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FLASHBACK: "World leaders were duped into investing billions over manipulated global warming data"
Published on : May 31, 2017 May 31, 2017 Published by : Jacob Palmieri
Article written by The DailyMail February 4, 2017
The Mail on Sunday today reveals astonishing evidence that the organisation that is the world's leading source of climate data rushed to publish a landmark paper that exaggerated global warming and was timed to influence the historic Paris Agreement on climate change.
A high-level whistleblower has told this newspaper that America's National Oceanic and Atmospheric Administration (NOAA) breached its own rules on scientific integrity when it published the sensational but flawed report, aimed at making the maximum possible impact on world leaders including Barack Obama and David Cameron at the UN climate conference in Paris in 2015.
The report claimed that the 'pause' or 'slowdown' in global warming in the period since 1998 – revealed by UN scientists in 2013 – never existed, and that world temperatures had been rising faster than scientists expected. Launched by NOAA with a public relations fanfare, it was splashed across the world's media, and cited repeatedly by politicians and policy makers.
But the whistleblower, Dr John Bates, a top NOAA scientist with an impeccable reputation, has shown The Mail on Sunday irrefutable evidence that the paper was based on misleading, 'unverified' data.
It was never subjected to NOAA's rigorous internal evaluation process – which Dr Bates devised.
His vehement objections to the publication of the faulty data were overridden by his NOAA superiors in what he describes as a 'blatant attempt to intensify the impact' of what became known as the Pausebuster paper.
Tagged in : Barack Obama Climate Change Donald Trump global warming Paris Climate
Categorized in : Social Issues
Will Alabama and Georgia abortion bills overturn Roe v Wade?
DHHS grants 90-day extension to UCSF to make "humanized mice" with late-term aborted babies
Weinstein's Wife Is Leaving Him After Sexual Harassment Allegations Surface
Democratic Governor Terry McAuliffe tries to cover up major voting fraud in Virgina
BREAKING: Comey is willing to testify publicly to confirm his shaky memos


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Home Products Madonna by Stella Tooth
Madonna by Stella Tooth
STH00555
Madonna is 'Queen of Pop' - symbolised by antique gold - a pop icon and poster girl for a generation.
She is also a sex goddess - signified by scarlet, the colour of passion, and the long, lacy glove she wears hints at her fashion icon status.
As a controversial figure in terms of religion - she wears Marion blue (the blue worn by the Virgin Mary in the Catholic religion into which Madonna the singer was born).
The light in my digital painting of her is ambiguous. Is it a stage light, a symbol of stardom or a religious star in the Christian or Jewish faith? At one stage Madonna was part of the Kabbalah Jewish mysticism sect.
My portrait is inspired by a photograph by Solomon N'jie who photographed stadium rockers like Madonna at Wembley Stadium in the 80s. Sol says, "Like the vertical. It reminds me of how Madonna would go to the edge of the (large) stage at Wembley Stadium lean over and sing to the fans pushed up against the front barrier."
Digital painting on Canon Pro Luster Photo paper. Framed.
Size of image: 30.48 x 30.48 x 1.5cm (12 x 12 inches).
Size of frame: 33.5 x 33.5 x 1.5cm (13 x 13 inches).
A Certificate of Authenticity will be provided with each artwork.
To watch Stella's portrait come to life, click here.

redpajama_set_name: RedPajamaCommonCrawl


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Home/All/What is the Full Form of GUI Ka?
What is the Full Form of GUI Ka?
JasonAugust 29, 2022
What is the full form of gui ka? If you are unfamiliar with the acronym, it stands for Graphical User Interface. In this article we'll go over the definition and full form of gui ka. Also known as GUI for short, it's an acronym for Graphical User Interface. Graphical User Interfaces are commonly used in computer programs. The full form of gui ka is:
A GUI is a type of user interface that lets you interact with electronic devices using graphical elements, such as buttons, sliders, and menus. It is an alternative to text-based UIs, which require you to type commands to accomplish certain tasks. It was developed to replace command-line interfaces, which require you to type in a series of text commands. GUIs are now used by almost every major industry, including the automotive industry.
The most common GUI is Windows. However, Apple IOS and Mac OS X are also popular. Google's Android interface is similar to Windows. These programs use a graphical user interface, where the pointer is the symbol on the display screen that users can move to select objects or commands. The user can then view information on the desktop, such as the amount of memory available, the size of files, the power consumption of the computer, and the types of tasks being performed.
What is the full form of GUI? There are many different types of graphical user interfaces. Some examples of these are the windows interface, icons interface, and menus interface. All of these are a way to organize information. A window represents a certain software program or feature, and it's often grouped together in a menu or ribbon. A dialog box is a clickable area that displays information for the user, and it typically requires user interaction to close.
Modern GUIs support multitasking and concurrent use of multiple related tools. This creates intriguing possibilities for HCI research. For example, users can monitor how long they spend switching between applications or tasks, or on system controls. By examining the differences between these interfaces, researchers can improve their research. For example, a GUI can track a user's activity through user switching, which is an important HCI study.
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California lit the match that fuels digital transformation. As Mark Arend of Site Selection Magazine puts it, "No other location can compete with California's internet ecosystem." California is the tech capital and cyber capital of the world, employing more than one million people.
The tech industry drives all the industries in California now. Given the scale of the California economy as the sixth largest economy in the world, there are exponential opportunities for tech companies in the state.
The California tech industry employs well over one million people. Tech jobs account for more than 10 percent of California's economy.
The tech industry in California pays over 150 billion in salaries and wages per year.
California leads the nation, with almost 50,000 tech companies based in the state.
California cities are number one in the world for supporting entrepreneurship and life-changing technologies. Silicon Valley has long been the world's most famous tech hub, but San Diego, Los Angeles, and Bakersfield are following close behind. Tech giants, top-notch tech schools, venture capitalists, and prestigious research facilities are all within close proximity in these cities, making it easy for entrepreneurs to proliferate.
Karl Ulrich, the Vice Dean of Wharton School in San Francisco states, "Increasingly, cities have become desirable destinations for young people. Entrepreneurship has become an increasingly attractive career path for young people, and these trends become self-reinforcing. Once the flywheel of entrepreneurship gets going in a region, it becomes self-reinforcing." That is certainly the case in California cities, as an increasing number of these young people pursue tech entrepreneurship in higher education and in their careers.
Technology advances began in California, and this is where the creative workforce thrives and gains momentum. Because of this, tech companies are uniquely positioned to advance into new frontiers and markets much easier and sooner than they would elsewhere.


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Troy University's Southeast District Office location will host an Open house on Wednesday, April 24 as part of a worldwide event to assist prospective students in areas of admissions and academic strategy for career development.
An in-person event will take place at the Augusta site. Local prospective students may view a virtual open house session at their convenience between the hours of 7:00 AM (CST) and 11:00 PM (CST) by visiting troy.edu/openhouse.
Application fees will be waived for those who apply for admission to Troy during a Worldwide Open House event at each location or online on April 24. This event is part of Troy University's Worldwide Open House, which features activities at the university's four campuses in Alabama and more than 20 other locations. Those wishing to participate, either in person or online, can register at troy.edu/openhouse.
For more information, contact Paige Seanor by email at pwester@troy.edu.


Shaping Memories offers short essays by notable black women writers on pivotal moments that strongly influenced their careers. With contributions from such figures as novelist Paule Marshall, folklorist Daryl Cumber Dance, poets Mari Evans and Camille Dungy, essayist Ethel Morgan Smith, and scholar Maryemma Graham, the anthology provides a thorough overview of the formal concerns and thematic issues facing contemporary black women writers.
Editor Joanne Veal Gabbin offers an introduction that places these writers in the context of American literature in general and African American literature in particular. Each essay includes a head note summarizing the writer's career and aesthetic development. In their pieces these women negotiate educational institutions and societal restrictions and find their voices despite racism, sexism, and religious chauvinism. They offer strong testimony to the power of words to heal, transform, and renew.
Growing Up Girl is an eclectic collection of poems, essays, and short stories that document the transition from girl to woman, as told by the girls and women who know the journey best. Whether she's coming undone or coming out, the writing is authentic and passionate.
A magnificent celebration of — and an essential introduction to — African American life and culture. Folklore displays the heart and soul of a people. African American folklore not only hands down traditions and wisdom through the generations but also tells the history of a people banned from writing and reading during slavery. In this anthology, Daryl Cumber Dance collects a wealth of tales that have survived and been adapted over the years, many featuring characters from African culture. She leaves no genre of folklore out, including everything from proverbs and recipes to folk songs and rumor.
Nikki Giovanni created this book by asking her friends–people like Gloria Naylor, Gwendolyn Brooks, and Maxine Hong Kingston–for their stories and recollections of their grandmothers, then asked a group of writers in their nineties for their thoughts. Grand Mothers celebrates those special women in every culture who preserve heritage and prepare the future.
Before I arrived in Tübingen I knew what my teaching schedule would be. I had proposed to the Council on International Exchange Commission to research the political momentum of Afro Germans. The only Afro German I met was Tina Bach, a student in one of my classes, who was the only person I saw, who looked anything like me. Berlin or Cologne would have been better venues to work on such a project. I kept good records about my experience, and trusted the writer in me to know that I would have something to write about after my years' experience.
In the meantime I wanted to write. Writing is different when you're away, and I couldn't have been more away. Since Germany was in the middle of Europe, I was free to travel and see the new world I had been awarded. And Tübingen is about 30 minutes from Stuttgart, which is considered a gateway to the world by many Germans.
"Oh. Good morning." Hoping I didn't sound as sleepy as I was.
He laughed. At least he had a sense of humor. All I'd been told was that Germans were orderly and arrogant. Although my old boyfriend, Helmut had been orderly, but he wasn't at home in Germany, instead he had been in the States trying to fit into American culture.
"I am looking forward to being there. Thank you." He didn't sound German. His accent was only slight, more international. What did Germans sound like? Helmut hadn't sounded German either, unless we got into a fight.
He laughed again. Did I have a better sense of humor than I thought? I didn't think asking for a bathtub was such a big deal, at least not laughable.
Sharon D. Johnson, PhD, is a widely published journalist, screenwriter, and member of the Writers Guild of America, west, Inc. She has lectured nationally on film, television, and African American literature and culture through the lens of depth psychology, particularly Zora Neale Hurston and Langston Hughes. She has also appeared on numerous news and information programs on ABC, KCET, KCAL, and NPR, to name a few, discussing diversity issues. Dr. Johnson lives in Los Angeles, California.
This Book Will Be Available The First Of May On Amazon.
The House of Flowers (novel) has been a finalist for both the William Faulkner & William Wisdom Creative Writing Contest, and the James Jones Creative Writing Contest. Three chapters from the novel have already been published.
Determined to give voice to the African American community that served as the silent workforce for Hollins College, Ethel Morgan Smith succeeded in finding individuals to step forward and tell their stories. From Whence Cometh My Help examines the dynamics of an institution built on the foundations of slavery and so steeped in tradition that it managed to perpetuate servitude for generations. Interviewing senior community members, Smith gives recognition to the invisible population that provided and continues to provide the labor support for Hollins College for more than 150 years.
Although African American students have been admitted to the college for roughly thirty years, to date only one person from the Hollins Community has graduated from the college. The book explores the subtle and complex relationship between the affluent white world of Hollins College and the proud African American community that has served it since its inception. Interweaving personal observations, historical documents, and poetry throughout a revealing oral history, Smith shares her fascinating discoveries and challenges in telling a story silenced for so long.
This book is an account of my everyday life as an expatriate in German culture while I interacted with scholars, diplomats, students, friends, and lovers. Although the work reflects my personal experience, it is designed and rooted in my knowledge and experience of African American literature, culture, and history. But the question was what was I, a Black American woman doing in one of the most racist countries in the world? Or I had been told. After all, Germany is not known as a place that has called out to Africans Americans like France (Paris), but I felt seduced by the fact that I could experience myself without the limitations of race-or so I thought. I am not sure that it is possible to not be whom one has always been. By involving the reader in my day-to-day life, this book will draw a personal portrait of a Black American woman in a country that professes not to be racist, even though racism kept finding me. Like all Americans, especially African Americans, we are defined by our history. In Germany I was offered an opportunity to experience racial malaise that was different, but no less insoluble, than racial conflict in my own country. But as a privileged guest I felt protected. Reflections will be of interest to Germans and non-Germans who may be concerned with German culture from a unique perspective. This work serves as a relevant contribution to the efforts of those who seek to promote healing, not in Germany or America, but in the human heart. Reflections of the Other bears witness to my journey from an encounter with neo-Nazi skinheads to a love story in a village of lilacs.


Open Minds has a number of offices across Queensland, and our footprint is expanding all the time with more offices coming online.
Call us for free on 1300 673 664. If you are sending us a referral, submit via our referrals page or email referrals@openminds.org.au.
If you have a suggestion, would like to compliment a staff member or make a complaint, we would like to hear from you.


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Astropecten anacanthus is een kamster uit de familie Astropectinidae.

De wetenschappelijke naam van de soort werd in 1926 gepubliceerd door Hubert Lyman Clark.

Kamsterren

redpajama_set_name: RedPajamaWikipedia


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Massage Therapist and Acupuncturist
Chinese Herbal Therapies
Cheri Gross has been practicing massage therapy for almost 30 years, a full decade before licensure became available. Which makes it hard to believe she's only in her early 40s! At the young age of 10 she started working on her father after an accident left him in the hospital for a month and permanently disabled.
Around the age of 12, she started experiencing a decline in her own health to the point where she had to drop out of high school for a year. After visiting several practitioners, she simply made the decision that she was going to get better, and fought her way back to health. That's when she first began to understand the profound power of the human mind. At the age of 16, Cheri finally found an amazing chiropractor/healer who opened her up to her own energy systems.
In 1993 she found herself graduating from Southwest Institute of Healing Arts in Tempe, Arizona, for massage therapy and then moving to Los Angeles. While building her private massage practice, she enrolled in Yo San University and graduated from Emperor's College with a master's degree in acupuncture and Chinese medicine.
She now practices a wide range of techniques including sports massage, myofascial therapy and scar tissue release, deep tissue massage, acupressure, pregnancy massage, Swedish massage, manual lymphatic drainage, acupuncture, and Chinese herbology. She works with cancer, post-surgery (both necessary and elective), and trauma patients, as well as those suffering from auto-immune disorders.
Growing up with a family member in chronic pain coupled with her own health issues greatly impacted her. It started her on a journey—one in which she intensively strives for physical, mental, emotional, and spiritual health every day. (Not that she never eats a candy bar!) It's not surprising that Cheri's journey to health evolved into a passion for helping others by empowering them on their own paths to health. In turn, they have broadened her own.
Cheri has been fortunate to work with chiropractors, acupuncturists, a psychologist, mediums, healers, physical therapists, personal trainers, naturopaths, surgeons, and MDs who have helped her become a more well-rounded therapist and person. She hopes to pass on what she has been given.
Learn more about her services: Massage Therapy and Acupuncture.
Visit Cheri Gross' Website
Patient Testimonials of Cheri Gross.
Website of Cheri Gross.


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Q: Add mui react-alert component on top of Appbar I want to add a Alert component on top of my Appbar component.
I have a existing appbar and toolbar component. So, when I try to add appbar, it gets overlapped.
Any help would be appreciated.

redpajama_set_name: RedPajamaStackExchange


The North Grenville detachment of the Ontario Provincial Police (OPP) held a flag-raising ceremony at St. Michael Catholic High School last Monday to celebrate 50 years of the Special Olympics. The OPP have been proud supporters of the Special Olympics Ontario for many years. Their biggest fundraiser, the Law Enforcement Torch Run, has raised more than $35,000,000 for the Special Olympics since its inception in the early 1980s.
Monday, March 25, marked Special Olympics Day across the province, with 50 law enforcement agencies holding ceremonies to celebrate the day and honour all of Ontario's Special Olympians and their supporters.
Special Olympians across Ontario are looking for support to help them achieve their goal of participating in this year's Youth Games. Special Olympics Ontario is hoping to raise $50,000, which will send roughly 50 athletes to the games. To find out how you can help draft a Special Olympian, visit the Youth Games website at www.youthgames2019.com/draft.


Extraordinary document (1608) on witchcraft and demonology offers striking insight into the early 17th-century mind. Serious discussions of witches' powers, poisons and their crimes. Examined in detail are witches' alleged powers to transport themselves from place to place, create living dead things, make beasts talk and raise the dead.


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Q: Prime numbers upto 10^8 using sieve Why this code is working only number less than 10^4? i need to find all the  prime numbers less than 10^8 but this is showing arrayindexoutofbound exception? why? i know we can only create array till size10^8(correct me if i am wrong)  but this is not even working for 10^5.
 class Prime
    {
        public static void main (String[] args) throws java.lang.Exception
        {
            boolean[] prime = new boolean[100000000];
            prime[2]=true;
            int i;
            for(i=3; i<100000000; i+=2)
                prime[i]=true;
            for(i=3; i<100000000; i++)
            {
                if(prime[i]==true)
                    for(int j=i*i; j<100000000; j=j+i)
                        prime[j]=false;
            }
            for(i=1; i<100000000; i++)
            {
                if(prime[i]==true)
                System.out.println(i);
            }
        }
    }

A: The problem is here:
for(int j=i*i; j<100000000; j=j+i)

Since i can be as large as 99999999, i*i may be higher than Integer.MAX_VALUE, which will cause numeric overflow. As a result, j will be initialized to a negative value, and prime[j] will throw an exception.
To fix the problem, you can simply add a condition that requires the j must be positive:
for(int j=i*i; j > 0 && j<100000000; j=j+i)

A: for(int j=i*i; j<10000; j=j+i)

if i is 10^5, then the j would be 10^10, which would cause overflow for int type (max value of int type is 2^31 - 1 = 2147483647)


Manual: This is actually the alternative method if Automatic fails. With this method you create guides along the straight image edges and then adjust the Lens Distortion model's settings until the guides match the image edges. For this you need a good eye and knowledge of how (complicated) lens distortion settings work.
However, this method can work if you simply want to remove distortion using the Quadratic settings without additional guides.
Automatic: This method is much easier and is also the recommended method. Guides are positioned with several points on distorted, i.e., curved, image edges. Once enough guides have been positioned the image can be undistorted. All respective lens distortion settings will be modified accordingly.
Depending on the method selected, these settings can be used to create interactive guides that must be positioned as accurately as possible along the straight (but displayed as distorted) edges. The Manual method lets you create 2-point lines and the Automatic method lets you create 3-point lines. Additional points can be added to 3-point lines at any time via Ctrl/Cmd+clicking on the line. This is useful when working with longer lines.
How to best position guides is explained in the example above.
Click on this button after guides have been created in Automatic mode (note that you must first have the proper Lens Distortion Model selected). Cinema 4D will then "straighten" the bent lines and create a set of lens profile settings that will automatically be defined and can subsequently be saved.
Not all guides have to be created before clicking the Auto Solve button. This can also be done with only one or two guides but the result will most likely not be satisfying. Simply add more guides and further undistort the image until you're satisfied with the result.
Determine which Lens Distortion Model to use based on the distortion.
You can select from five different models.
If these names sound familiar it's because they originate from the Lens Distortion Plugin Kit from Science-D-Vision (which was also used for the lens distortion functionality) and their names were not changed to eliminate any possible confusion.
3DE Radial Standard Degree 4: This is the more technically sophisticated model that can work with decentralized (not all lying on the optical axis) lenses. This model also has two settings (Phi Cylindric Direction and B Cylindric Bending) that takes into consideration the effect known as ,beam splitting' for stereo takes. These values should always be set to 0% for normal takes.
3DE Standard Classic: This is a simplified model compared to 3DE Radial Standard Degree 4 and can achieve good results with few guides. This model is also better suited for use with Manual mode because you have fewer settings with which you have to work (which can be a great relief due to the other model's large number of similar settings).
The 3DE Anamorphic Degree 6 model is only included for the sake of completeness (in case you created a corresponding lens profile in another application). Its use is otherwise not recommended.
The settings for each Lens Distortion Model will not be described individually. They are variables within complex formulas that we will not bog you down with. These are defined automatically by Cinema 4D anyway. Instead, we have depicted the most important settings, each with a positive and a negative value, in the image below. This gives you an impression of the effect that these settings have.
You can view these settings as shape controllers - regions of the image will be distorted or undistorted differently, depending on which setting is modified.
Once the footage has been undistorted, manually or automatically, this particular profile should be saved. This profile can be loaded at these locations or using the corresponding tool in Cinema 4D. These files (with the suffix *.lns) contain the Lens Distortion Model created here with all its settings.
Images, videos and guides will NOT be saved (to do so, the Project file must be saved).


This alert highlights our requirements when you provide advice on pension transfers, including advice in particular circumstances.
We are aware that some firms have been advising on pension transfers or switches without considering the assets in which their client's funds will be invested. We are concerned that consumers receiving this advice are at risk of transferring into unsuitable investments or – worse – being scammed.
We expect a firm advising on a pension transfer from a defined benefit (DB) scheme or other scheme with safeguarded benefits to consider the assets in which the client's funds will be invested as well as the specific receiving scheme. It is the responsibility of the firm advising on the transfer to take into account the characteristics of these assets.
Our rules set out what a firm must do in preparing and providing a transfer analysis. In particular, our rules (COBS 19.1.2R(1)) require a comparison between the benefits likely (on reasonable assumptions) to be paid under a DB scheme or other scheme with safeguarded benefits and the benefits afforded by a personal pension scheme, stakeholder scheme or other pension scheme with flexible benefits.
The comparison should explain the rates of return that would have to be achieved to replicate the benefits being given up and should be illustrated on rates of return which take into account the likely expected returns of the assets in which the client's funds will be invested. Unless the advice has taken into account the likely expected returns of the assets, as well as the associated risks and all costs and charges that will be borne by the client, it is unlikely that the advice will meet our expectations (see guidance at COBS 19.1.2 and 19.1.6-19.1.8).
Section 48 of the Pension Schemes Act 2015 requires that trustees or scheme managers check that advice has been taken before allowing a transfer to proceed, where the proposed transfer involves a DB pension or other safeguarded benefits worth more than £30,000. The advice must be provided by a firm with the FCA permission to advise on pension transfers. FCA rules apply to advice provided by FCA authorised firms and, in particular, we expect the firm to consider the assets in which their client's funds will be invested as well as the specific receiving scheme.
Our supervisory work has revealed that some firms have been recommending pension transfers based solely on whether or not the critical yield is below a certain rate set by the firm for assessing transfers generally. This does not meet our expectations. The critical yield is the rate of return that would have to be achieved in the defined contribution (DC) pension scheme to replicate the benefits of the DB benefit scheme. We would expect the firm to consider the likely expected returns of the assets in which the client's funds will be invested relative to the critical yield. The firm should also consider the personal circumstances of the client before making any personal recommendation, taking into account specific other factors as they apply to the client.
For a firm with the permission, our rules permit an individual who is not a pension transfer specialist to advise on pension transfers. However, the firm must ensure that the advice is checked by a pension transfer specialist. The firm advising on the transfer remains responsible for the advice, including the advice checked by the pension transfer specialist, even where the pension transfer specialist is not employed by the firm.
You must provide advice that is suitable for the individual client and this advice must be clear to the client. Advice on pension transfers should follow the normal advice process for pension transfers.
You should be clear with the client what the risks of the alternative course of action are.
You should be clear with the client that their actions are against your advice.
Our guidance on the suitability of pension transfers (COBS 19.1.7(G)) clearly states that when a firm advises a retail client on a pension transfer it should consider the client's attitude to risk including, where relevant, in relation to the rate of investment growth that would have to be achieved to replicate the benefits being given up.
Where no safeguarded benefits are involved, we call a transaction moving pension benefits from one personal pension scheme to another personal pension scheme a 'pension switch'. There is no requirement to take advice.
If your advice processes are not robust, there is a risk that you may become involved in an illegal scheme. Our intelligence and supervisory activities on pension scams co-ordinate with our Project Bloom partners and other agencies, and we will take action as necessary.
All authorised firms should contact us to report concerns about investments offered to, or taken up by, scheme members.


Sammamish, Wash. – During a perfect warm summer evening garden party, one Seattle golfer and his throng of fans enjoyed themselves to the fullest, and all the while remained gracious hosts to their foreign visitor.
While the play of Fred Couples in the evening shadows sent roars rifling through the towering evergreens of Sahalee Country Club at the 31st U.S. Senior Open, it wasn't enough to knock Bernhard Langer from the top perch at the halfway point Friday.
A two-hour-plus fog delay in the morning pushed tee times back nearly two hours, so Couples finished his round well into twilight, much to the delight of his fans, who didn't mind at all that their dinner and drinkscame while walking the lush grounds of Sahalee.
Couples finished with an even-par 70, which couldn't catch Langer's 68 from earlier in the day. At 3-under-par 137, Langer is leading by two strokes over J.R. (Jeff) Roth (66), John Cook (68) and Tommy Armour III (68). Bruce Vaughan, the first-round leader after a 66, crashed to a 12-over 82 when a bogey on the par-3 fifth began a fast cascade down the leaderboard. He followed with a double bogey 6 on No. 6 and closed his disappointing day with seven consecutive bogeys.
Couples and fellow competitor Tom Watson each fired their second consecutive 70s over the 6,866-yard layout, and will be paired again Saturday at 11:52 a.m. PDT when they start the third round in a four-way tie for fifth.
Added Couples: People love golf in the Northwest, and they're coming out and supporting me, which is great.
Langer, the only player under par both days, was his usual placid self in posting his 68 with a typical mix of birdies, one eagle and some par-saves. He will go for back-to-back majors after winning the Senior British Open last week at Carnoustie in Scotland. Watson was the last player to win consecutive Champions Tour majors, claiming the Senior British and JELD-WEN Tradition in 2003.
I hit it straight and made some putts, said Langer. It's always the same, isn't it? Just different venues, different conditions, but it's always the same idea. Hit it where you're looking and try to play smart, attack the holes that can be attacked and play smart on the other ones.
It's a formula that's worked for the 52-year-old German. Along with two Masters titles, he has one other PGA Tour triumph, 11 victories on the Champions Tour and 22 on the European Tour.
Bernhard is one of our better players, obviously, and he'll be tough to catch, Cook said. He goes about his business the way he wants to and doesn't, really doesn't waiver. So we have to go get him.
And Langer's consistency doesn't come by accident.
I don't drink, I don't smoke and I get plenty of rest, he said about his regimen to stay healthy and fit I make sure I get about eight hours of sleep, so all of that over the years probably helps.
Is there a need for a sports psychologist?
I'm a Christian, I read the Bible, and it's all in there, he added. You don't have to see a sports psychologist, you just open the Bible.
Langer opened his round after the two-hour fog delay with a 6-foot birdie on the 403-yard first hole, but it looked like he was going to give it back when he dumped his second shot into the water on the 508-yard, par-5 second hole. But in a preview of what was to come later, he made a great par save with an up-and-down from 80 yards. Bogeys on the third and ninth holes left Langer one over for the day.
He got back in the groove on the 545-yard, par-5 11th hole with a 30-footer for eagle and followed that up with great par-saves, first on No. 12 and then on No. 15 when a pushed drive hit the trees and left him in deep rough with a bad angle to the green. His approach caught the left bunker, and he blasted out to 15 feet below the hole and made the par-saving putt.
So that was pretty key, he said about the putt that he followed with a mild fist pump that showed some emotion, but never too much.
A perfectly played 6-iron on the 205-yard, par-3 17th left him flag-high with a 9-footer for birdie.
Jeff Roth, who also goes by J.R., matched the low score of the championship with a display of spectacular putting.
I'm a good enough putter, if I have a chance on birdies I'll make a few, said the club pro from Flushing, N.M., who is most known for his competitive days playing out of Michigan. I made a bomb on that last hole.
Roth, who has played in five PGA Championships, claimed it was from 50 feet, but his caddie, Rod Pattan, who pays closer attention to those details, calmed him down by saying it was only 35 feet.
Seemed longer than that, Roth said. I was going to say 50, but he knows.
The one thing Roth is certain about is that he enjoys the tough course conditions found this week at Sahalee.
I think the way the USGA sets up a golf course is really good for me because I'm one of those guys that grinds it out, said Roth. And I can make as good a par as anybody and that's usually a pretty good score.
Cook put together three consecutive birdies from No. 2, his second nine on Friday, and then saved the round with an impressive birdie on No. 8 to offset bogeys at seven and nine.
I hit a real quality 5-iron up there about 15 feet and made it, Cook said of the eighth hole. But then I came back and didn't hit a very good shot at No. 9 and made bogey. Not a good way to end, but 68 in a U.S. Open is not so bad so I'm happy with that.
Armour, the grandson of 1927 U.S. Open champion Tommy Armour, jumped into the tie for second with a birdie at the challenging par-3 17th, which was rewarding only precise shot-making.
I hit a lot of good shots and I was just shooting at the middle of the greens, he said.
For Couples, the biggest roar came when he drained a 30-footer for birdie on the ninth hole to jump to one under for the championship. Some shaky iron play on Nos. 12 and 13, however, led to bogeys and it took a birdie on No. 16 to get back to even.
Today was a pretty good round, but I'm not hitting any irons really, really good, I will say that, said the three-time Champions Tour winner playing in his first U.S. Senior Open.
I'm going to have to start playing a heck of a lot better to shoot under par, he said.
And if he does, his legion of fans will have another party.
Paul Ramsdell is a Seattle-based freelance writer who is contributing articles this week for the U.S. Senior Open website.


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Williamstown Musical Theatre Company Inc announce Junior Production
Jan 13, 2013 | News | 0 |
Williamstown Musical Theatre Company Inc is very proud
to announce our August 2013 Junior Production
ABOUT OUR JUNIOR PROGRAM
Established in 2011, Williamstown Musical Theatre Company Inc's junior program is open to young performers aged between 8 – 18 years old and aims to provide them with high quality creative learning experiences in the theatre arts. A positive, supportive and fun environment is encouraged to promote and develop self-respect, confidence, awareness, imagination, creativity, determination and social skills in young people. Cast members also develop discipline, memorization techniques, motor skills, coordination, and many other crucial foundation skills through creative dramatics and, in doing so, enhance their self-esteem, grace, and poise, both onstage and off.
Developed with the intention of sharing our passion for musical theatre with children and teens so that they, in turn, can continue this creative tradition as teachers, performers and arts patrons for generations to come, we hope you can encourage all our young performers by your support.
Leapin' Lizards! The popular comic strip heroine takes center stage in one of the world's best-loved musicals.
With equal measures of pluck and positivity, little orphan ANNIE charms everyone's hearts, despite a next-to-nothing start in 1930s New York City. She is determined to find her parents, who abandoned her years ago on the doorstep of a New York City Orphanage run by the cruel, embittered Miss Hannigan.
With the help of the other girls in the Orphanage, ANNIE escapes to the wondrous and magical world of NYC. In adventure after fun-filled adventure, ANNIE foils Miss Hannigan's evil machinations and befriends President Franklin Delano Roosevelt. She finds a new home and family in billionaire Oliver Warbucks, his personal secretary Grace Farrell, and a lovable mutt named Sandy.
Tickets released Friday 8th February 2013
Auditions in April/ May
PreviousCLOC to stage Guys and Dolls in 2013
NextGaybies – A celebration of the modern family at Midsumma Festival
Theatre People Newsroom
Belarus Free Theatre in Melbourne in 2018; Generation Jeans season extended for a week
Eddie Perfect's hilarious play The Beast comes to Sydney, Melbourne, Brisbane in 2016
The Time Machine travels to Sydney
Melbourne Fringe Festival presents stunning dance program


Oracle hosted a "launch event" Wednesday to introduce its Marketing Cloud, though the fact that Oracle has a suite is about as newsworthy as the world's roundness. The enterprise software giant has been using that particular nomenclature since it acquired marketing automation solution Eloqua in December 2012.
Oracle's Marketing Cloud has several components. In addition to Eloqua, there's social marketing software Vitrue, the cross-channel campaign management suite Responsys, the content marketing platform Compendium and the data exchange/data-management platform (DMP) BlueKai. All told, Oracle has spent north of $3 billion to assemble a marketing stack in competition with those fielded by Salesforce.com and Adobe (and to a lesser extent IBM).
Thus far, Oracle has integrated most of these assets. It closed its Responsys acquisition in April, so that's still a work in progress. And Kevin Akeroyd, Oracle's SVP and General Manager of its Marketing Cloud suite, couldn't say when he anticipated the BlueKai acquisition would finalize. In general, he said, it takes about six months following closure of each acquisition for the new technology to be fully integrated into Oracle's platform.
And it is this ability to integrate that differentiates the Oracle Marketing Cloud, according to Akeroyd.
Akeroyd declined to name specific competitors, though he conceded that Adobe has a reputation of having a well-integrated marketing cloud product.
"I don't want to comment on a specific competitor, but I'd agree that Adobe has done a pretty good job," he said. However, he insisted the assets that constitute Oracle's cloud are better than those that constitute its competitors' respective clouds.
Besides Oracle's technological strength, Akeroyd also emphasized its ecosystem of application partners as a key differentiator. Among these partners is a host of demand-side platforms (DSPs) – which underscores the growing collaboration between ad and marketing tech.
"Our customers are insisting they don't want Rocket Fuel or Turn or Marin or whomever to be disparate from the marketing tech stacks," Akeroyd said. Many of these partnerships already existed with the BlueKai DMP, which had a reputation for working with every ad tech company.
Akeroyd pledged to uphold that neutrality – which had been a concern among some members of the ad tech and agency communities.
Ultimately, Oracle hopes to establish itself as a leading Marketing Cloud by focusing on the primacy of its tech assets, its app developer community and the quality of its integration. Oracle anticipates its competitors might have strength in one or two of these areas, but not all three.
But if Oracle hopes to claim a fully integrated stack, it still has work to do, primarily in bringing Responsys into the fold.
The next step after that? Hooking Oracle's ATG Web Commerce application into Responsys' real-time decisioning (Adobe's analog, in this case, would be its site content management solution Experience Manager and its personalization engine Target, which are often combined with SAP's commerce platform, called hybris).


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2-Bedroom Apartment in Agios Andreas
Amazing two-bedroom apartment available for sale in Nicosia city center, in Agios Andreas area. The flat is situated in the center of Nicosia in one of the historical areas of the city and is ideally placed within walking distance of many amenities including schools, Ledras street, cafes and banks. The flat is ideal for buy-to-let investors as it is located very close to Units and Embassies.
It is placed on the 1st floor of a 3-story building with 12 apartments. The building was initially constructed in 1967 but in 2005 has been reconstructed from scratch. The flat itself has been fully renovated during 2021 and is in absolutely great condition.
It has internal areas of 70m2 (no dead spaces) plus a covered balcony of 14m2 and uncovered of 12m2. It comprises of an open-plan kitchen with integrated appliances, living/dining area, two bedrooms and a family bathroom. The master bedroom has en-suite facilities.
Uncovered parking space
Storage room at the basement
A/C units (Installed in April 2021)
Parquet flooring in bedrooms
Title deeds available. Building Energy Efficiency: C+
Hello, I am interested in [2-Bedroom Apartment in Agios Andreas]
6-Bedroom Semi-Detached Property in Agios Dometios
Building with 2 houses available for sale in Agios Dometios!…
1-Bedroom Apartment in Platy Aglantzias
One-bedroom apartment available for sale in the prime area of…
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Modern detached house of three bedrooms plus an office available…
2-Bedroom Apartment in Lakatamia
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2-Bedroom Apartment in Acropolis (Maisonette) 3-Bedroom Penthouse in Agios Pavlos, Agios Dometios


It's taken a while for folk to get used to Windows 8, and some of us are still holding onto 7 with grim determination. But reports suggest that Microsoft will be showcasing its next OS, codenamed Threshold, as soon as next month at a press event on September 30th. A preview build will be released to developers at the same time or soon after.
This date could change, however.
So what can we expect Microsoft to show off?
There's the new Start Menu, which looks like a strange blend of Metro and the traditional menu, with big app tiles pinned to the side. A version of this interface is expected to grace Windows 8.1 this year as well.
Switching between the Start screen and desktop will no longer be necessary when running modern aps, either, as they'll be able to run in the desktop in windowed mode.
An early version of Cortana, Microsoft's creepy Siri-like helper, is also being added builds, but it's not clear if it will be available in the upcoming preview.
At the rate I adopt new operating systems, I'll probably be installing Windows 9, Threshold or whatever they are going to call it directly into my brain. I didn't upgrade from XP to 7 until Windows 8 was almost upon us. My rule is: I upgrade my OS when I stop being able to play new games without it.
What about you lovely lot? Are you salivating at the prospect of faffing around with this, or did Windows 8 burn you and put you off early adoption?


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The fourth pillar — Julianne Schultz
Soggy biscuit — Scott Rankin
The way things work round here — Cathy Hunt
The decisive deal — Robyn Archer
Soul of an open country — Leigh Tabrett
From karaoke to Noongaroke — Anna Haebich & Jim Morrison
The idea of home — Kristina Olsson
Great Dane — Luke Slattery
You have my heart — Meme McDonald (1954–2017)
Real momentum comes from love — Pippa Dickson
Finding hope in the spotlight — Vivienne Skinner
This narrated life — Maria Tumarkin
Abandoned islands as art galleries — Kate Veitch
How to bake a sponge — Sian Supski
Hotel homeless — Jim Hearn
White ears and whistling duck — Rosanna Stevens
Not for me — Alysha Herrmann
Dad's funeral — Frances Guo
Resurrection myths — Marcus Westbury
The language of belonging — Demet Divaroren
Thank you for listening — Rebecca Lister
Back on dry land — Phil Heuzenroeder
Icons, living and dead — Kieran Finnane
Cultivating creativity in children — Alice Pung
Parents in decline — Craig Cliff
The history lesson — Chris Armstrong
Sydney — Susan Varga
A modest proposal — Geoff Page
When Johnstone's Circus came to town — Kevin Densley
Stories that must be told — Betty Birskys
Map for a vanished landscape — Liam Davison (1957–2014)
We are not just passing through — Graeme Gibson
Wash your hands! That may have been touched by a Chinaman — Trevor Graham
'Please explain' — Victor Marsh
Tree changers moving and shaking — Lucy Mayes
A story in clothes — Kate Ryan
All that glitters — Kirra Smith
Digital dreaming — Liz Thompson
Family first — Raphaela Rosella
Interview with Kristina Olsson — Madeleine Watts
Interview with Maria Tumarkin — Madeleine Watts
Interview with Craig Cliff — Madeleine Watts
You have my heart
by Meme McDonald (1954–2017)
HOUSEWIVES, A HUNDRED or more women at each performance, call out to an actor as she wanders mindlessly around her kitchen doing chores. They encourage her to stay positive, correcting her mistakes, answering her soliloquies. Roma is her audience, engaged with them in a rowdy exchange, a chorus of Romas sounding an anthem to stay sane in their suburban isolation, a rally to keep Roma's head out of the oven.
The year is 1978 and we are in the YMCA Hall in Essendon, Melbourne. The actor, director, writers, technicians, costume designer, producer, front of house staff, and marketing team – four of us – are students at the Victorian College of the Arts Drama School. We have written and rehearsed Roma, a one-woman play about agoraphobia, with a group of five local housewives, meeting together every week for six months. We show our play mid-morning and afternoon when other housewives from the area find it easy to come. We are trialling a recipe for theatre with and for communities.
We four students are part of Company 78 – the year marked for our graduation from the Drama School. In 1978 we begin to change the face of Australian theatre – that is Peter Oyston's plan. Peter Oyston is dean of this new school at the VCA renowned for training commensurate performers in music and dance and with a nationally acclaimed School of Art. The Drama School is the only professional theatre training school in the country other than NIDA in Sydney.
Peter returned from directing repertory theatre in Britain to take up the role as dean. With him he brought voice, movement, technical and acting teachers he could trust to share his vision. Juggling, fire-eating, acrobatics, singing and mime teachers he chose from those in Australia who supported his philosophy. And the philosophy? Well, that was Peter Oyston's genius and some would say his downfall.
Peter's mother was an actress and in a household where doyens of the theatre partied into the wee hours of the morning, Peter was a rebel. He didn't drink or party. He studied. He hated pretension and he hated indulgence. In Peter's view, theatre has a responsibility and that responsibility is to the community it serves. He doesn't like institutions, either. The feeling is mutual so his stay at the VCA is short but long enough to grow three state and federally funded professional community theatre companies: The Murray River Performing Group (including the Fruit Fly Circus) in Albury Wodonga, West Theatre Company in Melbourne's western region, and Theatre Works in St Kilda.
Peter creates controversy even before the first term of the drama school has begun. The students are unconventional. Peter's radical experiment is to choose first generation artists for training, not those born to the theatre or with an arts background. We have less bad theatre habits, he says. For entry to the course he has chosen a shark fisherman, a nurse, a couple of school teachers, a secretary, a crim recently released from a seven-year incarceration, a child television prodigy who'd already had enough, a dealer, a psychologist of course, a boxer who had stepped out of the ring at an early age to become a showman, the ethnically diverse, some token seasoned performers – and me. I am the girl from the bush born and bred on wide open space, correspondence school in between mustering sheep and cattle, followed by years of mind-warping boarding school and then a classic Bachelor of Arts, University of Queensland double English major. I filled the Australiana spot with a few additional features. At my interview, Peter asked if I wanted to see my name up in lights? What for? I thought and shook my head. I am from the Sunshine State of the '70s where street rallies protesting social injustice are much more dramatic than the bright lights of Broadway.
The thirty of us are a microcosm of Australia, not of the theatre. For company meetings we sit in a circle in the old Police Academy on St Kilda Road and argue, laugh, get angry and impassioned. We use 'the buzz' – a technique for achieving consensus. Agreement is often hard earned, but we are finding our authentic Australian voice on the stage and off it. This new community theatre is the theatre of ideas. 'Skills can always be learnt when you need them,' Peter says. 'It's ideas that really matter.'
Standing in the centre of the circle, Peter tosses his head wildly and shakes his fist at heavens way beyond the confined rehearsal room. Theatre is nothing if not passionate. Theatre is not just entertainment, it is an expression of the human condition. Theatre is transformational, an enactment of mystery, it can change lives. Theatre is identity. As theatre artists we will grow the identity of our nation. But we need to know our own identity first. Where we come from, the footsteps we walk in, and how to make ordinary experience into extraordinary drama. Our craft is to dig deep into people's souls and express their concerns, their hopes and dreams, despair and sorrow. To do this we have to dig deep into our own. Our first major production is an adaptation of Xavier Herbert's Poor Fella My Country. A group of us take the freight train to Alice Springs to hear first hand stories of the black history that we as new, even off-the-first-boat Australians know little about.
Peter is fiercely loyal to his experiment and he doesn't let any of us slip easily through his fingers. Within a month of starting the course, one of the original thirty in Company 78 is jailed for the rest of first term. Peter makes sure he is kept up with classes and on release returns to the company. By the second year, there are Aboriginal students in the drama course. We all perform the classics – Shakespeare and Chekhov – and study the Stanislavsky acting method, but more than this, we learn to hold our own in conversations where the word 'theatre' is a foreign language if not a four-letter word.
On Peter's office wall is a map with coloured pins marking towns across Victoria where small ensemble theatre companies will start their work. So eager are we, that four of us have already started making a community performance. The director of the YMCA contacted Peter. He'd read about this new approach in the newspaper and wanted 'that sort of theatre' to happen at his centre. We create Roma with and for women in the neighbourhood of the Y. The success of this production leads to four of us on graduation forming a full-time professional community theatre – West Theatre Company – creating theatre with and for the people of the western region.
THE ARTISTIC DIRECTOR of the Playbox sits off to the left of the YMCA kitchen in his bowtie. He is curious to see what four students from the VCA course have created. Soon he is not sure which drama to watch. The fourth wall, the invisible boundary between actor and audience is all but dissolved. This is more like a tennis match. The director is so enamoured with the experience that he restages Roma at the Playbox with a leading actress and for general theatregoers.
In the formality of the theatre with lights and a constructed set, comfortable seating and an audience of strangers, the play becomes a tragedy. The Playbox audience is quiet. They don't call out to Roma when she puts her cup of tea in the fridge. They don't even laugh at this. You can feel pity fill the darkness. The drama retreats behind the safety of the fourth wall.
No longer students, we four set up West Theatre Company in a small broken-down band hall in Essendon. A council worker approaches me as the artistic director of the company and says he will bare his bum in Myer's window at Christmas if theatre works in the west of Melbourne. West runs successfully for ten years creating original theatre for hundreds of thousands. I never ask the council worker to bare his bum in Myer's window. There is something about West that has little to do with the theatre he imagined.
From football club changing rooms with the performers stripping down and showering alongside the local team; to striking nurses creating human pyramids and chorus lines in uniform; to survivors of domestic violence and recently arrived migrants voicing their anger and confusion, we create narratives for performance with a new script, in new places and with new communities. The performers have to be brave, commanding attention rather than assuming they are owed this favour. We tour with new bands like Men at Work and Real Life performing plays written with school truants and housing estate residents, some of them in the shows. We are not creating an audience for mainstream theatre as some in the theatre industry hoped. We have run away with our audience and aren't coming back.
MARIO IS GOOD on a horse. Mario, like many young people where he comes from, isn't as good at getting a job or staying out of trouble. In St Albans in the early '80s, where people of more than forty nationalities are making a new life together, issues of unemployment, education, transport, poverty and disillusionment make for high jumps hard to clear on horse or on foot. It is here that West Theatre Company takes its next step beyond conventional theatre.
Mario and his horse join us on stage. So do a hundred and twenty other residents. Only months earlier, a theatre director from Scotland knocked on our door. Neil Cameron has come straight from Craigmillar Housing Estate in Edinburgh where residents and artists are working side by side. The project is funded by the Common Market Anti-Poverty Fund. If Peter radicalised professional theatre training, encouraging students to open their ears to the community, Neil goes one step further. He invites the community up on stage with the professional actors.
Neil came to Australia on a Gulbenkian Foundation Scholarship. Word had reached Britain that professional community arts in Australia was producing innovative ideas. The Australia Council for the Arts has set up a Community Arts Board supporting arts officers in as many local councils across the country as can match funding. Neil is offered production costs to direct a showcase production with artists and community members anywhere in Australia. He chooses West Theatre Company. We choose St Albans.
Under a big top in a windswept paddock in outer St Albans with a crowd of residents on stage, Mario and his horse and our small troupe of actors are stretching ourselves. We're learning new and fast techniques for creating performance. The Stanislavsky method is shoved backstage. Mario and his horse baulk at the ramp. With a coax, then a push, they are cheered onto stage. For three nights with four or five hundred people cramming under the canvas, we perform in the circus tent because there is no other indoor space big enough. The directing, design and technical side of the show is driven by a professional team. The West company actors are the glue, holding together the timing and sequencing of the show while each segment of the story of St Albans is told by groups of people of all ages, mostly who have never performed before. In no more than a month, they have learned to be acrobats, singers, dancers, comedians, jugglers, fire-eaters, costume makers and technicians. The skill level is erratic. The passion second to none. What holds the audience in their seats – and at times spontaneously leaping up to applaud – is that this is their story.
Phillip Adams is here at The St Albans Show to see his old friend and MP for the area, Barry Jones, performing alongside his constituents. Tomorrow and for years to come Phillip raves about the experience on ABC Radio. He has never seen anything like it. 'Something miraculous just happened in a tent on the edge of the unknown,' he says. 'It will remain with me forever.'
On the final night's performance the tent blows down in a storm and Mario and his horse ride off into the night. He keeps riding. It is not unusual for those who have learned to tell their story, to juggle or dance or balance on shoulders or walk on stilts to walk out of their old selves and into a life closer to their dreams.
At the core of the St Albans project is a large, middle-aged woman in a tin shed. She never goes alone to a meeting. Gathered around her are those dedicated to improving the lives of their youth. They too are learning meeting skills. When funders and supporters – philanthropists, local, state and federal government officers, corporate leaders, politicians and the media – come, every visitor is treated in the same way. They are sat down in a circle with whoever is in the shed at the time for a cup of tea and a yarn. If the visitors seem like decent people and those in the shed can understand what they say, the big woman accepts their support. If not, they are shown the door. This is partnership, not pity. The power has shifted. The community is boss.
After Neil's showcase, West is asked back to St Albans for several years and he stays on at West sharing the role of artistic director with me. What is good for communities is good for the company, in Neil's opinion. Soon partners and children and family pets are rehearsing music, juggling, fire-eating and learning acrobatics alongside the full-time actors, trainees and office staff. The Essendon Policewomen's Marching Band is born: men, women and a dog in policewomen's uniforms, spilling onto the streets of Essendon, then Melbourne, then festivals around Australia and finally overseas. Not everyone with VCA training agreed with this new performance style. Soon half the actors in the company left. As one professional singer observed years later: 'It's a real challenge when the person who gets the biggest applause on stage is one of the audience.' A new breed of performers stepped into the company.
At the next housing estate production in Ascot Vale, Neil challenges the company – and the estate residents – to live together. A couple of caravans are driven into the middle of the grass patch between the housing blocks. Some of the younger estate residents decide to make the stay one to remember, but mostly living onsite brings performers and residents together over cups of tea and around guitars, writing the show. Stepping onto stage together for the production we are one cast telling one story. At moments, the profound sense of common humanity is more than an act.
Estate of Change is a story owned by the residents. The woes of estate living are only a backdrop to a louder voice of optimism. A funding officer comes to the show. Afterwards, he takes me to one side. 'The show is not political,' he says. 'It needs to be. This is a shocking place to live.' Backstage lives are changing. There is excitement in the stairwells and couches in front of the television are empty for weeks. Residents are finding new ways of solving old problems, what action to take, what needs to change. Fire-eating is igniting self-determination.
IT'S SUMMER 1989. The puppeteer points to a slender-billed, brown and beige bird on the mudflats of Western Port Bay, Victoria. 'Follow that bird,' are the words that come to mind. This bird pushes my imagination onto a whole new stage, a vast stage, a stage as long as the necklace of wetlands that stretch from Aotearoa New Zealand in the south to Siberia in the north. These wetlands sustain a life of eternal summer for the Eastern curlew, the largest and most endangered of the migratory waders, on its annual migrations.
This bird – and the call to draw public attention to the importance of preserving the wetlands for feeding stops on their 25,000, sometimes more than 30,000 kilometre migration – demands a new form of community theatre to tell its story. This theatre needs to command global attention. In the early '90s news about environmental degradation is devastating. The hole in the sky is expanding and people are waning, numbed by perpetual bad press. If we lose the birds, we lose a grand songline. To keep this songline singing, we firstly have to know it's there, then learn to sing about it and encourage others to join the chorus. The flight of the birds is a story of triumph – the kind of story needed in a pervading atmosphere of failure. The stage is too big for the individual performer or for separation between artists and communities, or between art and science or between art and sport, or between storytellers. We are in shared space now, bigger than national or cultural boundaries.
Waderbirds – odyssey of the wetlands, the 1990 international arts/science tour that grew from the thought to 'follow that bird', steps from theatre towards ritual to reflect this bigger drama. Indigenous understanding of the inseparable link between art and life deepens our understanding.
'You are the people of my dreams,' the young Māori woman said when we met on her family marae. The entrance to the marae was carved with godwits, migratory wading birds like the Eastern curlew. As a child she dreamt that one day people would come across the world to tell of the flight of the waders. We are welcomed onto the land by her elders, the tangata whenua, the spiritual guardians of that place, and given their blessings for the performance. This ceremony of welcome stretches across two days. We only have twelve left to make the show with a large canoe, a giant bird, and many effects to make. The elder explains, 'You must firstly get the relationships right. If you get the relationships right, then these props will make themselves.' What could take ten long days for the visual artists to make is done in three – with many hands.
On sunset, after two weeks of rehearsal with two hundred and fifty people in Mangere, we parade to the edge of the Manakau wetlands. Over two thousand people join the procession then watch large puppets, visual images, dance, music and pyrotechnics tell the story of the birds.Waderbirds took three years to establish connections across the pre-internet world. It then takes the next three months for our team of artists and scientists to travel north along the flyway – the East Asian–Australasian Flyway – staging three more one-off events on wetlands along the way.
Six Māori elders from Mangere buy flights to Melbourne for the second leg of the journey. The relationships matter. The Māori want to meet face to face with the custodians of the land in Melbourne – for the birds. A Wurundjeri elder welcomes all of us to the land under Westgate Bridge. It is the first welcome to country in recent times. As one Wurundjeri man leaving that night calls out from his car, 'If only this had happened two hundred years ago, we'd be a different nation.'
Many thousands of people come down to Westgate Park on sunset. Five hundred people are part of telling the story of the birds. Three weeks later, in Western Australia on Broome's Town Beach with its massive ten-metre tide washing in and out, rehearsals and performance are carefully timed to nature's rhythms. Wurundjeri meet Yawuru. Yawuru welcome us to their land – for the birds.
Our final performance of Waderbirds is in Kushiro on the north island of Hokkaido, Japan where we are welcomed by an Ainu elder. For the Japanese leg of the Waderbirds journey, a businessman is our patron, giving us use of a spare kitchen in his sushi factory to make our puppets and costumes. Each day for two weeks we work from early morning into the night, side by side with staff and chefs. Although we think we are as sensitive and polite as we can be, our production manager is taken aside and reproached. Slippers have been left untidily at the front door, toilet paper is not folded correctly on the roll with respect for the next person. We have one interpreter for a team of nine artists, two carers and two babies. Often we have no spoken language to communicate with as we sit in the evenings eating together. There is much laughter, though, simply being in eachother's company in such extraordinary circumstances – for the birds.
Our patron takes us to the Wild Bird Park in Kushiro and introduces the man who speaks the language of the Japanese crane. Twenty-five years ago, there were only six pairs of Japanese crane left in the world. The businessman and the birdman and others created a program in schools. School children scattered corn on the snow through the long winter months to feed the birds. When we visit twenty-five years later, there are more than six hundred Japanese crane dancing in the marshes.
Seventy people of all ages and experiences from Kushiro joined us in the final performance of Waderbirds. Delegates with a commitment to wetland sites around the world are gathered in Kushiro this April for the international migratory birds Ramsa Convention, named after the town in Iran where the first wetland convention was held in 1971. Six hundred of these delegates form a procession through the parkland to watch the story of the Eastern Curlew. Some of the delegates were with us in Broome and so know their roles as puppeteers working two metre high bamboo poles beneath bird wings.
When our last dinner at the sushi factory is finished and the dishes cleared and washed, the Aboriginal dancer travelling with us plays didgeridoo and clapsticks. With chef and staff, there are more than twenty of us. Soon we are all up dancing the kangaroo and emu, our patron included. He offers a precious kimono as first prize. To the dismay of most of the performers, he judges the winner of the dance to be the Australian photographer.
When we leave the sushi factory on Hokkaido, the Japanese businessman, owner of the factory, and our patron, stands beside the cars that are to take us to the airport for departure. One hand is on his suit coat covering his heart. Two tears, one on each cheek, make their way neatly down to his chin. His voice is quiet. 'I may not see you again in this life. You have my heart.'
IN ASH WEDNESDAY, TS Eliot writes: '…I rejoice, having to construct something upon which to rejoice.' In Geelong, a contemporary songline is to be walked as part of a project called Connecting Identities. Art creating a contemporary pilgrimage is a construct. Perhaps, it will be something on which to rejoice.
In 2007 I began as a consultant artistic director on the Connecting Identities project based in the Arts and Culture Department of the City of Greater Geelong. My brief was to take the issue of rapid change and its impact on community identity and create an arts program that could impact positively. The first question I asked myself was: what connects us?
When we come from vastly different backgrounds, often from cultures and experiences that share no common language, and we struggle to know our own walk from one day to the next let alone understand another's, what is it that can bring us together? I began looking at maps of the municipality. Twelve wards clustered around a coastline with a yawn of a bay filled with shipping and industry. Driving around the region, the You Yangs mountains present themselves at every corner no matter where you face, it seems. People say, 'When I see the You Yangs I know I am home'.
Identity is about permanence and impermanence. Both the seen and the unseen landscapes are changing rapidly for all of us, particularly in Geelong. With the closure of Ford and Alcoa and the flame of the Shell refinery chimney about to blow out, defining features around which this municipality grew are crumbling and new residents arriving with new expectations are finding a fractured foundation.
There is a tough underbelly in Geelong and now with a popularly elected 'Mr Paparazzi' mayor, images of what the future of the municipality might be are busily being hairdressed, very colourfully, for the camera. The health of the re-growth is hard to determine, so quickly are the advertising banners hoisted calling for Geelong to 'giddy up' into the bigger and better. Quieter cultural solutions have to keep their foothold in this consumer rush.
Extreme times call for 'extreme arts'. What has emerged in Geelong is M~M, Mountain to Mouth. After six years of staged development, starting with story collecting in digital form online, and then a preliminary walk in 2009, M~M2014 begins a biennial extreme arts walk. M~M2014 brings together the arts, environment and sport, connecting people with the land.
On May 9 and 10, 2014, water is going to be walked from Big Rock Waterhole – a stopover on an ancient songline – in the You Yangs. Over twenty-four hours, a five metre long ephemeral sculpture, 'Canoe', will be carried across the city's twelve wards for eighty kilometres to the mouth of the Barwon River. Other ephemeral artworks, beautiful and yet as transient as human life, are the lead characters. The stage is the landscape, changing in light from afternoon, evening, into night and from dawn the next day to sunset. This is epic storytelling, tugging at memory as far back as first footprint and as present as a tap on the touchscreen to Tweet along the walk. M~M is a platform not only digitally but for the soles that still grow at the bottom of our feet – an ancient interface of skin and magnetic earth now realised to be essential for the vitality of our body's energetic system. This is the theatre of pilgrimage, the feet in service to the soul.
M~M is a response to the unchanging human urge to find meaning not only alone but in congregation. We no longer have vibrant institutions to provide these rituals. It is not only the factories crumbling but it is religious manufacture of all faiths that is returning to dust. Art making in essence is spiritual – it is creation. It can construct the 'something' that TS Eliot wrote about, 'something on which to rejoice' in the face of the void: of isolation, dislocation, post-industrial trauma and catastrophe.
CREATING BIG OUTDOOR community-based events is intense. It demands faith in the face of many unknowns. The depth of connection between those who step into the maelstrom is heartfelt and lasting and can stretch across a globe. Recently, walking on the beach near my house in Melbourne, my dog makes friends with a stranger's and soon we are talking. It is a balmy night and bridge lights have begun tracing the curved spine of the Westgate against the deepening orange sunset. One woman points and comments that she was part of a spectacular show about birds under that bridge. So was the other. Had I heard of it? It was called Waderbirds? The woman is now part of Friends of Westgate Park that meet regularly to care for the wetlands there. 'That performance is legend now,' she says dreamily.
DAWN IS RISING in a pink and grey shriek of galahs. Child, already out of close warmth of swag, tugs my hand. Campfire needs stoking but in the shiver of morning there is something more urgent. Five hours' drive the day before and we camped behind this ridge, a stand of she-oak nearby promising firewood,... Read more


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HomeAll postsBlogWhy is it so easy to lie about language skills?
Why is it so easy to lie about language skills?
Can you actually speak the languages you list on your cv?
Lots of us take a foreign language for a term, and then claim fluency on our CVs. How could such a small white lie cost us a job?
Several years ago, Facebook started allowing users to add 'languages spoken' to their profiles.
One thing became abundantly clear: I had, apparently, been living a life populated with polyglots.
All at once, everyone I knew started claiming to be multilingual – despite the fact that I had never heard these people mutter even a word of a foreign language before. (My favourites were the people who said they spoke both US English and UK English.)
This trend doesn't end with Facebook profiles either. The embellishment seeps into the workplace, surfacing when people apply for jobs. On LinkedIn and in job applications, many people don't think twice about slapping down a greatly exaggerated foreign language ability.
But can this backfire?
Language skills are easy to lie about
Of course, CVs have been riddled with little white lies practically as long as the modern labour market has existed, so this isn't new. In a 2015 survey by CareerBuilder of 2,000 full-time hiring managers in the US, 56% said they had caught an applicant in a lie, like bloating past job titles and responsibilities to even listing an imaginary university. What's more, they specifically said that 63% of applicants embellished a skill on their CV.
Another survey of 2,000 hiring managers by Hloom, a company that provides templates for cover letters and CVs, found that the second-worst lie an applicant could put on their CV was foreign language fluency – topped only by lying about the university they graduated from, and followed by academic major.
So, what is it about language skills in particular that makes people overinflate their worth?
Facebook's interface is now available in over 100 languages. And on their personal profiles, many people try to project a multilingual flavour (Credit: Getty Images)
Maurice Schweitzer, a professor of management at Wharton, the University of Pennsylvania's business school, boils it down to something he calls "elastic justification": "Where basically, they exaggerate things where it's difficult to draw a bright line – so language is a good example," he says.
In other words, your alleged Tagalog faculty is less clear-cut and more fudgeable, unlike something as plain as your university degree. (Though Schweitzer says plenty of people make those up on their CVs, too.)
People 'exaggerate things where it's difficult to draw a bright line – so language is a good example' – Maurice Schweitzer
Naturally, for translation jobs or other positions that require specific bilingual requirements, you can expect some kind of test to see if your skills are up to snuff.
But if you're applying for a graphic design gig and want to throw in the fact that you speak some Spanish (read: studied the subject briefly at university and haven't spoken it since), what's the big deal?
'What else are you lying about?'
People lie on their CVs for the same reason they lie about their language skills on something as banal as Facebook. They want to impress people. The problem is, if you're deceptive about your qualifications on an application – no matter how trivial you think it is – it leaves a really bad indelible impression on potential employers.
Schweitzer says some even lie in the interests section of their CV, if they choose to include this part, and may even exaggerate their hobbies or expertise areas in order to project a certain image of themselves, or to come off as well-rounded or memorable.
Saying you like Star Trek or cinema, or saying you compete in marathons, might spark a follow-up question or an interviewer's attempt at harmless small talk – but if it becomes obvious you don't know as much about those things as you suggest, the hiring manager might wonder what else you're lying about. Is this someone they trust and who they'd want to bring onto their team?
"What's interesting about language is it's really quite vague," says Schweitzer. "If I can order at a restaurant in Italian, in my own mind, I might justify to myself I'm conversant in it – it's that ambiguity that makes it so interesting."
It's a sort of self-delusion that might seem harmless at first, but it can rebound once the liar starts applying for more prominent or public positions.
Schweitzer points to a recent news story about the US Florida House of Representatives candidate who lied about going to a certain university – an apparently bogus claim that led to her dropping out of the race this week. She claimed she graduated from the university with a degree – the university says she didn't – but she did attend the commencement ceremony, which explains a photo of her wearing a cap and gown.
Many people have 'constructed an identity and that's how they see themselves' – Meg Montee
This is elastic judgment at play. If you're associated with some aspect of accomplishment – putting Italian on your CV and being able to order bruschetta in Rome – you may start telling people, and actually believing to a certain extent, that you can actually speak Italian well enough to brag about it.
But such an "error in judgment," as the Florida candidate described her own fiasco, could end up sabotaging you in a big way.
The best way to handle language skills on a CV
All this isn't to scare you off from putting a language skill on your CV or public social media presence.
But if you claim to speak Arabic on your job application, even as a small side note, be prepared for the possibility that the interviewer starts speaking to you in Arabic. Such a worst-case scenario is a good litmus test for deciding what (or what not) to include.
Meg Montee is a senior research associate at the Center for Applied Linguistics in Washington, DC. She says that common descriptors like conversational or fluent aren't really helpful because internationally, easily-measured standards system for levels of language ability aren't always widely used or understood by all. Sure, there are lots of standardised tests out there (especially for non-native English learners), but she also says they're expensive and take a lot of time to prepare for.
Instead, she recommends being as specific as possible. "Specific statements of, 'I can explain directions,'" Montee says. "Someone who works in public transportation needs to be able to clearly make announcements in the language and be understood by the general public. In an office job, you need to be able to write memos that would be understood by a general audience."
Sound like too much work? Chances are, if you can't come up with a small list of actual tasks you can carry out, you probably shouldn't put the language down on the application in the first place. It's not worth running the risk.
"People may not be lying on purpose," Montee says. "But they've constructed an identity and that's how they see themselves."
This is the rule of thumb for the bigger job-hunting principles at play here: it's never worth lying your CV.
Schweitzer says if you're even wondering about whether to include something, don't bother including it. It's easy to slip into a tunnel-vision mentality when you're looking for work – goal number one is finding a job, goal number two might be being honest – but when in doubt, go with your gut.
"We're always trying to impress other people – and I think people do get some sort of boost for just seeing themselves in a certain light," he says. "People can justify behaviours to themselves pretty readily."
Bryan Lufkin is BBC Capital's features writer. Follow him on Twitter @bryan_lufkin.
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SRB (SRB)
Commentary on the Law on Disaster Risk Reduction and Emergency Management
The Law on Disaster Risk Reduction and Emergency Management ("Official Gazette of RS", No. 87/2018) (hereinafter: the Law), entered into force on 21 November 2018. On the day of entry into force of this Law, Articles 58 to 64 and Articles 66 to 72 of the Law on Fire Protection ("Official Gazette of the Republic of Serbia" No. 111/2009 and 20/2015) ceased to be valid, also, the provisions of the Law on Emergency Situations ("Official Gazette of the Republic of Serbia", No. 111/2009, 92/2011 and 93/2012), which ceased to be valid after the entry into force of this Law, have been implemented.
Article 1 of the Law stipulates that this Law regulates the functioning, proclamation and management of emergency situations; system of protection and rescue of people, material and cultural goods and the environment from natural disasters, technical and technological accidents – crashes and disasters, consequences of terrorism, war and other major accidents; the competencies of state bodies, autonomous provinces, local self-government units and the participation of the police and the Serbian Armed Forces in protection and rescue; rights and duties of citizens, companies, other legal entities and entrepreneurs in relation to emergency situations; organization and activity of civil protection on the protection, rescue and elimination of consequences of natural disasters and other accidents; financing; inspection supervision; international cooperation and other issues of importance for the organization and functioning of the protection and rescue system.
This Law also introduces the Risk Register as an interactive electronic geographic-information database for all risks (hazards) of natural disasters and other hazards on the territory of the Republic of Serbia. It is envisaged that the Risk Register operates at the central level within the Ministry of Internal Affairs, in cooperation with other state administration bodies, and it is also envisaged that the data is supplied by relevant ministries, special organizations, agencies and units of local self-government. Also, the intention is to allow access to the subject database to all entities that make their own risk assessments or perform some construction and other investment works.
In addition to this, this Law also provides for the determination of immediate risk zones in the field, in order to prevent construction in these zones. The determination of these zones has a special significance, bearing in mind that wild construction as well as construction in zones, where there is a certain danger of floods, earthquakes, landslide and technical and technological hazards, is present throughout the territory of the Republic of Serbia, so it is considered that the application of these provisions will significantly affect the reduction of these cases.
The basic goal of adopting this Law was the need to legalize, in the unique manner, the system of disaster risk reduction and emergency management as part of a unified national security system in the Republic of Serbia, by creating legal conditions for the establishment of a unified and integrated system, that is, a comprehensive standardization of preventive measures and activities in order to reduce the risk of disasters, to effectively react in the event of disasters, as well as to efficiently eliminate their consequences, in order to ensure the recovery and normalization of living and working conditions in the affected area as soon as possible.
The most important obligations that the Law prescribes, are in concern with the development of the following documents: Disaster Risk Assessment, Plan for Disaster Risk Reduction and Plan for Protection and Rescue.
The Disaster Risk Assessment identifies the type, character and origin of certain risks from the onset of catastrophes, the degree of jeopardy, the factors that cause them, or increase the degree of possible danger, the consequences that can occur for human life and health, the environment, material and cultural goods, public services and economic activities, as well as other assumptions of importance for the performance of common life, economic and social activities. The subject Disaster Risk Assessment is drafted and adopted by the Republic, autonomous province, local self-governments, entities of special importance for protection and rescue, except federations, clubs and associations, companies, health institutions, except pharmacies and educational institutions, as well as social welfare institutions for the user's facilities.
Plan for Disaster Risk Reduction is drafted and adopted by the Republic, the province and the local self-government. Plans for Disaster Risk Reduction are drafted on the basis of a proposal for the treatment of estimated risks in an appropriate disasters risk assessment.
The Plan for Protection and Rescue of the Republic of Serbia is drafted by the Ministry in cooperation with other ministries, special organizations and other legal entities, and is adopted by the Government. The Plan for Protection and Rescue of the autonomous province and the Plan for Protection and Rescue of local self-government units shall be adopted by the competent bodies of the autonomous province, i.e. the local self-government unit, upon the obtained approval of the Ministry, at the proposal of the competent emergency headquarters. In addition to state bodies, the Plan for Protection and Rescue is also obligatory for all entities that are obliged to prepare the Disaster Risk Assessment.
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