of gal, here are seven speed cleaning tips for you.
Guests coming within the hour? Hop to it with a feather duster and tackle all of those surfaces that are in plain sight. You're not going to need to worry about rooms which your guests probably won't venture into, so focus on the main living spaces and dust like you've never dusted before. You can do a deep clean when they've gone and you can vacuum up the dust which spills onto the floor — more on that point shortly.
As with the dusting, stick to the key areas, in particular the ones that people will walk over and potentially see crumbs and debris. If you don't have a cordless vacuum cleaner, I highly recommend you invest in one. My grandma has one and it's just awesome. Spill cookie crumbs on the floor? Whip out your cordless vacuum. Someone brought some dry mud in on their boots? Let your cordless vacuum make easy work of it. They're usually light and very convenient without having a cord to hold you back — you can reach different areas in your house without having to unplug and plug in again somewhere else. And some models don't even need bags. Genius!
Taking out your trash can instantly make your kitchen look (and smell) better. The same can be said for bathroom garbage cans or home office trash cans. I know it's tempting to leave your trash piling up until it's almost overflowing but for goodness sake, just take the trash out! There's a special place in hell for people who balance things precariously on top of the garbage just because they don't want to take the trash out. Spoiler: This was definitely me in college — sorry former roommates!
Give your home an instant refresh with a natural, people and pet safe air freshener such as this Eco-Me Vitamin-Infused Air Freshener. Not only will it leave your home smelling super fresh with its minty scent but it is also infused with vitamin B. Many chemical based air fresheners just mask smells and some chemical air fresheners contain phthalates which may be bad for your health, according to TIME. Eco-Me's food-grade, plant-based formula cleans effectively and safely. If you haven't cleaned in some time, you may wish to do your thing and then spritz this handy air freshener around to make sure any lingering smells are eliminated.
I don't currently have a steam mop, but it's definitely on my list of household items to buy. My auntie and grandma both have a household steam cleaning machine and they swear by it. You could shave valuable minutes off your time schedule by not having to fill a mop bucket, organize your preferred floor cleaning chemical, and then wring out the mop multiple times while you're trying to get to work. Just fill your water tank and switch it on. This model takes about a minute to heat up, so use this minute to clear your path and then get steaming! Plus it sanitizes with steam so you don't have to mess around with cleaning products; just whizz around with your steam mop.
Decluttering is the best way to make your home look clean in an instant. Start by throwing away any trash that may be lying around, and next move onto putting things away where they should be, including putting dirty laundry in the laundry basket, and make things look organized, clean, and in their proper place. Be honest and ask yourself, "Do I really need five pretentious-looking, heavy books lying on my coffee table?" Clutter is an easy thing to tidy up and it makes your home look much cleaner when it's tidied away. It's like a cleaning magic trick for lazy girls.
Clean the air in your home just by opening a window. According to an article by Healthy Child, Healthy World, an organization that aims to make families healthier, opening a window can drastically reduce indoor air pollution, which occurs from a wide range of everyday household items such as cleaning products and furnishings, according to the U.S. Environmental Protetion Agency. This also gets rid of stagnant air, as well, and will make your home feel fresh and clean again.
Happy cleaning, fellow lazy gals. You'll feel better when the job is done.


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Hiring now: Administrative Supervisor required. Experience: 1 - 2 years. Filipino preferred. Employment visa provided. Accommodation. Medical insurance. Salary: AED 10,000.
Hiring now: Administrative Supervisor required. Experience: 5 years minimum. Female preferred. Accommodation provided. Medical insurance provided. Salary: AED 8,000.


I'm back on the wagon! WHOOOHOOO! I finally felt comfortable enough in my own skin to get back on the scale and guess what!??! I'm back to my pre-vegas weight!! I realize now that I was ridiculous for not weighing myself before, but in reality it's not about the number on the scale. It's how I feel…and when I feel gross, I really don't care what the number is! It really is amazing to me how much better I feel when I'm following the isAgenix program. I have truly so much more energy, am definitely not as cranky, and overall just have a more positive outlook! Today is a good day!


text: Q: Are all finite groups isomorphic to multiplicative group of a ring Are all finite groups isomorphic to the multiplicative group of a ring. If I know the multiplicative group, can I define the addition as a function of 2 variables for all groups?

redpajama_set_name: RedPajamaStackExchange


If you're looking for problems in other fields with high impact, the modern healthcare system offers plenty at every level. Many are seemingly intractable, carry tremendous costs, and have serious consequences for patients. While Feynman's calculus techniques aren't directly applicable, the universal truth about problem solving still applies: the best way forward when current methods are ineffective is a change of approach.
One example of those persistent issues involves communication between healthcare providers. In 2010, The Joint Commission traced the majority of serious medical errors back to poor communication during the patient hand-offs that occur when shifts change or patients are moved. In a hand-off, the original provider has to give the new provider a brain dump, consisting of the most relevant status for each patient, what to look out for, and near-term working plans. The electronic medical record (EMR) itself typically isn't used to convey this information — it lacks the summary of near-term plans as it evolves, and makes it easy to miss the most immediately relevant information by burying it among voluminous historical documentation used for billing. Additionally, the size of the permanent medical record makes it impractical to read through for every patient at the start of each shift. As a result, in most hospitals hand-offs occur with a combination of verbal summaries from memory and written notes compiled at the end of a shift.
Approaches like these have been used for decades, and despite attempts at process improvements, missed information during hand-offs remains a leading source of errors. Healthcare IT also hasn't provided a coordinated response to this problem, with most EMRs simply not attempting to tackle hand-offs, and the few systems that do advertise hand-off support often experiencing low adoption rates for the feature due to usability concerns. If a tool like this isn't adopted, it may as well not have existed in the first place. There are many reasons for the usability problems, but a big one that's often overlooked has to do with an EMR-centric approach to solving problems.
In healthcare IT, the central organizing metaphor is the traditional medical record, the folder full of paper documents that details the history of each patient's care. Until recently, hospitals and medical offices kept—and many still keep—rows of metal filing cabinets in their basements containing the records for thousands of patients. The EMR was conceived as an electronic replica of these paper records, one that applies database technology to make filing and retrieval more efficient.
On that front, the EMR succeeds admirably. But when all you have is an EMR, everything else looks like a medical records problem. So to the extent that healthcare IT has made the EMR its centerpiece, the remaining problem — the ones that don't correspond well to the medical record model, and remain perennially unsolved — are perceived as niche, hard-to-categorize issues where technology either wouldn't help, or would require ad-hoc custom solutions of unknown complexity and risk. Given that many hospitals are focused on implementing EMRs to achieve Meaningful Use guidelines, these projects may not be attempted at all.
Over almost two decades of work in healthcare IT, I designed and built those kinds of custom solutions outside the EMR — dozens of clinical tools that integrated with each other and with existing vendors' systems, filling serious gaps that the vendors couldn't address for whatever reason. I was never short of projects to choose from, because in every corner of the hospital, there were processes and procedures that a small, carefully selected piece of modern information technology could improve immensely.
One of my projects specifically addressed the hand-off problem for students in Brown Medical School's residency program, and has now been in active use for about 10 years. It succeeded by taking a step away from a conventional EMR-based workflow, which would have involved opening detailed medical records individually, and instead basing its design on the multi-patient worksheets that residents used when writing their patient summaries at the end of a shift. It combined the best attributes of those paper worksheets — quick access, simple single-page design, and information at a glance — with accurate, pre-filled information made possible by modern web app development tools and integration with the hospital's clinical IT systems, eliminating a significant source of error and wasted time. Previously, residents had been looking up their patients one by one in the EMR at the end of each shift and copying out the relevant labs and meds by hand, a tedious and error-prone process that the new resident signout system addressed automatically.
The system was first deployed to the residency programs of two academic hospitals, and was flexible enough to grow to include fellows, attending physicians, nursing staff, and the clinical staff of a non-academic hospital, logging more than a million hours of active use.
While that project benefited from the ability to adopt the modern web app development tools that were maturing at the time, another shift is now underway, with mobile devices becoming pervasive. Mobile devices have proven themselves handily for communication outside the healthcare space, and healthcare IT is now expected to extend their uses to securely communicating patient information. Yet the legacy platforms used by many IT vendors are poorly suited to programming mobile applications, and as a result, many EMRs have severely limited functionality on mobile devices. Many iPad deployments boast EMR integration but only offer access via programs like Citrix, a way to remotely control existing mouse-based desktop software running on a remote server that comes at a huge cost in network bandwidth, responsiveness, and user efficiency. On a smartphone or tablet, a typical side effect is that the user has to keep zooming in and out to view information.
Besides mobile, another maturing technology that's underutilized in healthcare IT's toolbox involves real-time updates and communication, an idea that (not coincidentally) also maps poorly into a medical-records mindset. Combining both mobile devices and real-time communication enables new solutions that were difficult to conceive of only a few years ago. In terms of the hand-off problem, it allows providers to update notes and collaborate on task lists throughout the day as they work, instead of relying on memory and copying handwritten notes, and to see a map of a patient's care team as it exists in real time.
Care Thread was born out of each of the founders' experiences with challenges in different parts of the healthcare system. Our technology is based on a new core platform for real-time communication and collaboration, designed from the ground up to route updated information seamlessly across mobile apps and web clients, as a complementary asset to the EMR. The tasks which EMRs were traditionally the least adept are ones for which Care Thread's box of tools is designed to excel at managing. As hospital safety and productivity become constrained less by basic information retrieval and more by collaboration and workflow issues, Care Thread's tools become increasingly necessary. Like Feynman's integration method, we aim to use them to solve the most difficult problems.


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Il Rally d'Estonia 2021, ufficialmente denominato 11. Rally Estonia, è stata la settima prova del campionato del mondo rally 2021 nonché l'undicesima edizione del Rally d'Estonia e la seconda con valenza mondiale. La manifestazione si è svolta dal 15 al 18 luglio sui veloci sterrati che attraversano le campagne sud-orientali del paese baltico; le prove speciali si svolsero nel territorio attorno alla città di Tartu, base principale del rally nonché sede del parco assistenza.

L'evento è stato vinto dal finlandese Kalle Rovanperä, navigato dal connazionale Jonne Halttunen, al volante di una Toyota Yaris WRC del team Toyota Gazoo Racing WRT, seguiti dalla coppia irlandese formata da Craig Breen e Paul Nagle e da quella belga composta da Thierry Neuville e Martijn Wydaeghe, entrambi gli equipaggi alla guida di una Hyundai i20 Coupe WRC della squadra Hyundai Shell Mobis WRT. Per Rovanperä e Halttunen si trattò della prima vittoria in carriera e in particolare Kalle Rovanperä, all'età di 20 anni, divenne il pilota più giovane ad essersi aggiudicato una gara del mondiale WRC, battendo il precedente record detenuto da Jari-Matti Latvala, ora suo direttore sportivo, il quale vinse il Rally di Svezia 2008 quando aveva 22 anni.

I norvegesi Andreas Mikkelsen e Ola Fløene, su Škoda Fabia Rally2 Evo della squadra Toksport WRT, hanno invece conquistato il successo nel campionato WRC-2, mentre i russi Aleksej Luk'janjuk e Jaroslav Fëdorov hanno vinto nella serie WRC-3 anch'essi alla guida di una Škoda Fabia Rally2 Evo. In Estonia si disputava anche la terza prova del campionato Junior WRC, che ha visto vincere l'equipaggio finlandese composto da Sami Pajari e Marko Salminen su Ford Fiesta Rally4.

Dati della prova

Itinerario

Risultati

Classifica

Legenda

Prove speciali

Power stage
PS24: Tartu vald 2 di 6,51 km, disputatasi domenica 18 luglio 2021 alle ore 14:18 (UTC+3).

Classifiche mondiali

Classifica piloti

Classifica copiloti

Classifica costruttori WRC

Note
Annotazioni

Fonti

Altri progetti

Collegamenti esterni

 2021

redpajama_set_name: RedPajamaWikipedia


Run a good school or program? Thinking about how to increase your impact? Replicating the program is just one of a dozen strategies for extending impact. There are four basic scaling strategies for instructional programs: school operator, school developer, advocacy, and program. Each includes a couple variations.
Control staffing & resource allocation, provide student supervision.
Multi-district program operated under district contract.
Moderately difficult to form, provides moderate control.
Risk of being discontinued with regime change (i.e., less sticky than having a school code).
Example: AdvancePath operates contract dropout recovery academies.
Career center program operated under contract.
Leverage policy/finance/transportation infrastructure of local career centers.
Moderately difficult to form, low-risk long term, and small potential (perhaps dozens of sites).
Moderate to high difficulty to achieve local or state authorization (varies by state).
Challenging relationship with districts but relatively low-risk of losing a charter with effective operations (i.e., less risk than contract operation).
Even though charters typically receive lower reimbursement than districts, charter operation may provide more or at least more flexible funding than operating under a contract.
Best opportunity to innovate learning experiences and associated technology.
Examples: Managed high school networks in California include Alliance, Green Dot, and Summit (see list of 40 national CMO).
Support development of schools but without operating control.
Franchise network: Comprehensive program requirements and supports but without direct management control.
KIPP Foundation provides design principles, leadership development, technical and philanthropic support, and convening. All KIPP schools operate as public charters.
Big Picture Learning provides design principles, leadership development, technical support, and convening. Schools are charter or district contract.
Platform-centric network: Support schools that share a platform and services.
New Tech Network provides design principles, a learning platform, technical assistance, and convening. (Schools are 90% district operated; $400k startup cost).
Nexus Academies is a network of individual charter high schools that share Connections Education platform and support.
Certification-centric network: National Academies Foundation (NAF) supports 667 high school career academies with common design and support services. They are rolling out a new college and work ready certification program that incorporates a body of work including an internship (see feature).
Grant-centric network: YouthBuild is a network of high school programs aimed at boosting employability in construction-related trades. Most of the schools are recipients of a federal grant and affiliate with YouthBuild USA for technical assistance.
Potential for big reach but no programmatic control; typically 100% philanthropic support.
Alliance for Excellent Education advocates for better high schools and manages the federal Future Ready grant which connects districts making the digital conversion.
iNACOL & CompetencyWorks advocates for next generation models and competency-based learning.
Provide curriculum, technical assistance, convening, and professional development; moderate potential for reach, implementation fidelity varies widely, but this approach is potentially self-sufficient.
Curriculum: Project Lead The Way.
Advising: AVID provides a guidance structure with curriculum and professional services.
Technical assistance: Envision, a school network now provides PBL support.
School improvement services: Pearson, which purchased America's Choice.
Professional development: School Improvement Network.
Publications and convening: Solution Tree.
The following table summarizes scaling options ranging from limited to comprehensive school designs (Y axis) and the level of control and support (X axis). Low requirement and low support solutions are the easiest to scale but yield highly variability results (e.g., Alliance Future Ready initiative). Managed networks offer high fidelity execution and great opportunity for R&D work but they are labor and capital intensive to scale.
As noted above, NAF's addition of a certification program adds value to network membership and makes affiliation stickier. As employers begin to adopt the certification, it will build demand for network membership (more on using pull marketing in the next post).
What's the right scaling strategy for your school or program? The answer might be dictated by your ability to raise money. Each strategy has a different fund raising profile (e.g., some funders will only support charters, some will only support district programs) and every region is different. To the extent possible, test the efficacy of strategies and the funding viability before betting the ranch on national expansion.


It was recently reported that yesterday Kenya Moore's fans enjoyed the opportunity to meet her at Lenox Square in Atlanta at 'Alex and Ani'. From 12 to 2 p.m. she was there. Now, she's offering her gratitude to everyone who went to see her.


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Home Education Study Group announces new US partnership with Florida Atlantic University
Study Group announces new US partnership with Florida Atlantic University
New Delhi: Study Group, a leading provider of international education is delighted to announce a new partnership in North America with Florida Atlantic University.
Florida Atlantic University is ranked as a top public higher education institution by U.S. News and World Report and has been described as "an energetic and fast-growing institution, determined to propel itself to the forefront of innovation and scholarship." It has more than 30,000 undergraduate and postgraduate students and offers over 4,800 internship placements to support graduate employability at global companies including Google, Apple, and General Motors and PricewaterhouseCoopers.
Study Group shares Florida Atlantic University's strategic focus on developing students' professional skills. It has been selected as Florida Atlantic University's trusted partner of choice to recruit international students to a range of programs due to its reputation and expertise in global education and partnerships with over 50 universities worldwide. Study Group was also recently named Pathway Provider of the Year at the Global Education Investor Awards.
Study Group CEO Emma Lancaster said, "Florida Atlantic University – with its excellent main campus location in Boca Raton and strong investment in sought after science, technology, engineering, and mathematics (STEM) programs - is expected to become a popular choice for international students planning to study in the US. We are very much looking forward to sharing this exciting study destination with students around the world. Study Group's international marketing, student recruitment and admissions expertise will support Florida Atlantic University to achieve its international student recruitment goals, which also benefits the whole university community, providing the opportunity for local students to learn from their global peers in a highly connected world."
Russ Ivy, Senior Associate Provost of Florida Atlantic University, also welcomed the partnership, commenting, "We are very pleased to announce this important partnership with Study Group and we look forward to welcoming international students from across the world to our beautiful campus where they can expect an excellent education and welcoming student community."
Study Group will be accepting applications from 1 February 2022 and looks forward to new international students joining Florida Atlantic University in Fall 2022.
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Last week, Shiok Meats made history.
Bolt Threads is a company that likes silk. Silk ties, silk toques, they're all about it. But their silk isn't ordinary.
Geltor raised a massive $18.2 million to complete their Series A financing.
Meatable announced that they raised $3.5 million to complete their first round of funding to bring cell-based meat to Netherlands.
We live in an anti-GMO era.


Rockhampton, AU. – Kerilyn's life was saved by a voice that she heard in her head.
The voice told her that she was about to wreck into a guide post, and because of that warning, Kerilyn was able to prepare herself for it.
She believes wholeheartedly that the voice belonged to her guardian angel.
"He's been with me my whole life," she said.
Kerilyn states that she has always been aware of the fact that she was different then other people around her ever since she was a child. She began having strange nightmares, as well as an invisible friend that has stayed with her ever since.
"I see what will happen to other people," said Kerilyn while on a visit to Rockhampton this past week.
Kerilyn is a very well known international psychic, but Rockhampton seems to be even more aware of her and her amazing psychic abilities.
Rockhampton offers Kerilyn a good client base and she likes to stop there every few months, mostly in between her travels to Los Angeles, New Zealand, and other cities in Australia.
Kerilyn has had psychic abilities for about 28 years and she loves using these gifts to help people who are a struggling in their life, or are battling grief and personal issues.
"I just don't go up and say this is going to happen, I approach it in a healing way, it's about supporting people," says 54-year-old Kerilyn.
"I work in the grief process, and work with people who have had sexual assaults and young girls with eating disorders; I guess I work differently from your normal classified psychic. A lot of people come to me and say is there another place to go to, and I certainly say there is," she adds.
Kerilyn's psychic abilities may have been passed down from her mother because she too, has the ability to foretell the future of others.
"My mother said that this would happen to me and she wanted me to be ok with it," she says.


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View MINI FOOTBALL Sections
Training Times/Coaches
Minis Calendar
About Sylvans Minis
We have a thriving Mini's Football section which caters for boys and girls from reception year through to year 7. The club has excellent facilities and very enthusiastic trained coaches to give every child the best possible chance of enjoying their football. Mini's sessions take place on Saturday mornings at our St Peters pitch from early September through till early May with a small break at Christmas.
Competitive league football does not start until Year 6 and 7 when club teams take part in the Corbet Cup league and the Corbet Cup Shield league. For Years 2 - 5 friendly tournaments take place every 4 weeks throughout the season. Reception & Year 1 are not permitted by English FA rules to take part in competitive football, but inter-club joint training sessions will be arranged from time to time.
All training sessions try to incorporate a variety of elements focusing on player development and teaching the core skills and techniques of football. We believe this concept will help improve players, regardless of their age, sex or ability. All sessions are delivered in a safe environment. Developing players for the future and providing football for the local community is what the Sylvans Mini's is all about, all players new and old are welcome.
Big Kick Off !
Our season kicks off the first Saturday following beginning of the Autumn School term, usually the first or second weekend in September. Minis will run every Saturday apart from a 2 week break at Christmas and 1 week at Easter until early May. Please follow us on Twitter for up to date details @SylvansMinis .
All groups will start at 10:00am and finish at 11:30am with the exception of Reception & Year 1 which will finish slightly earlier at 11:15am. All old and new players are welcome.
New players are free to come along and have a go on a trial basis to see if they like it. There is no obligation to pay subs until they are settled in, which we would normally expect to know a few weeks in.
Children are welcome from Reception year onwards. Please spread the word, the more the merrier.
Kit can be purchased from the online shop when children are settled. In the meantime, new players are free to play in their own suitable clothing, but which must include shin pads and suitable footwear.
Subscriptions for the coming season will be £100 per player for Reception to Year 5 players and £110 for Years 6 and 7 players.
The costs of providing football, training coaches and maintaining the facilities are increasing all the time however we hope this still represents excellent value for money.
All subscriptions should now be paid for via PayPal, click here to pay.
Please ensure subscriptions are paid no later than 30th September.
Please follow us on twitter @SylvansMinis where we'll post important updates during the course of the season. We'll make every effort to go ahead with all training sessions and matches however if the weather is really bad or the pitches unplayable training may be cancelled.
The Sylvans hotline number is 12012 and we'll endeavour to update this by 9.15am each Saturday - If in doubt please check with your coach.
Kit and Training Wear
We will have a range of mini match kit, training kit & leisurewear available to purchase at the Club House during the season on the club website http://www.sylvanssc.org/ecommerce/category/matchday-kit
All players will be expected to wear Sylvans kit when taking part in in inter-club friendly matches or when taking part in friendly football festivals during the season.
We advise kit only be purchased for new players once players have settled in.
Our main car park can become very busy on Saturday mornings.
Please car share when you can. Additional parking is also available at our field at the back of our training pitch which can be accessed from Rue St Pierre; the road is running towards St Saviours Church from the Longfrie crossroads. Please use this facility. Our pitches can be accessed directly from the back of this field.
Parking is not allowed in the coned off area directly in front of the clubhouse on Saturday mornings. This is to ensure the safety of the children crossing and using the canteen.
Please note that parking directly in front of St Peters Post Office or in the spaces at the old HSBC building is prohibited to attend Sylvans or games at Les Brehauts. Please ensure that you comply with this request.
Respect campaign
As an FA Community Club, Sylvans SC is a fully signed up member of the FA Respect campaign. A key part of this is spectator behaviour. Please only offer encouragement from the side-lines and do not openly criticise players, coaches or officials either at matches or training sessions.
At minis and juniors ages, it is particularly important for spectators not to coach from the side-lines…there is nothing more confusing for young players than to be told one thing by their coach and another by a spectator.
We want ot encourage our players to make decisions for themselves when playing the game, which is a key part of their football development. No matter how frustrating it can get please bear this in mind.
Minis are sponsored by:


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Palin Polls
Editor and Publisher summarizes the first post-Palin polls:
Here's a finding from Gallup: Among Democratic women — including those who may be disappointed that Hillary Clinton did not win the Democratic nomination — 9% say Palin makes them more likely to support McCain, 15% less likely.
From Rasmussen: Some 38% of men said they were more likely to vote for McCain now, but only 32% of women. By a narrow 41% to 35% margin, men said she was not ready to be president — but women soundly rejected her, 48% to 25%.
Only 9% of Obama supporters said they might be more likely to vote for McCain.
Overall, voters expressed a favorable impression of her by a 53/26 margin, but there was a severe gender gap on this: Men embraced her at 58% to 23%, while for women it was 48/30.
And by a 29/44 margin, men and women together, they do not believe that she is ready to be President.


Sigmund Freud and a Tyrant take a journey together on a boat into the mountains. My video work, 'Mountain', investigates Sigmund Freud's connection to the neighbouring villages of Berchtesgaden and Schönau am Königssee, in Bavaria, Germany, where he often spent his holidays between the late 1800s and 1929. In a rented house in Schönau, Freud wrote his seminal work 'The Interpretation of Dreams' in 1898. The region is infamous as the base for the National Socialists. Hitler and Freud are reported to have been in the small village of Berchtesgaden at least twice in the 1920s at the same moment, a relatively unknown historical fact. In making 'Mountain', I have explored theories Freud examined in Group 'Psychology and the Analysis of the Ego' (1921), specifically his theories about mass psychology and the supplantation of the super-ego with the will of the Tyrant. His personal connection to the historical character of Hannibal, and neurosis about reaching Rome, alluded in 'The Interpretation of Dreams' (1899), are also reflected in the work. The footage was taken from a boat launched at Schönau am Königssee steered through the mountains to St Bartholomew. This trip was one Freud did almost daily, in a wooden boat rowed by 'four strong local women', while on holiday in the region.
Pilar Mata Dupont is an Argentinean/Australian artist based between Australia and the Netherlands working in video, installation, performance, and photography. Using highly theatrical and cinematic methods, she uses allegory and narrative to reimagine/rework histories and classical texts, and aims to create alternative readings that question the conditions of the construction of dominant narratives that shape history. In 2015, she won the Plymouth Contemporary Open in the UK, and the Wexner Center for the Arts residency prize at the '19th Contemporary Art Festival Sesc_Videobrasil' in São Paulo. Her solo exhibition, 'Kaiho', opened in the Rappu space at the Pori Art Museum, Finland in 2014. Other recent exhibition highlights include the 'SeMA Biennale – Mediacity Seoul', at the Seoul Museum of Art and 'Salon Fluchthilfe', at Secession in Vienna and Württembergischer Kunstverein, Stuttgart. In 2012 she was a recipient of a Mid-career Fellowship from the Western Australian Government. In collaboration with Tarryn Gill, she participated in the Sydney Biennale and won the Basil Sellers Art Prize in 2010, and as part of collective Hold Your Horses, she made work commissioned by the Akademie der Künste in Berlin in 2012 for the exhibition 'Wagner 2013: Künstlerpositionen'.
Dietmar Brehm is born in 1947 in Linz 1967-72 studied painting at the University of Fine Arts/Linz. Professor at the University of Fine Arts/Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad.
THE BALLROOM With his typical sardonic and irreverent approach, Federico Solmi has orchestrated a masquerade between history's most feared and beloved leaders in his latest work, 'The Ballroom'. In the installation, videos display surreal vignettes of a lavish ballroom party that converge multiple narratives of gluttony, gossip, and over the top exuberance. The follies of each overly ambitious leader result in a chaotic festival of drinking, smoking, dancing, and feasting. A vain display of ridiculous costumes, shining with medals and jewelry, promote a visual disorder that coalesces with the indulgent antics of these powerful figures. Rather than reimagining history, the leaders enter into our conceited present-day celebrity culture. They call to fault our own complacency and perpetuation of skewed historical myths and perspectives.
Solmi's elaborate installations combine 3D animation and video game technology with paintings, drawings, and kinetic sculptures. Bright colors and a satirical aesthetic portray a dystopian vision of our present day society. Through an intricate process in which technology and hand-painting merge into an organic whole, his unique approach renders the most loathed aspects of modern life. With garish imagery and mesmerizing movement, Solmi expresses a harsh criticism toward the system that approves and trusts without questioning the fragile foundation on which our culture and post-modernist society is based. Federico Solmi, (lives and works in New York). In the year 2009, Federico Solmi was awarded with the John Simon Guggenheim Memorial Fellowship in the category of Video & Audio by the Guggenheim Foundation of New York. He is currently a visiting Professor at Yale University School of Art, New Haven (CT). Solmi has been featured in solo museum exhibitions at the Haifa Museum of Art, Israel (2016) Museo de Arte Contemporaneo del Zulia, Maracaibo Venezuela (forthcoming), and the Centro Cultural Matucana 100, Santiago, Chile (2015). His work has been included in several international Biennials, including the Frankfurt B3 Biennial of Moving image (2015), the First Shenzhen Animation Biennial in China (2013), the 54th Venice Biennial (2011), and the Site Santa Fe Biennial in New Mexico (2010).
In a car workshop type space, between the pristine surfaces of car parts, archetypes of mass production, a construction of power is unfolding between a Dobermann Pinscher and its owner. A Dobermann is a special breed, it's gracious, loyal, and potentially aggressive to strangers. It needs severe training. Both the owner's and the dog's consciousness are formed within this relationship. By the obedient appearance of the dog, it seems to concede to the rules it's been given. But by knowing the rules it starts to gain power itself. The impression the video gives moves between floating through an abattoir where fresh slaughtered livestock is vertically stored and moved around in this almost perfectly hidden horror of death, and a peek into a shop window, where commodities are on display, waiting for a buyer in their best possible appearance. Starting from Wilfrid Sellars theory on the self: If the abattoir represents our scientific self; our matter, our genetic material, our flesh and bones without moral or ethics. In the image of the shop window our manifest self is reflected, a self constructed in a social context, a world of abstractions, of language and reasoning.
By the time the zoo is closing, detained animals feeling frustrated and confused. The only thing they can do is retaining a slight degree of consciousness, waiting for the changing of time. `Demos` is a lyrical assemblage of the observational footage collecting from various places. The film is an attempt to depict the gloom, the oppression and the surreal reality under the military regime since the coup in 2014.
Danaya Chulphuthiphong lives and works in Bangkok, Thailand. She holds a BA in Archaeology and MFA in Visual Arts. She started her career as a documentary photographer for a newspaper and a magazine. She is interested in lens-based arts and works with both still and moving images. In 2014, Danaya made her first short film `Night Watch` which has been selected for participation in the International Competition of the 61st International Short Film Festival Oberhausen, Experimenta India and won the Special Jury Prize from Fronteira, The International Documentary and Experimental Film Festival. The film was also screened as part of the 28th Images Festival, Hors Pistes Tokyo, Arkipel, KLEX, Pori Film Festival and the 26th Singapore International Film Festival. In 2016, Danaya released her second short film, `Demos` which has been selected for participation in Southeast Asian Short Film Competition of the 27th Singapore International Film Festival and won the BACC award from the 20th Thai Short Film and Video Festival.
Baden Pailthorpe's MQ-9 Reaper II (That Others May Die) 2014 is a surreal exploration of the MQ-9 Reaper drone and its networked human and non-human agents. Originally commissioned by Artspace, Sydney for Mark Feary's exhibition On Return and What Remains (2014), including Omer Fast, Richard Mosse and Harun Farocki, MQ-9 Reaper II sits in between the reflections and refractions of the contemporary state of remote warfare. It combines cultures and politics of the military-industrial complex, corporate warrior culture, war trophies and interior design. A renovated drone control centre is redeployed from the ground to the air over a mountainous Afghan-American landscape, offering a new kind of luxury for the drone operator/corporate warrior, complete with marble floors, leather couch and cutting-edge contemporary war art. The hydraulic wall can be lowered for entertaining, personal training or surveillance. The slowly rotating unit allows for panoramic views and constant situational awareness. This speculative, controller architecture is cut with images of that which it controls. Two incarnations of the MQ-9 Reaper drone, the classic General Atomics USAF model, and its own idealised reflection contemplate each other and their increasing sense of semi-autonomous agency.
Baden Pailthorpe (b. 1984) is part of a generation of artists whose practice is shaped by Internet culture. He holds a Ph.D from the University of New South Wales, an MFA from l'Université Paris VIII, an MA from COFA and a BA from the University of Sydney. Much of Baden Pailthorpe's work consists of hyper-real animations, video and sculpture that engage with the spatiality of power, politics and the cultures of late-capitalism. Significant exhibitions include GAME ART/VIDEO, 21st Triennale di Milano, Milan (2016); Spatial Operations, Newcastle Art Gallery, Newcastle (2015); Guarding the Home Front, Casula Powerhouse, Sydney (2015); On Return and What Remains, Artspace, Sydney (2014) & CACSA, Adelaide (2015); Students of War, Hors Pistes, Centre Pompidou, Paris (2014); Cadence, Westspace (2014); Moving_Image 10, La Gaîté Lyrique, Paris (2013); and Rencontres Internationales, Palais de Tokyo, Paris (2012). Baden's work is held in significant private and public collections, including Artbank, Australia; Australian Parliament House Art Collection, Canberra; Newcastle Art Gallery, Newcastle; The Art Gallery of South Australia, Adelaide; The Australian War Memorial, Canberra; The Netherlands Media Art Institute (NIMk), Amsterdam; The National Library of Australia, Canberra; and UQ Art Museum, Brisbane.
Barcelona-born, but a longtime New Yorker, Antoni Muntadas figures among a first generation of artists investigating the social and political significance of information and broadcast media. This thirty-year retrospective, first seen at the Pinacoteca do Estado de Sao Paulo, includes several videos from the pre'fiber optic era, such as Video Is Television', 1989, which magnifies and distorts images from a host of appropriated sources, including several Hollywood films (Poltergeist, Network). Backed by a plunking score, the nearly indecipherable TV images are overlaid with captions such as CONTEXT and FRAGMENT: blunt reminders of mass media's partiality and its constitutive power. An even earlier interactive installation, On Subjectivity, 1978, invites visitors to comment on media images divorced from their original context and therefore'a critical 'therefore' for the artist'shorn of their original meaning.
Pilar Mata Dupont films the banks of a lake in Bavaria where Sigmund Freud and Hitler may have crossed paths in the 1920s. Dietmar Brehm films a man on the telephone in reference to Fritz Lang's film, 'The Testament Of Doctor Mabuse'. Federico Solmi orchestrates a ball, bringing together the most feared and the most loved historical figures. Jan Adriaans observes a master's display of power over his Doberman. Danaya Chulphuthiphong examines the reality of a military regime. Akshay Raj Singh Rathore creates a digital world reproducing images of the Bengal Famine of 1943. Baden Pailthorpe questions contemporary war, through MQ-9 Reaper military drones II, and the aggressive culture of large businesses. In 'On Translation: Celebracions' and 'On Translation: Himnes', Antoni Muntadas compiles the almost ritualistic reactions linked to football, celebrating goals and singing national anthems. We witness the phenomenology of mass events, and the repetition of eroticised rituals. These two works are part of the series 'On Translation', in which the artist explores phenomenon linked to translation, interpretation and transcription, to lead into a simultaneously linguistic and political study, linked to the economy and culture.
Abstract Violence The images of war and migration are mainly based on the images that are being circulated in mainstream and social media. Although, these violent and manipulative images form an important element of public opinion concerning the migration flux and war, they are definitely not direct representations of reality. How to represent reality? Can we talk about the reality in the time of image culture? Abstract Violence investigates the image of current war and migration from its first place, from destroyed Syrian cities and from leftover objects. Caner questions the impossibility of representing violent images and how we interpret them within the time of the image culture. The project uses real footage that were shot by the artist in Syria during the recent war. Caner produces an abstract space with 3D scanned-rendered objects, which were collected from ruined houses to emphasize how these events become virtual and make us insensitive.
Cihad Caner was born in 1990 in Istanbul. Caner holds an MFA on Media Design and Communication. Caner lives and works in Rotterdam and Istanbul.
489 Years a pour sujet la Zone Coréenne Démilitarisée (DMZ), créée en 1953, qui sépare physiquement la Corée du Nord et la Corée du Sud. La bande de terre est longue de 248 km, large d'environ 4km. Selon les données du Ministère de la Défense de la Corée du Sud publiées en 2010, il faudrait 489 années pour enlever toutes les mines qui ont été placées sur cette frontière. Le film repose sur le témoignage d'un ancien soldat de Corée du Sud. Il est le narrateur qui donne accès à un endroit où « l'homme est interdit et où la nature a repris ses droits ».
Hayoun Kwon est née en 1981 à Séoul, en Corée du Sud. Elle vit et travaille à Châteauneuf-sur-Cher, Paris et Séoul.
An aviation field in an unknown suburb. The lake underneath the city burns the streets. The mountains throw rock into the gardens. In the crater of a volcano in Fogo, a model Brazilian city is lifted and dissolves. Two people find each other in this landscape, 50 years apart.
(b. 1986, Lisbon) JOANA PIMENTA is a filmmaker from Lisbon, Portugal, currently living and working between the United States and Brazil. Her short film The Figures Carved into the Knife by the Sap of the Banana Trees received the Competition Award at Indielisboa '14, where it premiered, the Tom Berman Award for Most Promising Filmmaker at the Ann Arbor Film Festival, and has been screened at the Toronto International Film Festival, the New York Film Festival, Jihlava, Mar del Plata, Ambulante, Edinburgh, Videoex, Taipei, among other venues. Her video installation work has been recently presented at the Festival Temps d`Images, the Fundacion Botin, Galeria da Boavista, Carpenter Center for the Visual Arts, and The Pipe Factory, among others. She works and teaches in the Department of Visual and Environmental Studies at Harvard University and in the BFA program in Film at Rutgers University, and is a fellow at the Film Study Center and the Sensory Ethnography Lab.
Deux jeunes hommes sont installés dans le désert. Aucune âme à l'horizon. Ils attendent le retour d'un troisième homme parti en éclaireur. Les deux équipes restent en contact grâce à des radios. L'éclaireur explique le chemin qu'il accomplit, et l'étendue désertique toujours plus vaste devant lui. Il raconte l'espoir qu'il place dans chaque pas qu'il fait. Les deux jeunes hommes restés en arrière écoutent ; ils projettent leurs espoirs dans le futur et l'autre côté du désert. Mais la qualité du signal radio commence à faiblir. Des crépitements se font entendre sur la liaison. De plus en plus fortement. D'abord indéchiffrable, la voix finit par disparaître. Les deux jeunes hommes se retrouvent dès lors seuls et sans nouvelles. Doivent-ils se lancer en avant ? Rester où ils sont ? La réponse qu'ils imagineront est finalement un paradoxe : que croire est aussi essentiel qu'est la conscience que croire est vain.
Après deux années passées à la Faculté de théologie protestante de Genève, Romain Kronenberg étudie la théorie musicale, le Jazz et la composition électro-acoustique au Conservatoire Supérieur de musique de Genève. Entre 2001 à 2005 à l'IRCAM où il est compositeur et sound designer, il collabore avec des plasticiens tels que Ugo Rondinone, Pierre Huyghe, Melik Ohanian et Thierry Kuntzel qui l'ouvrent à la vidéo. En 2005, il présente sa performance Dérive à la Fondation Cartier et au Palais de Tokyo, à la fois concert et tournage de la vidéo éponyme au style contemplatif et hypnotique mettant en scène l'actrice Audrey Bonnet avec laquelle il travaille depuis régulièrement En 2007, il est artiste en résidence au Palais de Tokyo puis en 2009 à la Villa Kujoyama. Depuis son retour du Japon, il travaille comme réalisateur, compositeur et plasticien. Dans ses projets récents, à la fois rigoureux et ambigus, Romain Kronenberg travaille sur l'idée de renouvellement (et de renaissance) qui saisit un monde en plein changement de paradigme. Il imagine des récits où coexistent, sans manichéisme ni même rapport dialectique mais plutôt en surimposition, des notions opposées, incarnées soit par des territoires ou par des personnages.
Guillaume Paris outlines a calm stretch of water from which an enigmatic creature gradually emerges. Taking its title from the Jungian archetype anima, the video features the universal, legendary, mythological and marvellous figure of the mermaid. Blending science fiction, archaeology and politics, Larissa Sansour and Søren Lind explore the roles of myth, history and national identity. A fictional resistance group buries rare china into the ground, aiming to influence history. Cihad Caner films a destroyed village and abandoned objects in Syria that he then reproduced with computer generated images, and reflects on the images of war and migration conveyed by the press and social networks. Hayoun Kwon adapts the testimony of a former soldier in South Korea, therefore providing access to the forbidden zone between the two Koreas. Joana Pimenta films an airfield in the suburb of an unknown city. An underground lake is on fire and burns out the streets, while mountains expel rocks into the gardens. A town disappears as a result of the volcano Fogo. Romain Kronenberg films two men in the desert. They wait for a third man who has gone off to scout. By radio, he describes his path, and the ever-expanding desert expanse before him. The voice eventually subsides. Alone and without news, the young men imagine a paradoxical answer: to believe is as important as the recognition that believing is vain.
Alain Gomis est un réalisateur franco – bissau guinéo – sénégalais. Il est né en 1972 en France, où il a grandit. En 2013, son 3ème long-métrage, Tey (« Aujourd'hui »), avec Saul Williams, est sélectionné en compétition au 62ème Festival de Berlin, puis remporte l'Étalon d'Or du Fespaco (festival panafricain du cinéma), une première pour un film sénégalais. Le film, vainqueur de nombreux prix à travers le monde, a été choisi par le Sénégal pour représenter le pays aux Oscars. En 2008, Andalucia, son deuxième long-métrage, était présenté à la Mostra de Venise (Venice Days). En 2002, L'Afrance, son premier long-métrage gagnait le Léopard d'argent du festival de Locarno. Les films d'Alain Gomis ont été sélectionnés dans les festivals internationaux les plus prestigieux : Toronto, Chicago, L.A AFI, San Francisco, Sundance, Seattle, London BFI, Sydney, Dubaï… Titulaire d'un master d'études cinématographique de l'Université de Paris la Sorbonne, en 1993. Associé à Newton Aduaka (réalisateur nigérian de Ezra) et Valérie Osouf (réalisatrice française), il travaille au sein de Granit Films. Alain Gomis collabore également avec Oumar Sall (Produceur chez Cinékap) dans un programme de formation de jeunes cinéastes et techniciens au Sénégal (Up Court-métrages), ainsi qu'à la réouverture d'un centre culturel à Dakar (projet El Mansour).
Felicity, who is proud and free, is a singer in the evening at a bar in Kinshasa. Her life changes when her 14-year-old son is the victim of a motorbike crash. To save him, she embarks on a mad dash through the streets of an electric Kinshasa, a world of music and dreams. She crosses paths with Tabu.
"Eldorado XXI" est une fable envoûtante et mystérieuse dont la vocation est de révéler une réalité ethnographique. Son décor est un village péruvien, qui s'avère être le lieu de vie humaine situé au point d'altitude le plus élevé au monde : La Rinconada y Cerro Lunar (5.500m), dans la Cordillère des Andes. La quête d'une illusion conduira une poignée d'hommes à la déchéance. Mus par des intérêts communs, ces individus disposent, pour affronter le monde contemporain, d'outils et de moyens égaux, comme le voulait la tradition dans des temps plus reculés.
Salomé Lamas (b.1987, Portugal) is a filmmaker whose work dissolves the apparent border between documentary and fiction. With an interest in the intrinsic relationship between storytelling, memory and history, Lamas uses the moving image to explore the traumatically repressed, seemingly unrepresentable or historically invisible – from the horrors of colonial violence to the landscapes of global capital. Her debut feature No Man's Land [Terra de Ninguem] (2012) premiered internationally at Berlinale and went on to screen at many major international film festivals. Her short films have been presented in art and film institutions including Museum of Modern Art, New York; Guggenheim Bilbao; Hammer Museum, Los Angeles; Museo Nacional Centro de Arte Reina Sofia, Madrid; Viennale, Vienna; Bozar Centre for Fine Arts, Brussels; and Biennial of Moving Images, Geneva. Lamas is currently a PhD candidate in film studies at the University of Coimbra, Portugal.
'Eldorado XXI' is a captivating and mysterious tale whose purpose is to reveal an ethnographic reality. The setting is a Peruvian village, the highest human settlement in the world: the Rinconada y Cerro Lunar (5.500m), in the Andean Cordillera. The pursuit of an illusion will drive a handful of men to death. Driven by common interests, these individuals possess average tools and means, in keeping with ancient traditions, to brave the contemporary world.


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Damian Matthew (born 23 September 1970) is an English football coach, former professional footballer and television pundit, who is currently first-team coach at Rangers.

As a player, he was a midfielder from 1989 until 1999, notably in the Premier League with Chelsea and Crystal Palace. He also played in the Football League for Luton Town, Bristol Rovers, Burnley and Northampton Town.

After his playing days were over, Matthew was briefly a pundit for Chelsea TV. He has also worked on the coaching staff at Chelsea, Crystal Palace, Charlton Athletic, Wolverhampton Wanderers, Southend United, Welling United and Queens Park Rangers.

Playing career
He began his professional playing career as a midfielder for Chelsea in the early 1990s, playing 21 league games and being issued with the number 8 when FA Premier League squad numbers were introduced in 1993–94. He next played for Crystal Palace but once again his first team chances were limited.

He then played for Burnley and Northampton Town before retiring from playing professionally in 1999 at the age of 29, due to injury.

Coaching career
Matthew is a UEFA qualified coach and, after retiring as a player, became a scout for Wolverhampton Wanderers, before returning to Chelsea as a Youth Development Officer. In 2003, he became assistant manager of Bedford Town.

He joined Charlton Athletic in 2006, as the U18s coach, and, in 2007, he shared this role with coaching at Maidstone United. He became Charlton's Reserve Development Coach in 2008, before later also becoming Academy Development Coach in 2010. In January 2011, he was promoted to first-team coach by new manager Chris Powell. Matthew maintained his place through the departures of Powell, José Riga and Bob Peeters, but he was sacked on 24 October 2015 at the same time as his final manager, Guy Luzon, was relieved of his duties.

Matthew joined Welling United as first-team coach in April 2016, under manager Mark Goldberg. He left the club on 14 September 2016, after only 10 matches of the 2016-17 season.

In January 2022 he joined Millwall FC's Youth Academy as Head of Coaching, taking over from Kenny Brown On 18 June 2022, Matthew was appointed assistant coach at Queens Park Rangers, under Michael Beale. However, five months later he left the club alongside Beale to join Scottish Premiership side Rangers.

References

External links

1970 births
Living people
English footballers
England under-21 international footballers
Chelsea F.C. players
Luton Town F.C. players
Crystal Palace F.C. players
Bristol Rovers F.C. players
Burnley F.C. players
Northampton Town F.C. players
Premier League players
Wolverhampton Wanderers F.C. non-playing staff
Chelsea F.C. non-playing staff
Charlton Athletic F.C. non-playing staff
Southend United F.C. non-playing staff
Rangers F.C. non-playing staff
Footballers from Islington (district)
Association football midfielders