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While Israel's operations in Gaza were met (at first) by more understanding from global leaders than ever before, the voices of dissent are growing louder. The most common claim is that Israel's use of force has been disproportionate, and that Israel needs to demonstrate restraint.
Let's talk about the meaning of the word proportionate. Webster's defines proportionate as agreeing in amount, magnitude, or degree. Let's take the first word: amount. Hamas has fired 4,000 rockets and thousands of other mortar shells over the course of 7 years at the people of Southern Israel.1 Perhaps Israel should have reacted "proportionally" and fired 4000 missiles at the people of Gaza, the people who elected the Hamas government. After all, Hamas has acted against the Israeli population despite the fact that the one it takes issue with is the Israeli Government. Would that not be a "proportionate response?"
So the answer to the question of whether or not Israel has acted disproportionally is yes: Israel's response is disproportionate, but it's not disproportionally large…it's disproportionally small.
From a legal standpoint, Israel is well within the realm of international law. For starters, under the Geneva Conventions, the responsibility for civilian casualties lies with the party that deliberately places the civilians at risk. Hamas has created strongholds in mosques, hospitals, schools, and homes. The responsibility for the death of civilians lies, legally speaking, on Hamas. On the topic of proportionality, Israel also falls within the realm of international law. The president of the International Court of Justice (ICJ) in The Hague, Rosalyn Higgins, has stated that proportionality "cannot be in relation to any specific prior injury – it has to be in relation to the overall legitimate objective of ending the aggression."
Fortunately for the people of Gaza, proportionality does not dictate that Israel must retaliate in a proportionate manner and fire Kassams at the civilians of Gaza. The proportionality clause is not Hammurabi's code which dictates that one take "an eye for an eye" and "a life for a life." A proportional response is not based on striving to avenge each Israeli dead with a Palestinian dead and each rocket fired into Israel with a rocket fired into Gaza. Alan Dershowitz wrote in 2006 that, "Proportion must be defined by reference to the threat proposed by an enemy and not by the harm it has produced." If Israel had to wait until a Kassam landed on an Israeli school to act, Israel would be allowing, "its enemies to play Russian Roulette with its children."
If a nation is facing aggression, then "proportionality" is judged by whether force was specifically used by that nation to bring an end to the armed attack against it. Force becomes excessive only if it is employed for another purpose, like causing unnecessary harm to civilians. Considering the fact that Israel has dropped leaflets, recorded announcements that interrupt radio broadcasts, and telephoned Gaza residents telling them to flee their homes if they were hiding weapons or militants2, and given the low number of casualties in relation to the amount of firepower used (100 tons of bombs as of December 27th)3 one can hardly claim that Israel's aim is the death of civilians.
One of the main points used by those who argue that Israel's response has been disproportionate is the disparity between the number of deaths on the Israeli side versus those on the Palestinian side. Many more Palestinians than Israeli's have been killed and in a much shorter amount of time. But just because only a handful of Israeli casualties have resulted from Hamas's rockets does not change the intent of their actions. If two people are assaulted and one walks away and the other is hospitalized, the legal term for both actions is the same: Assault. Hamas intended each of those missiles to cause civilian casualties. Make no mistake about it…the people of Southern Israel have been lucky. Residents in Sderot have 15 seconds to seek cover when a rocket is fired and yet 90% of the homes in Sderot are without a safe room. Missiles have hit schools, temples, and recently a kindergarten, hours, and in some cases, minutes after people had dispersed.1
While the claim of a "disproportionate response" is inaccurate as it is, some have taken it a step further. Syria referred to Israel's actions as "barbaric aggression." Some have even called it genocide. They claim that Israel has subjugated the people of Gaza and left them no choice but to support the armed resistance of Hamas. They speak of the conditions in Gaza and claim that it is Israel that has created an environment where people will do anything to change their present condition. What these people fail to mention is that the main issue for the people of Gaza is the security fence that surrounds them which was put in place because of suicide bombings. Between the beginning of the current confrontation in September 2000 and the erection of the security fence and buffer zone in August 2003, terrorist organizations operating from Gaza carried out 73 attacks, killing 293 Israelis and wounding 1,950. Between August 2003 and the end of 2006 they carried out 12 such attacks, killing 64 Israelis and wounding 445.4 The numbers speak for themselves. Even the leaders of terrorist organizations have conceded that the fence impedes their ability to carry out operations. On November 11, 2006, Islamic Jihad leader Abdallah Ramadan Shalah said on Al-Manar Television that the terrorist organizations had every intention of continuing suicide bombing attacks, but that their timing and the possibility of implementing them from the West Bank depended on other factors. "For example," he said, "there is the separation fence, which is an obstacle to the resistance, and if it were not there the situation would be entirely different." While human rights are important, the right to life must come first. Israel has an obligation to protect it's citizens at any cost. Ironically, the UN, which passed a resolution condemning Israel's barrier, is building its own fence to improve security around its New York headquarters.
Israel has spent years exercising restraint. But no amount of restraint will end the conflict because the truth of the matter is that Hamas does not want peace. It's ultimate goal is to destroy the state of Israel, as evidenced by the map on top of it's logo that excludes the state of Israel, replaced instead with a new Islamic state. Israel has taken steps towards peace. Israel completely withdrew it's armed forces and 9000 settlers from Gaza in the hopes that it would be a major stepping stone to both peace and a two-state solution. And what was the response? Rockets. In fact, the majority of the 4000 rockets fired since 2001 were launched after Israel withdrew completely from the Strip in August 2005. In that time, from 2005 to 2006, rocket attacks increased by 500% from 179 to 946. But Israel tried again in 2008. It signed a cease-fire agreement with Hamas 6 months ago and stopped it's targeted assassinations. And yet 216 rockets were fired at Israel in the 6 month cease fire that lead up to December 21st of this year, at which point Hamas declared the end of the cease-fire, one which they ironically had never kept in the first place.5 The time for restraint has passed. Now is the time for action. Action against terrorism. Action against those who threaten the security of the state of Israel. A cease-terror, not a cease-fire. While world leader's criticize the actions of Israel, they forget that Hamas's hatred is not limited to Israel…it extends to all the Western Democracies. Today the rockets reach Sderot. If we wait long enough, the rockets will reach Tel Aviv and Jerusalem. London. Madrid. New York. Appeasement is the wrong response, as Neville Chamberlain found out the hard way. The time for action is now.
http://www.aish.com/jewishissues/israeldiary/Life_in_Sderot.asp
http://www.federalnewsradio.com/?nid=82&sid=1560771
http://securityfence.mfa.gov.il/mfm/web/main/missionhome.asp?MissionID=45187&)
http://www.jpost.com/servlet/Satellite?cid=1230456535626&pagename=JPost%2FJPArticle%2FShowFull
2 Responses to "Entry 6: Israel's response to Hamas."
Tara Feldman Says:
So well written Corey, Good job!
Just came across your blog after the Hamas vs. Hummus challenge made you famous :). From what I gather, this was written in 2010, but it's shocking and sad that 4 years later the world still has the same reaction regarding the "disproportionate response". Maybe more people should read your arguments here, although I think that if they have made up their minds about Israel being a war criminal, then no amount of arguments will make them see the other side's point of view.
I've tried sending you a message on Facebook (Suomen Korppi) but I'm not sure if you received it – it was about requesting your help to send a little letter of my thoughts & good wishes to the soldiers of the IDF. I've been reading that the guys really appreciate it when they get support from civilians and I'd like to give my small share of morale boost to someone, but Finland isn't exactly on the Gaza border so I can't just show up there with the paper in hand. Could you help me pass it on to your IDF friends?
Have a great day and wish you all to be protected from harm and back home safely! Ioana

redpajama_set_name: RedPajamaCommonCrawl


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ARK: Survival of the Fittest (SotF) now on PC, Mac, Linux & SteamOS!
Hey Survivors!
Today we are very excited to tell you that ARK: Survival of the Fittest is now available for Mac, Linux, and SteamOS on Steam Early Access!
These versions share all of the features and content of the PC version of the game and includes seamless online cross-play, with players able to play together no matter which platform they choose.
Are you ready to get in on the action? Click here to be brought to the Steam store.
And remember, Survival of the Fittest is free for anyone to play!
11. April 2016 Krim General
2 thoughts on "ARK: Survival of the Fittest (SotF) now on PC, Mac, Linux & SteamOS!"
koboldthegreat says:
When will you guys update the linux version to the latest version? I still can't join official.
koboldthegreat
popo says:
how do i get steam to work i am a noob


Measures of community population composition, like residential segregation, are important theoretical mechanisms that have the potential to explain differences in fertility between immigrants, their descendants, and destination natives. However, only a handful of studies explore these mechanisms, and most are limited by the fact that they carry out cross-sectional analysis. This study proposes a new approach, which focuses on community composition in childhood. It uses longitudinal census data and registered births in England and Wales to investigate the relationship between completed fertility and multiple measures of community composition, including residential segregation. The results show that the fertility of immigrants is closer to native fertility if they grow up in less segregated areas. This provides evidence in support of the childhood socialisation hypothesis. Furthermore, residential segregation explains some of the variation in completed fertility for second generation women from Pakistan and Bangladesh, the only second generation group to have significantly higher completed fertility than natives. This suggests one reason why the fertility of some South Asians in England and Wales may remain 'culturally entrenched'. All of these findings are consistent for different measures of community composition. They are also easier to interpret than the results of previous research because exposure is measured before childbearing has commenced, therefore avoiding many issues relating to selection, simultaneity and conditioning on the future.


Valeria was born healthy but by kindergarten, she had extreme anxiety. She was an active child but would refuse to communicate with other kids. With nowhere else to turn, her mother brought her to "Hearts of Love" Center.
The Center, started by Mercy Projects about 10 years ago, provides therapy, training, and support for many handicapped children and their families in this area of Ukraine. Valeria's mother Vita tells her story in this short video. Miracles for children happen every day at the Hearts of Love Center!


Poor focus on LPI or its just broke?
I am unable to view anything through the camera. When I start the Envisage software I can seen an image but can not tell what I'm looking at. There is a lot of speckles on the screen. I've tried to focus the camera from my DS 2114 but nothing changes. If I shine a light near the front of the scope the image changes. I've tried setting the gain to 100 and offset 50. What am I doing wrong? What setting do I need to have. I've attempted to use the LPI last night outside with the speckles now dark. I know there is a live view which I think I have set but how often is the live view updated? I thought the hardest part would be the RS232 to usb connection and setting up the network support. That was easy.
It sounds like your LPI is working .
Remember the CCD chip on the LPI is small so you may not have been on the star you were trying to view.
Its best to center your object in a crosshair eyepiece then install the LPI and focus.
Centering objects and focusing are the hardest part of capturing images.
I always recommend first light on the moon as it is big and easily found on the chip.
Depending on the conditions(bad seeing or unstable atmosphere) this will determin how clear of an image you obtain.
This is why you want to stack many short exposures to get a nice final image.
Depending on the brightness of the target you want the gain to 100 and offset to 50.
Bright stars are a little less than a second to about a second.
Every object is different so you will have to play with the exposure times to see what works best for you.
I was able to image the Moon last night and was decently pleased with the results. The only complaint I have now is focusing. I've been looking online "including this site" for a Motorised focuser. I know Meade no longer makes the 1440. Which is a shame. Its a bit difficult to slowly bring an image into focus due to the vibrations from turning the knob. Any suggestion for an alternative or where to find a 1440 Motorised focuser.
You may find a focuser from JMI that may work.
Google for JMI or Jims mobile service.
I talked with one of JMI's builders. They said that although they don't make a focuser for the DS2114 that if I snapped some pictures and took measurements for my focuser. He could possible build a motofocuser for my scope. My only other concern is cost. I figure a custom built item is not going to be cheap.


papers, microchip, health certificate (if shipped), and lots of love.
Call or request info below for our current pricing for each puppy.
toward the final puppy price.
Deposits are collected at the time we determine the litter due date.
If your puppy is going to be shipped to you we will let you know the cost of the ticket and the crate. We will also coordinate with you for the best time so that you will be available to meet the puppy at the airport.
If you are placing a deposit on a puppy prior to the litter being born, the deposit is fully refundable if we are unable to supply a puppy that meets your needs. We want happy puppies and ecstatic owners. If however you change your mind after the deposit has been made there will be no refund.
To pay for your puppy you can use the PayPal process and choose the appropriate price from the drop down list. There is $15.00 charge to use PayPal or paying by credit card without being present to sign.
If you want to send a check there must be 14 day window between the time the check is deposited and the delivery of the puppy. Additionally, No money will be returned as part of the purchase. Checks must be for the exact amount of the puppy, shipping and cost of the crate. Attempts to over pay and expect a refund will void the transaction!
Pricing for the next litter is $2200.00 for full AKC registration. For Limited AKC registration the price $1875.00. Litter is projected for spring of 2018.
If you take ownership in the state of Texas you are subject to the Sales Tax of .825%. Please refer to our Sales Tax information page.
Please make sure all checks are for the correct amount. DR Farms will not return funds above the amount of the purchase. The check will be rejected and no puppy will be delivered.
For an additional cost you can upgrade to www.whistle.com ask for additional information.
* There is a veterinarian in your area to implant the chip if you are a visitor and interested in this service. Visit the website and it can help you find a vet in your area.
*10 Year Puppy Replacement - this does not include the vet check, health certificate, shots, worming, transportation, carrier, or travel kit fees. This Lifetime Free Replacement Puppy Health Guarantee is for the health of your Collie, and does not cover accidental death, neglect, abuse, or injuries that your dog may sustain while being a part of your family. We believe that Life's Abundance food and supplements are a great combination to provide your dog with optimal health, so that your Collie can live a long and happy life with your family! This Lifetime Free Replacement Puppy Health Guarantee does transfer to new owners (if you are unable to care for your dog), when no lapse in the use of these products occurs.
All puppies are delivered after the 8th week of delivery.
Educational Links & Genetics pages!
DR Farms will review our health recommendations with you to insure your Collies continued health.
Should you get PET INSURANCE for your puppy?
Click here to find out what the benefits are and the cost is!


Prepared in response to a mandate of the Civil Justice Reform Act of 1990, the manual offers judges an arsenal of management techniques for every phase of civil litigation. It includes forty-three sample forms experienced judges have found useful in their courts as well as an overview of case-management theory and practice.
An Act To provide for the appointment of additional Federal circuit and district judges, and for other purposes. Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled. That this Act may be cited as the "Judicial Improvements Act of 1990".
Updates the March 28, 1997 report on the federal district courts' responses to the 1993 amendments to FRCP 26. Tables describe courts' local rules, general orders, and CJRA plans by indicating which of five key provisions of Rule 26 are in effect.
L. Ralph Mecham transmits to Congress the Judicial Conference's 6-part final report on the CJRA including analysis of CJRA implementation, alternative plans for cost and delay reduction, and techniques, guidelines, and principles of CJRA efforts.
Updates the March 22, 1996 report on the federal district courts' responses to the 1993 amendments to FRCP 26. Tables describe courts' local rules, general orders, and CJRA plans by indicating which of five key provisions of Rule 26 are in effect.
Superseded by Implementation of Disclosure in United States District Courts, With Specific Attention to Courts' Responses to Selected Amendments to Federal Rule of Civil Procedure 26 (March 30, 1998).
This document traces the stages in the implementation of the CJRA in the study districts: the recommendations of the advisory groups, the plans adopted by the districts, and the plans actually implemented. It was prepared for the Judicial Conference of the United States.
This executive summary summarizes three technical reports that document RAND's evaluation of the Civil Justice Reform Act (CJRA) of 1990. It provides an overview of the purpose of the CJRA, the basic design of the evaluation, the key findings, and their policy implications. It was prepared for the Judicial Conference of the United States.
This document discusses the results of an evaluation of mediation and neutral evaluation designed to supplement the alternative dispute resolution assessment contained in the main CJRA evaluation. It was prepared for the Judicial Conference of the United States.
Report on the programs adopted by districts designated as demonstration districts by the Civil Justice Reform Act. Includes list of issues to address in designing a mediation program.


Pokemon GO has added Ho-Oh as a Raid Boss. The legendary bird can be found in Gyms worldwide. The six hour lures given as rewards in the Global Catch Challenge will remain active until Friday, 01 December.
Trainers of the world: you have been given a chance to capture the final legendary bird to be released in Pokemon GO. The window of opportunity will slam shut faster than you can say "uh-oh" on 12 December. But hey oh, until then you have a chance to catch Ho-Oh. Ba dum tss. Think about it.
Legendary Pokemon Ho-Oh will be available to catch in Raid Battles at Gyms worldwide. The Raid Battles will have you team up with up to 20 other trainers in order to take down a Raid Boss. The Raid Boss here is the legendary Ho-Oh.
Niantic's global event was launched in order to re-engage some old fans with the new content, entice them to go further than they have gone before and to catch more Pokemon.
The goal was to catch 3 billion Pokemon, and the reward initially included Farfetch'd being made available to catch worldwide for 48 hours, as well as trainers in East Asia being able to find and catch Kangashkan during the 48 hour period.
Other bonuses included double stardust and XP rewards, on top of six hour lures. The lures will be active until Friday, 01 December at 9 pm GMT. If, after all this, you are left craving more, a lot more seems to be coming in the form of an announcement or two set to drop in the next few weeks.
A couple of surprises might be waiting for you around Christmas and New Year. Don't forget there's still a new Gen 3 Pokemon waiting to be released into the wild.


Bishop Schneider after the Mass at the festive reception.
On Sunday, January 6, Bishop Athanasius Schneider celebrated a Solemn Pontifical Mass for the feast of the Epiphany at St. Mary's, Norwalk. It is noteworthy that almost all the resources needed for this elaborate liturgy were provided by the parish itself.
Reverent reception of the Eucharist is an apostolate of bishop Schneider.
The blessing of the chalk.
Beautiful!!! Thank-you <3 st marys in norwalk forever!!


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FAO Nutrition Meetings
Report Series No. 48A
WHO/FOOD ADD/70.39
TOXICOLOGICAL EVALUATION OF SOME
EXTRACTION SOLVENTS AND CERTAIN
The content of this document is the
result of the deliberations of the Joint
FAO/WHO Expert Committee on Food Additives
which met in Geneva, 24 June  -2 July 19701
1 Fourteenth report of the Joint FAO/WHO Expert Committee on Food
Additives, FAO Nutrition Meetings Report Series in press; Wld Hlth
Org. techn. Rep. Ser., in press.
FOOD-GRADE MINERAL OIL
Biological aspects
Mineral oils are of variable composition depending on the boiling
point of the fractions used. For food purposes usually liquid
petrolatum or liquid paraffin are employed which consist essentially
of n-alkanes and some cyclic paraffins. They are chemically inert
especially as regards the straight chain alkanes and on ingestion most
of the mineral oil (98%) remains unabsorbed in the faeces. There is
evidence now that small amounts of mineral oil (2%) are absorbed as
such by the intestinal mucosa and are distributed throughout the body.
A very small fraction may undergo further biochemical transformation.
Sources of mineral oil are laxatives or oils used in food technology
as release agents or for lubrication purposes (Boitnott and Margolis,
Oil droplets, identified as saturated alkane hydrocarbons, have
been demonstrated in mesenteric lymphnodes and nodes of the porta
hepatis in man. Similar droplets have been identified in human liver,
spleen and adipose tissue. The small amounts formed are consistent
with the calculated intake from food use (47.5 g per head per year in
the US). No known harm appears associated with these residues
(Boitnott and Margolis, 1966).
Similar deposition of oil and minor absorption was demonstrated
in rabbits, rats and guinea-pigs fed liquid petroleum for 7 months or
more. Histochemical evidence showed absorption to be proportionate to
length of exposure. The mechanism of absorption was unknown but the
absorbed particles showed evidence of foreign body reaction and
phagocytic ingestion (Stryker, 1941).
Mineral oil used as emulsifying medium for s.c. injection was
transported from the site of injection without causing any systemic
effects (Brown, 1966).
H3-labelled mineral oil was administered to rats orally and
i.p., 5 hours after oral dosing with 0.66 mg/kg bodyweight it could be
shown that over 80% was not absorbed but excreted in the faeces, 1-5%
was absorbed unchanged and another 15% appeared in carcass as H3
non-mineral oil substance. Some H3 had exchanged with available H and
possibly some mineral oil had been modified metabolically.
Radioactivity was found principally in liver, fat, kidney, brain, and
spleen. Following i.p. administration there was only very slow
excretion. 11% appeared in the faeces during 8 days and only traces in
the urine (Ebert et al., 1966).
Mineral oil passes through the gut wall unchanged and more is
absorbed in the presence of powerful emulsifiers, provided that the
particle size of the emulsion is about 0.5µ (Frazer et al., 1944).
Prolonged administration of 0.66 ml/kg for 31 days had no effect on
the amount absorbed when compared with single dosing (Ebert et al.,
A wide range of fractions of mineral oil contain carcinogenic
compounds especially higher boiling fractions of the range 300° - 350°
- 400°C as shown by skin painting of mice and rabbits (Cook et al.,
1958) but refined material may be free from these carcinogenic
constituents (Prigal, 1967). Inoculation of 64 mice with a combination
of mineral oil and killed staphylococci induced plasma cell tumours in
7 animals (Potter and Robertson, 1961), Later experiments produced
similar results with mineral oil alone (Potter and Boyce, 1962). Some
doubts have been raised as to the probable role of virus in production
of these mouse plasma cell tumours (Prigal, 1967). No human cancer has
been reported following many years of oleothorax use (Prigal, 1967).
Short-term studies
Rat: 10 rats were each fed a total of 17 g liquid paraffin in 18 g
olive oil over 16 days mixed into their normal diet. Some 65% was
absorbed as estimated free faecal loss. Another 5 rats received over
28 days a total of 28 g liquid paraffin in their diet. Only 9% was
absorbed. Lymph collected during absorption from intestinal lymphatics
showed that absorbed paraffin had been metabolically modified. (Daniel
Long-term studies
Mouse: 2 groups of 30 mice had mineral oil applied to their skin 3
times weekly at 15 mg/application for 311 and 478 days respectively.
No tumours were found (Esso Research, 1960).
Rat: Animals were kept for 15 months on diets supplemented with 10%
liquid paraffin. The liver contained 0.4% dry weight liquid paraffin.
Some active metabolism may occur but liver function was not affected.
(Daniel et al., 1953). In another experiment 2% mineral oil was fed in
the diet to 30 rats for 500 days without adverse effects (Schmäghl and
Reiter, 1953).
Nutritional implications
There are two possible reasons for the presence of mineral oil in
food; (1) in trace amounts from its use as a lubricant or separant
e.g. in tin greasing before baking, or from traces on the surface of
knives used to cut dough in breadmaking, or as a coating e.g. of
fruit; (2) as a substitute for fat either because it is cheaper or in
slimming foods. The maximum daily intake is calculated to be about 100
mg of which some 80 mg are contributed from its use on the machinery
in the baking industry (Council on White Mineral Oil, 1961).
There has been a great deal of work on the effect of mineral oil
in impeding the absorption of fat soluble vitamins A (and precursors)
D, E, K and essential fatty acids. There is no doubt that interference
with absorption can occur, particularly of carotene if amounts in food
exceed approximately 6000 ppm (Steigmann et al., 1952). Whether the
amounts likely to appear in the food of children are of clinical
importance is much less certain (assuming that it is not used as an
ingredient as in (2) above). But the diets of many of these may
contain amounts of these vitamins that are in any case marginal or
inadequate and there seems no reason for the inclusion of mineral oil
in foods which are specifically intended for infants with the possible
exception of rusks (concerning which enquiries are being made which
will be later reported as they may be subject to the same
contaminating processes as bread).
The use of food grade mineral oil is self-limiting because of its
laxative effect. Although a small percentage of ingested mineral oil
is absorbed as such and deposited in various organs it is without any
apparent harm. Most of the ingested material is not absorbed but is
excreted in the faeces. Apart from the nutritional implications in
relation to the intake of fat soluble vitamins, there are no
toxicological problems arising from the use of food grade mineral oil.
There appears to be no need to set a limit in food beyond that of
good manufacturing practice.
Boitnott, J. K. & Margolis, S. (1966) Bull. Johns Hopk. Hosp., 118,
Brown, E. A. (1966) Review of Allergy, 20, 148 & 235
Cook, J. W., Carruthers, W. & Woodhouse, D. L. (1958) Brit. med.
Bull., 14, 132
Council on White Mineral oil (1961) Food Additive Petition 302 to US
Food and Drug Administration dated 21/2/1961
Daniel, J. W. et al. (1953) Biochem. 1., 54, 37
Ebert, A. G., Schleifer, C. R. & Hess, S. M. (1966) J. Pharmac.
Sci., 55, 923
Esso Research (1960) Unpublished report submitted to WHO
Frazer, A. C.  Schulman, J. H. & Stewart, H. C. (1944) J. Physiol.,
Potter, M. & Boyce, C. R. (1962) Nature, 193, 1086
Potter, M. & Robertson, J. (1961) J. nat. Cancer Inst., 25, 847
Prigal, S. J. (1967) Annals of Allergy, 25, 449
Schmähl, D. & Reiter, A. (1953) Arzneimittel-Forsch., 3, 403
Steigmann  F. et al. (1952) Gastroent., 20, 587
Stryker, W. A. (1941) Arch. Pathol., 31, 670
Food-grade mineral oil (WHO Food Additives Series 5)


text:
El hombre de La Mancha es un musical con libreto de Dale Wasserman, música de Mitch Leigh y letras de Joe Darion, basado en la obra de texto para la televisión Yo, Don Quijote, también de Wasserman, que a su vez está inspirada por la novela Don Quijote de la Mancha de Miguel de Cervantes. Su trama arranca con el propio Cervantes encerrado en una prisión mientras aguarda una audiencia con la Inquisición española. Para evitar que sus compañeros de celda le arrebaten un preciado manuscrito que lleva consigo, Cervantes sugiere representar una función teatral sobre la figura de Don Quijote, en la que él y el resto de prisioneros interpretan los diferentes personajes. Según Wasserman, El hombre de La Mancha en ningún caso pretende ser una adaptación fiel de la vida de Cervantes ni de su obra maestra, y no debe tomarse como una versión musical del Quijote.

La producción original de Broadway se estrenó en 1965 y desde entonces el espectáculo ha sido puesto en escena en numerosas ocasiones a lo largo de todo el mundo. Entre sus famosas canciones destaca "El sueño imposible", que se ha convertido en un estándar y ha sido versionada por múltiples artistas.

Argumento
La acción se sitúa en España, a finales del . El fracasado escritor Miguel de Cervantes y su criado han sido arrojados a una mazmorra de la Inquisición, acusados de ofensas contra la Iglesia católica. En el calabozo, son atacados por sus compañeros de prisión, quienes pretenden arrebatarles todas sus pertenencias, incluido un preciado manuscrito que Cervantes lleva consigo y que ellos ansían quemar. Un compasivo criminal al que llaman el "Gobernador" intercede y propone organizar un falso juicio para que los recién llegados puedan defenderse. Cervantes pide que se les permita hacerlo escenificando una obra de teatro y el "Gobernador" acepta la propuesta.

Cervantes saca un kit de maquillaje de su baúl y comienza a introducir la historia, mientras su criado le ayuda a ponerse el vestuario. En unos instantes, el escritor se transforma en Alonso Quijano, un anciano hidalgo que ha perdido la razón por leer demasiados libros de caballerías y que ahora cree que debe ir por la vida combatiendo la injusticia. Quijano adopta el nombre de "Don Quijote de la Mancha" y sale en busca de aventuras junto a su escudero, Sancho Panza ("Man of La Mancha (I, Don Quixote)").

Don Quijote advierte a Sancho del peligro que corren de ser atacados por su enemigo mortal, un malvado mago conocido como el "Encantador". De repente, el hidalgo divisa un molino de viento. Al ver sus aspas girando, Don Quijote confunde el molino con un gigante de cuatro brazos y se lanza al ataque, resultando malherido. El hidalgo culpa de su derrota al hecho de no haber sido armado caballero andante adecuadamente. Entonces, cree ver un castillo a lo lejos, cuando en realidad se trata de una venta de carretera. Don Quijote ordena a Sancho que anuncie su llegada soplando su corneta, mientras los dos se internan en la posada.

En ese momento, Cervantes detiene la obra y pide a algunos prisioneros que asuman los roles del personal de la venta y de un grupo de arrieros que están de paso. Entre las mozas de la posada destaca la prostituta Aldonza, quien está siendo acosada por los arrieros. Ella sabe defenderse bien y se burla de ellos ("It's All the Same"), aunque finalmente acepta tener relaciones sexuales con su líder, Pedro, quien paga por adelantado.

Don Quijote entra en la venta con Sancho, preguntando por el señor del castillo. El ventero, a quien interpreta el "Gobernador", los trata con amabilidad y les sigue la corriente. De pronto, Don Quijote repara en Aldonza y la toma por su señora Dulcinea, una distinguida dama a quien ha jurado lealtad eterna ("Dulcinea"). Aldonza, acostumbrada a ser tratada con dureza, se siente agraviada por las gentilezas de Don Quijote y más aún cuando los arrieros se ríen de ellos.

Mientras tanto, la sobrina de Don Quijote, Antonia, y su ama de llaves acuden al cura del pueblo en busca de consejo. El cura se da cuenta de que las dos mujeres están más preocupadas por la vergüenza social que les puede acarrear la locura de Don Quijote que por su salud mental. Especialmente Antonia, quien desea casarse con su prometido el bachiller Sansón Carrasco ("I'm Only Thinking of Him").

El fiscal del juicio, un hombre al que apodan el "Duque", es escogido por Cervantes para ponerse en la piel de Sansón Carrasco, un personaje tan cínico y egocéntrico como el preso que lo interpreta. El bachiller está molesto ante la idea de tener un loco en su nueva familia, pero el cura le convence de que sanar a su futuro suegro sería un desafío digno de sus habilidades. Los dos hombres parten en busca de Don Quijote para traerlo de vuelta a casa ("I'm Only Thinking of Him (Reprise)").

En la posada, Sancho entrega a Aldonza una misiva de Don Quijote en la que el hidalgo la corteja y solicita un regalo como prueba de su amor. Ella sigue enfadada y le lanza un viejo trapo de cocina. Cuando Aldonza le pregunta a Sancho que por qué sigue a su señor, él no sabe muy bien qué responder ("I Really Like Him"). A solas, la moza reflexiona sobre el idealismo de Don Quijote y se da cuenta de que, a diferencia del resto, ella es incapaz de reírse de él ("What Do You Want of Me?"). En el patio, los arrieros continúan burlándose de Aldonza con una canción sugerente ("Little Bird, Little Bird"). Aun así, la moza acuerda su encuentro con Pedro al anochecer.

El cura y el bachiller Carrasco llegan a la venta, pero no consiguen razonar con Don Quijote. De repente, el hidalgo divisa a un barbero acercándose con su bacía de afeitar sobre la cabeza para protegerse del sol ("Barber's Song"). Creyendo que se trata del milagroso yelmo de Mambrino, el cual según la leyenda hace invulnerable a su portador, Don Quijote se lo arrebata al barbero a punta de espada ("Golden Helmet of Mambrino"). El cura y el bachiller Carrasco se marchan sin haber logrado su objetivo, quedando el primero muy impresionado por los ideales de Don Quijote y preguntándose si realmente merece la pena curarlo ("To Each His Dulcinea").

Don Quijote pide al ventero que, como "señor del castillo", le arme caballero. El ventero acepta, pero para ello, primero el futuro caballero debe velar armas en el patio de la posada. Por la noche, Aldonza, de camino a su cita con Pedro, se encuentra con Don Quijote y vuelve a dirigirle duras palabras, pero él le explica gentilmente el porqué de su comportamiento y le habla de sus ideales ("The Impossible Dream"). En ese momento, aparece Pedro y abofetea a Aldonza por hacerle esperar. Furioso, Don Quijote desafía a Pedro y se desata una gran pelea en la que también intervienen los demás arrieros. A pesar de no tener habilidades de combate, el hidalgo logra derrotar a todo el grupo con la ayuda de Aldonza y Sancho ("The Combat"). Sin embargo, el ruido despierta al ventero, quien amablemente invita a Don Quijote a abandonar la posada. El hidalgo pide disculpas por las molestias ocasionadas, pero al mismo tiempo recuerda al ventero la promesa que le hizo. De esta forma, Don Quijote finalmente es armado caballero bajo el nombre de "Caballero de la Triste Figura" ("Knight of the Woeful Countenance").

Antes de marcharse, Don Quijote anuncia que hay que auxiliar a los enemigos derrotados tal y como exigen las leyes de la caballería. Aldonza, impresionada, se ofrece a ayudar, pero a pesar de su buena intención, la moza es golpeada y violada salvajemente por los arrieros ("The Abduction"). Don Quijote, ajeno a lo que acaba de ocurrir, se regocija por su reciente victoria y su nuevo título de caballero.

De pronto, la representación es interrumpida por los inquisidores, quienes irrumpen violentamente en el calabozo y se llevan a uno de los prisioneros para ser juzgado. El "Duque" se burla de la cara de pánico de Cervantes y acusa a este de no afrontar la realidad. El escritor se defiende haciendo un apasionado alegato a favor del idealismo.

La obra se reanuda con Don Quijote y Sancho de nuevo en el camino. El caballero y su escudero se encuentran con una banda de gitanos ("Moorish Dance"), quienes se aprovechan de su ingenuidad para robarles todas sus pertenencias, incluyendo el caballo Rocinante y el asno Rucio. Los dos hombres se ven obligados a regresar a la posada. Aldonza llega con el cuerpo repleto de magulladuras y Don Quijote jura vengarla, pero ella responde con furia y le cuenta las calamidades por las que ha pasado desde que nació, culpándole por haberla ilusionado con una vida que jamás podrá tener. Aldonza le ruega que la vea tal y como es en realidad, pero para Don Quijote ella sigue siendo su señora Dulcinea ("Aldonza").

De repente, aparece otro caballero y se anuncia a sí mismo como el enemigo mortal de Don Quijote, el "Encantador", esta vez bajo el nombre de "Caballero de los Espejos". El recién llegado insulta a Aldonza e inmediatamente Don Quijote sale en su defensa. El Caballero de los Espejos y sus sirvientes llevan enormes escudos que reflejan la luz del sol y ciegan al hidalgo. Pero en lugar de atacar, el caballero se burla de Don Quijote y le obliga a verse reflejado como todos lo ven, como un tonto y un loco. El hidalgo se derrumba abatido. El Caballero de los Espejos se quita el caso y revela que en realidad es el bachiller Carrasco, siguiendo con su plan de curar a Don Quijote.

Cervantes anuncia que la historia ha terminado, al menos hasta donde él ha escrito. Los presos no están satisfechos con el final así que se disponen a quemar el manuscrito, pero Cervantes les pide representar una última escena. El "Gobernador" acepta y el relato se reanuda en el dormitorio de Alonso Quijano, quien permanece semiinconsciente. Antonia, el ama de llaves, el cura y el bachiller Carrasco están junto a la cama, mientras Sancho intenta animar a su señor contándole cómo ha sido la vuelta a la normalidad ("A Little Gossip"). Finalmente, el hidalgo despierta y asegura que ha recuperado el juicio. Sus aventuras como caballero andante son solo un sueño difuso. Quijano se da cuenta de que está en sus últimas horas y pide al cura que le ayude a escribir su testamento. Cuando el hidalgo empieza a dictar, llega Aldonza y confiesa que ya no puede soportar ser otra persona que no sea Dulcinea ("Dulcinea (Reprise)"). Quijano no la reconoce y entonces ella repite las mismas palabras que él le enseñó cuando le habló de sus ideales ("The Impossible Dream (Reprise)"). De pronto, el hidalgo recuerda todo y se levanta de la cama, pidiendo a Sancho que le traiga su armadura y su espada ("Man of La Mancha (Reprise)"). Pero es demasiado tarde y en plena agitación por haber recuperado la memoria, Quijano cae muerto. Mientras el cura canta un salmo fúnebre, Sancho llora la pérdida de su amigo. Aldonza trata de consolarlo afirmando que aunque Quijano haya muerto, Don Quijote vivirá por siempre. Cuando Sancho llama a Aldonza por su nombre, ella responde: "Mi nombre es Dulcinea."

Los inquisidores entran en la celda para llevarse a Cervantes. Los presos deciden declararlo inocente y le devuelven el manuscrito, que resulta ser su novela todavía incompleta Don Quijote de la Mancha. Mientras Cervantes y su criado suben la escalera que les conduce a su inminente juicio, los presos, liderados por la mujer que ha interpretado el papel de Aldonza, repiten por última vez los ideales aprendidos de Don Quijote ("The Impossible Dream (Reprise)").

Desarrollo
El hombre de La Mancha surgió primero como una obra de texto escrita por Dale Wasserman para el programa de televisión DuPont Show of the Month, emitido por la cadena CBS entre 1957 y 1961. La compañía DuPont, patrocinadora del programa, exigió un cambio de título alegando que el público estadounidense no estaba familiarizado con la región española de La Mancha, así que finalmente la obra se llamó Yo, Don Quijote. Protagonizada por Lee J. Cobb como Cervantes/Quijote, Colleen Dewhurst como Aldonza y Eli Wallach como Sancho Panza, Yo, Don Quijote fue televisada en vivo el 9 de noviembre de 1959, siendo vista por unos veinte millones del espectadores. Afortunadamente y a pesar de que la grabación en vídeo aún no estaba demasiado desarrollada por aquel entonces, se conserva una copia de la emisión en la New York Public Library for the Performing Arts del Lincoln Center.

Algunos años después y tras un intento fallido de llevar Yo, Don Quijote a los escenarios de Broadway, el director Albert Marre se puso en contacto con Wasserman y le propuso convertir su obra en un musical. Wasserman aceptó el encargo y Mitch Leigh fue contratado para componer la partitura. Las letras de las canciones le fueron encomendadas al poeta W. H. Auden, pero su propuesta era demasiado mordaz e hiriente con el público burgués, así que finalmente fue Joe Darion quien se ocupó de escribirlas. Las orquestaciones corrieron a cargo de Carlyle W. Hall, quien potenció las secciones de viento y percusión, evitando el uso de instrumentos de cuerda más allá de un contrabajo y algunas guitarras flamencas.

En un principio se pensó en el actor Rex Harrison para protagonizar el espectáculo, pero tuvo que ser descartado en favor de Richard Kiley, ya que su tesitura de voz no era la adecuada para el exigente doble papel de Cervantes/Quijote.

La puesta en escena original se caracterizó por su minimalismo, con un único decorado sugiriendo una prisión española. El resto de localizaciones fueron recreadas a través de distintos juegos de luces y elementos de utilería, apelando a la imaginación del espectador. En producciones posteriores, sin embargo, se han incorporado escenografías más complejas.

Producciones

Broadway
1965
Antes de su llegada a Broadway, El hombre de La Mancha debutó a modo de prueba en la Goodspeed Opera House de East Haddam, Connecticut, donde se representó entre el 28 de junio y el 14 de agosto de 1965, protagonizado por el mismo elenco que después iría a Nueva York.

El estreno oficial neoyorquino tuvo lugar el 22 de noviembre de 1965 en el desaparecido ANTA Washington Square Theatre, con funciones previas desde el 30 de octubre y un reparto encabezado por Richard Kiley como Cervantes/Quijote, Joan Diener como Aldonza, Irving Jacobson como Sancho Panza, Ray Middleton como Ventero, Robert Rounseville como Cura, Jon Cypher como Bachiller Carrasco, Mimi Turque como Antonia, Eleanore Knapp como Ama de llaves y Gino Conforti como Barbero. El equipo creativo estuvo formado por Albert Marre en la dirección, Jack Cole en la coreografía, Howard Bay en el diseño de escenografía, vestuario e iluminación, Patton Campbell también en el diseño de vestuario y Neil Warner en la dirección musical.

Durante el tiempo que permaneció en cartel, la producción tuvo cuatro hogares diferentes: el ANTA Washington Square Theatre entre el 22 de noviembre de 1965 y el 18 de marzo de 1968, el Martin Beck Theatre (actual Al Hirschfeld Theatre) entre el 20 de marzo de 1968 y el 1 de marzo de 1971, el Eden Theatre entre el 3 de marzo y el 24 de mayo de 1971, y el Mark Hellinger Theatre entre el 26 de mayo y el 26 de junio de 1971, realizando un total de 2328 funciones regulares y 21 previas. Tras la marcha de Richard Kiley, muchos otros intérpretes pasaron por la compañía para ponerse en la piel de Don Quijote, incluyendo a David Atkinson, Jack Dabdoub, Claudio Brook, John Cullum, José Ferrer, Laurence Guittard, Hal Holbrook, David Holliday, Somegoro Ichikawa, Keith Michell, Gideon Singer, Charles West y Bob Wright.

En la edición de los premios Tony de 1966, El hombre de La Mancha fue reconocido en las categorías de mejor musical, mejor actor principal, mejor dirección, mejor música original y mejor diseño de escenografía.

1972
Solo un año después del cierre del montaje original, El hombre de La Mancha regresó a los escenarios neoyorquinos para realizar una breve temporada en el Vivian Beaumont Theatre de Broadway entre el 22 de junio y el 21 de octubre de 1972, alcanzando las 140 representaciones. Algunos de los protagonistas de la anterior producción como Richard Kiley (Cervantes/Quijote), Joan Diener (Aldonza), Irving Jacobson (Sancho Panza), Robert Rounseville (Cura), Eleanore Knapp (Ama de llaves) o Gino Conforti (Barbero) repitieron en este revival, que también contó con Jack Dabdoub como Ventero, Lee Bergere como Bachiller Carrasco, Dianne Barton como Antonia y Edmond Varrato como Barbero.

1977
En 1977, Richard Kiley volvió dar vida a Cervantes/Quijote en un montaje que se representó en el Palace Theatre de Broadway entre el 15 de septiembre y el 31 de diciembre, con el mismo equipo creativo detrás que las dos anteriores producciones y un elenco formado por Emily Yancy como Aldonza, Tony Martínez como Sancho Panza, Bob Wright como Ventero, Taylor Reed como Cura, Ian Sullivan como Bachiller Carrasco, Harriett Conrad como Antonia, Margret Coleman como Ama de llaves y Ted Forlow como Barbero. En total, esta puesta en escena realizó 124 funciones regulares y 3 previas.

1992
La siguiente vez que El hombre de La Mancha pudo verse en Broadway fue en el Marquis Theatre entre el 24 de abril y el 26 de julio de 1992, en 108 únicas representaciones como parte de una gira que había recorrido algunas ciudades estadounidenses para conmemorar el 25º aniversario del espectáculo. Albert Marre volvió a dirigir este montaje, que estuvo protagonizado por Raúl Juliá como Cervantes/Quijote, Sheena Easton como Aldonza (posteriormente reemplazada por Joan Diener), Tony Martínez como Sancho Panza, David Holliday como Ventero, David Wasson como Cura, Ian Sullivan como Bachiller Carrasco, Valerie De Pena como Antonia, Marceline Decker como Ama de llaves y Ted Forlow como Barbero. Como curiosidad, la cantante española Paloma San Basilio hizo una prueba para sustituir a Sheena Easton en el papel Aldonza, pero finalmente su participación no llegó a materializarse.

2002
Entre el 5 de diciembre de 2002 y el 31 de agosto de 2003, un nuevo revival se representó en el Martin Beck Theatre de Broadway, donde realizó un total de 304 funciones regulares y 16 previas. Esta producción, que antes de llegar a Nueva York había sido presentada en el National Theatre de Washington D.C. entre el 8 de octubre y el 10 de noviembre de 2002, contó con dirección de Jonathan Kent, coreografía de Luis Pérez, diseño de escenografía y vestuario de Paul Brown, diseño de iluminación de Paul Gallo, diseño de sonido de Tony Meola y dirección musical de Robert Billig. El reparto fue liderado por Brian Stokes Mitchell como Cervantes/Quijote, Mary Elizabeth Mastrantonio como Aldonza (posteriormente reemplazada por Marin Mazzie), Ernie Sabella como Sancho Panza, Don Mayo como Ventero, Mark Jacoby como Cura, Stephen Bogardus como Bachiller Carrasco, Natascia Díaz como Antonia, Olga Merediz como Ama de llaves y Jamie Torcellini como Barbero.

España
1966
La première mundial en idioma español tuvo lugar el 30 de septiembre de 1966 en el Teatro de la Zarzuela de Madrid, solo un año después del estreno neoyorquino. Dirigido por José Osuna y producido por Justo Alonso y Andrés de Kramer, el montaje estuvo protagonizado por Luis Sagi-Vela como Cervantes/Quijote, Nati Mistral como Aldonza, José Franco como Sancho Panza, Estanis González como Ventero, Jesús Aguirre como Cura, Carlos Villafranca como Bachiller Carrasco, Esperanza Abad como Antonia, Carmen Martínez Sierra como Ama de llaves y Francisco Cecilio como Barbero. El resto del equipo artístico lo completaron Alberto Masolli en la coreografía, Sigfrido Burmann en el diseño de escenografía, Francisco Nieva en el diseño de vestuario y Manuel Moreno-Buendía y Julián Perera en la dirección musical. La adaptación al castellano fue realizada por José López Rubio.

A pesar de la buena acogida del público, El hombre de La Mancha se vio obligado a echar el cierre el 1 de noviembre de 1966, debido a una operación de garganta de Nati Mistral. Una vez recuperada la actriz, el espectáculo fue transferido al Teatro Lope de Vega de Madrid entre el 6 de diciembre de 1966 y el 8 de enero de 1967, y al desaparecido Teatro Calderón de Barcelona entre el 16 y el 26 de febrero de 1967.

1997
El 19 de noviembre de 1997, un nuevo montaje producido por el empresario Luis Ramírez levantó el telón en el Teatro Lope de Vega de Madrid, con José Sacristán como Cervantes/Quijote, Paloma San Basilio como Aldonza, Juanma Cifuentes como Sancho Panza (posteriormente reemplazado por David Venancio Muro), Luis Álvarez como Ventero, Eduardo Santamaría como Cura, Javier Ibarz como Bachiller Carrasco, María José Oquendo como Antonia, Eva Diago como Ama de llaves y Antonio Queimadelos como Barbero. Gustavo Tambascio fue el director de esta versión (en lugar del inicialmente previsto Mario Gas), que también contó con diseño de escenografía de Juan Pedro Gaspar y Gerardo Trotti, diseño de vestuario de Jesús Ruiz y Gabriela Salaberri, diseño de iluminación de José Ramón de Aguirre, diseño de sonido de Ricardo Gómez, dirección musical de Santiago Pérez y adaptación al castellano de Roger Peña y Nacho Artime.

Para poner en marcha el proyecto, fue necesaria una inversión de 400 millones de pesetas (más de 2,4 millones de euros), así como una reforma integral del Teatro Lope de Vega, que tras años funcionando como cine recuperó el uso para el cual había sido concebido. La respuesta del público fue excelente, inaugurando una era dorada para el género musical en España que continúa en la actualidad, con la Gran Vía madrileña como principal referente.

Después de catorce meses de representaciones, El hombre de La Mancha se despidió de Madrid el 6 de enero de 1999 y a continuación dio el salto al Palacio de los Deportes de Barcelona, donde se instaló entre el 22 y el 31 de enero de ese mismo año. Como cierre definitivo, el espectáculo viajó hasta Argentina para realizar una temporada de tres semanas en el Teatro Gran Rex de Buenos Aires, a partir del 1 de abril de 1999. En total, esta producción fue vista por más de 500000 espectadores a lo largo de las 473 funciones que se llevaron a cabo.

2004
Coincidiendo con el cuarto centenario de la publicación del Quijote, El hombre de La Mancha regresó a la cartelera española con una nueva puesta en escena producida por Theatre Properties, que se representó en el Teatro Calderón de Madrid entre el 20 de diciembre de 2004 y el 27 de marzo de 2005. Parte del equipo creativo del anterior montaje repitió en esta versión, incluyendo a Gustavo Tambascio en la dirección, Juan Pedro Gaspar y Gerardo Trotti en el diseño de escenografía, Jesús Ruiz y Gabriela Salaberri en el diseño de vestuario, y Roger Peña y Nacho Artime en la adaptación al castellano. Otros profesionales involucrados fueron Javier Armendáriz en el diseño de iluminación, Félix Botana en el diseño de sonido y César Belda en la dirección musical. La compañía estuvo encabezada por Paco Lahoz como Cervantes/Quijote, Eva Diago como Aldonza, Antonio Queimadelos como Sancho Panza, Ricardo Truchado como Ventero, Paco Arrojo como Cura, José Gamo como Bachiller Carrasco, Lorena Joaquín como Antonia, Estrella Blanco como Ama de llaves y Miguel Ángel Gamero como Barbero.

Tras su estancia en Madrid, el espectáculo también pudo verse en el Teatre Apolo de Barcelona entre el 20 de abril y el 22 de mayo de 2005, y en el Palacio de la Paz de Fuengirola entre el 19 y el 31 de julio de 2005, como parte de la programación del desaparecido Festival de Teatro Musical de la Costa del Sol, impulsado por Theatre Properties.

2016
En 2016, Stage Entertainment tenía previsto estrenar un montaje dirigido por Mario Gas para conmemorar el cuarto centenario de la muerte de Cervantes, pero debido al escaso interés despertado por el proyecto y a la baja venta de entradas, finalmente la producción fue cancelada. Esta versión, que iba representarse primero en el Gran Teatre del Liceu de Barcelona entre el 20 de agosto y el 7 de septiembre de 2016, para después realizar temporada en el Nuevo Teatro Alcalá de Madrid a partir del 6 de octubre de ese mismo año, contaba con coreografía de María Pagés, diseño de escenografía de Tom Pye, diseño de vestuario de Paco Delgado, diseño de iluminación de Juanjo Llorens, diseño de sonido de Albert Ballbé y Jordi Ballbé, dirección musical de Pep Pladellorens y adaptación al castellano de Roger Peña y Roser Batalla.

West End
1968
Tres años después de su debut en Broadway, El hombre de La Mancha llegó a los escenarios londinenses con una producción también dirigida por Albert Marre, que levantó el telón el 24 de abril de 1968 en el Piccadilly Theatre del West End y alcanzó las 253 representaciones. Joan Diener, la Aldonza original de Nueva York, volvió a interpretar este papel en Londres, acompañada de Keith Michell como Cervantes/Quijote, Bernard Spear como Sancho Panza, David King como Ventero, Alan Crofoot como Cura, Peter Arne como Bachiller Carrasco, Patricia Bredin como Antonia, Olive Gilbert como Ama de llaves y Edward Atienza como Barbero.

A pesar de que el espectáculo no fue un éxito de taquilla y tuvo que echar el cierre sin haber recuperado su inversión inicial, en junio de 1969 regresó al Piccadilly Theatre para realizar una segunda tanda de 118 funciones, con un nuevo elenco liderado por Richard Kiley como Cervantes/Quijote, Ruth Silvestre como Aldonza, Bernard Spear como Sancho Panza, Charles West como Ventero, Gordon Wilcock como Cura, Jonathan Burn como Bachiller Carrasco, Ruth Llewellyn como Antonia, Olive Gilbert como Ama de llaves y Keith Marsh como Barbero.

2019
Entre el 26 de abril y el 8 de junio de 2019, la English National Opera presentó un montaje semiescenificado en el London Coliseum que protagonizaron Kelsey Grammer como Cervantes/Quijote, Danielle de Niese y Cassidy Janson como Aldonza, Peter Polycarpou como Sancho Panza, Nicholas Lyndhurst como Ventero, Minal Patel como Cura, Eugene McCoy como Bachiller Carrasco, Lucy St. Louis como Antonia, Julie Jupp como Ama de llaves y Emanuel Alba como Barbero. La dirección corrió a cargo de Lonny Price, mientras que David White y Murray Hipkin se pusieron al frente de la orquesta de treinta músicos. Otros creativos involucrados fueron Rebecca Howell en la coreografía, James Noone en el diseño de escenografía, Fotini Dimou en el diseño de vestuario, Rick Fisher en el diseño de iluminación y Mick Potter en el diseño de sonido.

Argentina
En Argentina se estrenó en 1968, en el Teatro Cómico (actual Teatro Lola Membrives) de Buenos Aires, con Ernesto Bianco como Cervantes/Quijote, Nati Mistral como Aldonza (después de haber dado vida a ese mismo personaje en España) y Rafael Carret como Sancho Panza. Desde entonces, numerosos intérpretes han formado parte del musical en diferentes puestas en escena, incluyendo a José María Langlais, Cristina Caram y Vicente Monardo en 1981, José María Langlais, Susan Ferrer y Vicente Monardo en 1993, y Raúl Lavié, Sandra Ballesteros y Omar Calicchio en 2005.

La última versión hasta la fecha, dirigida por Pepe Cibrián Campoy, pudo verse entre el 7 de enero y el 5 de abril de 2015 en el Teatro Maipo de Buenos Aires, para a continuación dar el salto al Teatro Apolo, también en la capital porteña, entre el 10 de abril y el 14 de junio de ese mismo año. El propio Cibrián Campoy encabezó el reparto de esta producción en el doble papel de Cervantes/Quijote, junto a Cecilia Milone como Aldonza y Raúl Lavié como Sancho Panza. Tras su estancia en Buenos Aires, El hombre de La Mancha realizó una gira por las principales ciudades del país entre junio y octubre de 2015.

México
1969
El debut en México tuvo lugar el 19 de febrero de 1969 en el Teatro Manolo Fábregas de Ciudad de México, de la mano del productor Lew Riley. Nati Mistral, quien ya había protagonizado el espectáculo en España y Argentina, volvió a ponerse en la piel de Aldonza por tercera vez, acompañada de Claudio Brook como Cervantes/Quijote, Óscar Pulido como Sancho Panza, Gustavo Castellanos como Ventero, Marco Antonio Saldaña como Cura, Ángel Casarín como Bachiller Carrasco, Graciela Saavedra como Antonia, Olga Enríquez como Ama de llaves y Enrique Fuentes como Barbero. Dirigido por el actor Manolo Fábregas, este montaje se mantuvo en cartel hasta el 15 de junio de 1969, superando las 100 funciones. El resto del equipo artístico lo completaron Fernando Azevedo en la coreografía, Julio Prieto Posadas en el diseño de escenografía e iluminación, Mario Ruiz Armengol en la dirección musical y Carlos Viniegra en la adaptación al español.

1980
En agosto de 1980, El hombre de La Mancha regresó a los escenarios mexicanos con una producción que se representó primero en el Teatro de los Insurgentes de Ciudad de México, para después continuar en el Teatro Rafael Solana a partir de septiembre de ese mismo año. Óscar Ledesma fue el director de esta versión, que contó con un elenco liderado por Enrique Álvarez Félix como Cervantes/Quijote, Mónica Miguel como Aldonza y Roberto Antúnez como Sancho Panza.

1991
Un nuevo revival dirigido por Jorge Esma pudo verse en 1991 en el Teatro de la Ciudad de México, con Julio Alemán como Cervantes/Quijote, Sylvia Pasquel como Aldonza y Sergio Corona como Sancho Panza.

2000
Entre el 12 de abril de 2000 y 26 de agosto de 2001, el Centro Cultural de Ciudad de México acogió un montaje producido por las empresas MAT Theatrical & Entertainment y OCESA del grupo CIE. Esta versión, que tomó como base la puesta en escena española concebida por Luis Ramírez, estuvo protagonizada por Eugenio Montessoro como Cervantes/Quijote (alternándose con Roberto Blandón), Susana Zabaleta como Aldonza (alternándose con Pía Aun) y Carlos Cobos como Sancho Panza, con Rafael Sánchez-Navarro a cargo de la dirección. El resto del equipo creativo lo formaron Ema Pulido en la coreografía, Ángel Ancona en el diseño de iluminación, Juan Carlos Andrews en el diseño de sonido, James May en la dirección musical, Enrique Delgado Fresán en la traducción del libreto y Carlos Viniegra en la adaptación de las letras al español. La escenografía y el vestuario utilizados fueron los mismos que en España, introduciendo algunas variaciones.

2016
Una nueva producción se representó entre el 28 de septiembre de 2016 y el 20 de agosto de 2017 en el Teatro de los Insurgentes de Ciudad de México, con Benny Ibarra como Cervantes/Quijote, Ana Brenda Contreras como Aldonza (posteriormente reemplazada por Guadalupe Lancho) y Carlos Corona como Sancho Panza. OCESA, Tina Galindo y Claudio Carrera fueron los artífices de este montaje, que también contó con dirección de Mauricio García Lozano, coreografía de Marco Antonio Silva, diseño de escenografía de Jorge Ballina, diseño de vestuario de Violeta Rojas, diseño de iluminación de Víctor Zapatero, diseño de sonido de Miguel Jiménez, supervisión musical de Isaac Saúl, traducción del libreto de Enrique Delgado Fresán y adaptación de las letras al español de Carlos Viniegra.

Tras unos meses de descanso, el espectáculo fue repuesto en el Teatro San Rafael entre el 1 de diciembre de 2017 y el 1 de abril de 2018. Alberto Lomnitz y Gabriel Navarro alterándose como Cervantes/Quijote, Guadalupe Lancho como Aldonza y Enrique Chi como Sancho Panza protagonizaron esta segunda temporada en la que también participaron artistas invitados como Ernesto D'Alessio, Kika Edgar, Marta Fernanda o Carlos Corona.

Otras producciones
El hombre de La Mancha se ha representado en países como Alemania, Argentina, Australia, Austria, Bélgica, Brasil, Bulgaria, Canadá, Chile, China, Corea del Sur, España, Estados Unidos, Estonia, Francia, Hungría, Israel, Japón, México, Noruega, Países Bajos, Perú, Polonia, Reino Unido, República Checa, República Dominicana, Rumania, Rusia, Suecia o Turquía, y ha sido traducido a más de cincuenta idiomas.

En Estados Unidos ha salido de gira en varias ocasiones. El primer tour nacional, protagonizado por José Ferrer como Cervantes/Quijote, Maura K. Wedge como Aldonza y Harvey Lembeck como Sancho Panza, arrancó el 24 de septiembre de 1966 en el Shubert Performing Arts Center de New Haven y permaneció en la carretera durante casi cuatro años.

El cantante belga Jacques Brel interpretó a Cervantes/Quijote en la première mundial en francés, que tuvo lugar el 4 de octubre de 1968 en el Théâtre de la Monnaie de Bruselas, con Joan Diener como Aldonza (después de haber dado vida a ese mismo personaje en Nueva York y Londres) y Darío Moreno como Sancho Panza. Para el estreno en París, donde el espectáculo levantó el telón el 7 de diciembre de 1968 en el Théâtre des Champs-Élysées, Robert Manuel asumió el papel de Sancho Panza tras la repentina muerte de Darío Moreno.

En 1974, el Teatro Municipal de Santiago de Chile acogió un montaje protagonizado por José María Langlais como Cervantes/Quijote, Alicia Quiroga como Aldonza y Fernando Gallardo como Sancho Panza. Posteriormente, ese mismo elenco repitió en un especial para televisión emitido en el programa Vamos a ver de la cadena TVN.

Adaptación cinematográfica

En 1972, El hombre de La Mancha fue llevado a la gran pantalla bajo la dirección de Arthur Hiller, con Peter O'Toole como Cervantes/Quijote (doblado en las canciones por Simon Gilbert), Sophia Loren como Aldonza, James Coco como Sancho Panza, Harry Andrews como Ventero, Ian Richardson como Cura, John Castle como Bachiller Carrasco, Julie Gregg como Antonia, Rosalie Crutchley como Ama de llaves y Gino Conforti como Barbero (el único miembro de la compañía original de Broadway que repitió en el filme).

La película fue un fracaso de taquilla y tampoco consiguió el apoyo de la crítica de la época, si bien con el paso de los años su reputación ha ido mejorando.

Números musicales
 Overture — Orquesta
 Man of La Mancha (I, Don Quixote) — Don Quijote, Sancho Panza, compañía
 It's All the Same — Aldonza, arrieros
 Dulcinea — Don Quijote, arrieros
 I'm Only Thinking of Him — Antonia, cura, ama de llaves, Bachiller Carrasco
 I Really Like Him — Sancho Panza
 What Does He Want of Me? — Aldonza
 Little Bird, Little Bird — Anselmo, arrieros
 Barber's Song — Barbero
 Golden Helmet of Mambrino — Don Quijote, Sancho Panza, Barbero, arrieros
 To Each His Dulcinea — Cura
 The Impossible Dream (The Quest)	 — Don Quijote
 The Combat — Don Quijote, Aldonza, Sancho Panza, arrieros
 Knight of the Woeful Countenance — Ventero, Aldonza, Sancho Panza
 The Abduction — Aldonza, arrieros
 Moorish Dance — Compañía
 Aldonza — Aldonza
 The Knight of the Mirrors — Don Quijote, compañía
 A Little Gossip — Sancho Panza
 Dulcinea (Reprise) — Aldonza
 Man of La Mancha (I, Don Quijote) (Reprise) — Don Quijote, Aldonza, Sancho Panza
 The Psalm — Cura
 The Impossible Dream (The Quest) (Reprise) — Compañía

Repartos originales

Broadway/West End

España

Argentina

México

Grabaciones
Existen multitud de álbumes interpretados en sus respectivos idiomas por los elencos de las diferentes producciones que se han estrenado a lo largo de todo el mundo, además de la banda sonora de la película y numerosas grabaciones de estudio, conciertos y sencillos.

En España se han editado los discos oficiales de los montajes de 1997 y 2004. Además, tanto Luis Sagi-Vela como Nati Mistral, protagonistas de la puesta en escena original de 1966, grabaron sendos EPs con una selección de las canciones más representativas de la obra.

Premios y nominaciones

Producción original de Broadway

Producción de Broadway de 1977

Producción española de 1997

Producción de Broadway de 2002

Referencias

Enlaces externos
 Man of La Mancha en Internet Broadway Database

Musicales
Musicales ganadores de Premios Tony
Trabajos inspirados en Don Quijote
Musicales de Broadway
Musicales del West End
Musicales de 1965
Musicales representados en Madrid
Musicales representados en París
Obras de teatro ambientadas en el siglo XVI
Representaciones culturales de Miguel de Cervantes

redpajama_set_name: RedPajamaWikipedia


text:
Home News Gold Investors continue to exit from gold ETFs, withdraw Rs 835 cr in FY 18
Investors continue to exit from gold ETFs, withdraw Rs 835 cr in FY 18
Author: PTI/Tuesday, April 10, 2018/Categories: Gold
New Delhi, April 10 - Investors remained bearish on gold exchange-traded funds (ETFs) as they pulled out Rs 835 crore from the instrument in 2017-18, making it the fifth consecutive financial year of outflow.
The outflow has razed the asset under management (AUM) of gold funds by over 12% in the just concluded financial year, according to latest data available with Association of Mutual Funds in India (Amfi).
"Barring couple of months, India has seen net negative flows in gold ETFs from February 2013. Even in terms of inflows, from triple-digit crore of inflows until 2012, it has now dwindled to low single-digit and almost nil in some months. Domestic gold's annualised returns is lower than even savings bank rate today," said Vidya Bala, head of mutual fund research at Fundsindia.com.
In addition, investors are now shifting from traditional asset classes such as real estate and gold to financial asset class like equities.
Trading in gold ETF segment has been lukewarm during the last five years. It witnessed an outflow of Rs 775 crore, Rs 903 crore, Rs 1,475 crore and Rs 2,293 crore in 2016-17, 2015-16, 2014-15 and 2013-14, respectively.
However, the segment had witnessed an infusion of Rs 1,414 crore in 2012-13.
On the other hand, equity and equity-linked savings scheme (ELSS) saw an infusion of Rs 1.7 lakh crore in the last financial year.
The asset base of gold funds dropped to Rs 4,806 crore at the end of March 2018 from Rs 5,480 crore crore at the end of March 2017.
Gold ETFs are passive investment instruments that are based on gold prices that invest in gold bullion. There is a complete transparency on the holdings of an ETF because of its direct gold pricing.
The mutual fund sector has 14 gold-based schemes, which have been in the market since 2006-07.
Gold imports dip 3% to USD 32.8 bn in 2018-19
Gold imports dip from April 2018 to Feb 2019
Gold imports dip 5% during April-Jan
Will gold glitter this Diwali?
Gold prices flat on lower demand, tepid trend overseas
Tags: AMFIETFsThe FinapolisAssociation of Mutual Funds in Indiagold exchange-traded fundsgold funds


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Pentagon worried about mergers, especially among hypersonic weapons suppliers
The U.S. tested a hypersonic glide body March 19, 2020, from the Pacific Missile Range Facility in Kauai, Hawaii. The test, run jointly by the Army and Navy, was deemed a success. The Common-Hypersonic Glide Body, or C-HGB, launched and flew at hypersonic speed to "a designated impact point," according to a statement issued by the Pentagon. (U.S. Navy)
WASHINGTON ― New recommendations released Tuesday to boost defense industrial base competition make clear the Pentagon is concerned about industry consolidation, particularly around hypersonic weapons.
The report from DoD's acquisition and sustainment office, which says broadly that consolidation poses a national security risk, marks the strongest U.S. government pressure against merger and acquisition activity since the defense secretary in 2015 discouraged deals among the largest prime contractors.
The report was published just days after Lockheed Martin cancelled its $4.4 billion purchase of Aerojet Rocketdyne amid opposition from the U.S. Federal Trade Commission, which argued the deal would have let Lockheed cut off other contractors from vital components Aerojet provides, including scramjet engines for hypersonic missiles and control systems for missile interceptors.
Top Pentagon officials met with industry executives about hypersonics. What comes next?
Experts say the Pentagon's call for progress on hypersonic weapons development must be backed up with fiscal 2023 investments in much-needed testing infrastructure.
By Courtney Albon and Joe Gould
Along similar lines, the Pentagon report warns of large hypersonic weapons vendors acquiring their suppliers, in the vein of Lockheed's 2020 purchase of the company i3′s hypersonics business. It argues the trend could eventually lead to sole-source contracting.
"Within this sector, many primes, first-tier subcontractors, and first-tier material suppliers are positioning themselves to acquire lower-tiered hypersonic contractors and material suppliers," the report reads. "This vertical integration will likely lead to reduced competition and may eliminate it altogether."
The small suppliers of feeder technologies for hypersonic weapons need to be protected now, as demand is growing, the report contends.
"Acquisition of these specialized hypersonic niche contractors (especially at this early stage of hypersonic technology and hypersonic missile development) will effectively prevent any other company from entering the market, thereby leading to reduced or limited competition, and capacity issues in the future," the report argues. "When competition is no longer a variable for a company the only other acquisition approach may be sole-source contracting."
With the U.S. locked in a race with Russia and China to develop hypersonic weapons, the report is just the latest signal of concern from the Pentagon. Defense Secretary Lloyd Austin and Deputy Secretary of Defense Kathleen Hicks earlier this month convened a meeting of more than a dozen defense executives to gather feedback on speeding up hypersonic weapons development.
The overall report, titled the "State of Competition within the Defense Industrial Base," stems from President Joe Biden's July 9 executive order aimed at increasing competition and raising wages, which in turn called on the Pentagon to recommend ways to improve its pool of suppliers.
Beyond avoiding consolidation, the Pentagon recommends steps to ensure resilience in the supply chain for five priority sectors: casting and forgings, missiles and munitions, energy storage and batteries, strategic and critical materials, and microelectronics. It also highlights DoD's efforts to gain access to intellectual property from suppliers as a way to boost competition.
COVID drags defense industrial base down to failing grade
NDIA found that amid the pandemic, supply chains and companies' ability to surge production have deteriorated significantly.
By Stephen Losey
Though the Pentagon hasn't made public its concerns about the now-cancelled Lockheed-Aerojet deal, the new report details worries about increased vertical mergers in the aerospace and defense sector. They "can raise concerns when the vertically integrated firm has the ability and incentive to take anticompetitive actions that provide it an advantage over competitors," the report reads.
The report notes the number of prime defense contractors has shrunk from 51 to 5 since the 1990s.
The Pentagon is promoting competition to the maximum extent possible because, the report says, "a single source or a small number of sources for a defense need can pose mission risk and, particularly in cases where the existing dominant supplier or suppliers are influenced by an adversary nation, pose significant national security risks."
The report acknowledged there's no strong correlation between consolidation and increased pricing that's evident, but argued "concentration can reduce the availability of key supplies and equipment, diminish vendors' incentives for innovation and performance in government contracts, and lead to supply chain vulnerabilities."
The Pentagon should focus on creating new pathways for non-traditional suppliers if defense officials want to boost competition, said Byron Callan, a policy research expert at Capital Alpha Partners. An example is Tesla founder Elon Musk's push into the launch market, once dominated by Boeing and Lockheed, with Space X.
"Once the DoD starts creating these lanes, and you see a couple of new entrants, it'll shake the market up, it's going to shake up the behavior of the large contractors," Callan said. "Tesla barges in, breaks down the doors and it's like, wow, you're getting lower costs, more frequent service, a lot of innovation. It's those kinds of examples that maybe they ought to be thinking about."
More In Defense News


This is to notify that the Mid Term Examination of Fall 2017 and Spring 2018 semester will be start from 16.02.2018. The students are suggested to be very sincere for their study and classes to prepare themselves for the examination.
Students must clear their examination tuition fees on or before the 15.02.2018.


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Meet the Investment Committee
BRACE Award Venture Competition
The BRACE Award Venture Competition Investment Committee is comprised of a combination of world-class life sciences industry professionals, investors and entrepreneurs from within the extensive network of the Asian Fund for Cancer Research (AFCR). Its members will determine the winner between the event's two finalists. The winner will receive the equivalent of HK$2,000,000 in investment funding from AFCR, which will serve as early seed money for proof of concept and proof of value on the path to clinical trials and, eventually, to new effective therapeutics that could save patients' lives.
Ready to do more? DONATE NOW and help us double the impact for early-stage oncology start-ups that are creating life-saving innovations!
Raju Kucherlapati, Ph.D., Chair
Paul C. Cabot Professor of Genetics & Professor of Medicine, Harvard Medical School
Brian Leyland-Jones, MBBS, Ph.D.
Chief Medical Officer, AIM-HI Accelerator Fund
Will Liu, Ph.D.
Partner, Eight Roads Ventures
Eifion Phillips, Ph.D., J.D.
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President & CEO, Geneius Biotechnology, Inc.
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BRACE Award Homepage
Your ticket for the: Meet the Investment Committee


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Ambassador Kirk Discusses Importance of Trade with Omega Psi Phi Leaders
American Small Businesses Succeeding in Emerging Markets
Boon Edam: Trade Agreements Opening Doors to Increased Exports
Weekly Trade Spotlight: Expanding Markets, Growing Businesses, Supporting Jobs
Ambassador Kirk and New Zealand Prime Minister John Key Discuss Job-Supporting Trade Issues
Pending Trade Agreements will Increase Opportunities for American Services Providers, Support U.S Jobs
Ambassador Sapiro Highlights USTR's Growing Trade Agenda in New York City
USTR Saves Money in Travel Spending
Weekly Trade Spotlight: Protecting American Innovation
Ambassador Sapiro Meets with Moroccan Minister Abdellatif Maazouz, Reviews Progess of the U.S.-Morocco Trade Agreement
Ambassador Kirk Highlights the Importance of Trade in the Western Hemisphere
"Overly Restrictive Regulations Effectively Shut Out Producers"
Next Steps on Pending Trade Pacts, Trade Adjustment Assistance
Government of Mexico's official notice to reduce fifty percent of retaliatory duties against U.S. exports
Senior USTR Officials Lead Small Business Conference in Brussels
Weekly Trade Spotlight: Your Favorite Fourth of July Foods Sold Around the World
The USTR Archives
Today, Ambassador Kirk met with New Zealand Prime Minister John Key to discuss priority, job-supporting trade issues, including the Trans-Pacific Partnership (TPP) negotiations, the Asia Pacific Economic Cooperation (APEC), and the World Trade Organization (WTO) Doha Development Agenda.
Ambassador Kirk and New Zealand Prime Minister John Key meet at the Blair House
Following the seventh round of talks held last month in Ho Chi Minh City, Vietnam, Ambassador Kirk and Prime Minister Key reviewed progress in the TPP negotiations. The two discussed the shared goal of reaching the outlines of an ambitious, 21st-century agreement by the APEC Leaders' meeting in November. They agreed that the United States and New Zealand will continue to work closely in the months ahead on the critical issues of mutual importance in the negotiations.
Ambassador Kirk and Prime Minister Key discussed the ongoing and close working relationship between the United States and New Zealand in APEC, and the two countries shared priority to make the U.S. APEC host year a success. Ambassador Kirk noted his appreciation for New Zealand's continued strong support for U.S. APEC initiatives in 2011.
In connection with the WTO Doha Development Agenda, Ambassador Kirk and Prime Minister Key discussed the challenges facing negotiators and the importance of exploring options for productive next steps.
U.S. goods and services trade with New Zealand totaled $8 billion in 2009. U.S. goods exports to New Zealand in 2010 were $2.8 billion, up 30.6 percent from 2009, and up 87 percent from 1994. The top export categories in 2010 were aircraft, machinery, special other, optic and medical instruments, and vehicles. U.S. exports of agricultural products to New Zealand totaled $257 million in 2010. Leading categories included fresh fruit, live animals, and dairy products.


technical modular application – Item 14.
This information applies to both agricultural and veterinary chemical products unless otherwise stated.
Note: You can remove a pack size from your product range, and the e-label net contents statement, via any of the nominated pathways, as no technical data is required to remove a pack size.
The Agvet Code sets out the requirements for varying the relevant particulars and conditions, of a registered chemical product (see Agvet Code, s 29). A variation to the pack size constitutes a change to the relevant particular—net content. A variation to the net contents will also involve a variation to the product label.
To determine any kind of variation the APVMA must be satisfied that the chemical product would still meet the safety criteria, the trade criteria and the efficacy criteria, if the relevant particulars were varied. For a variation to the net contents the APVMA must take into account any relevant particulars that would be entered in the register (see s 5A(3)(a)(vi)). In considering a variation to the pack size the APVMA may have regard to the stability of the product (see s 5A(3)(b)(iv)) and the specifications for the containers of the product (see s 5A(3)(b)(v)). The APVMA may also have regard to other 5A safety criteria where relevant such as where the exposure to human safety is impacted by the variation to the pack size.
The legislation allows some variations to be lodged as notifiable variations (see s 26AA-AD). Notifiable variations are not an application, but you will be issued with a notification to confirm that the variation to the relevant particulars has been applied.
The Agvet code regulations (see regulation 19AE) sets out the types of changes that are permissible for notifiable variations. Note that the information in the regulations should be read in conjunction with the Agricultural and Veterinary Chemicals Code (Notifiable Variations) Instrument 2016.
When and how each of these pathways apply is detailed below. Please choose from the list for tailored guidance on the type of variation you wish to make.
Note: due to the differences in the generation for the e-label template, the pathways although often the same, are split between agricultural and veterinary chemical products.
Information on each pathway will appear at the bottom of this page, once you have made a selection. You can change your selection at any time.
I want to vary the pack size for my agricultural product where the new pack size is: a) within an already approved range b) outside an already approved range and I am not providing data c) outside an already approved range and I am providing data.
I want to vary the pack size for my veterinary product where the new pack size is: d) within an already approved range e) outside an already approved range and I am not providing data f) outside an already approved range and I am providing data.
a) I want to vary the net contents where the new pack size is within an already approved range.
For both agricultural and veterinary chemical products, variations to the pack size, where the proposed pack size falls within the range of the already approved pack sizes, are all processed as a minor variation—notifiable variation.
Notifiable variations can be submitted to encompass changes across various products. There is a fee of $50 for each notification (per product, NOT per variation). More than one notifiable variation can be applied per product for the same fee.
A notifiable variation is taken to have effect on the day it is lodged, provided it meets the notice requirements. The APVMA must vary the relevant particulars within 14 days after the notice is lodged. APVMA must give written notice to the holder of the registration within 14 days of varying the relevant particulars.
An e-label that contains the new net contents statement, and contains no other alterations, such that it satisfies regulation 19AE(1)(6)..
All variations to the pack size, where the proposed pack size falls within the range of the already approved pack sizes for both agricultural and veterinary chemical products are processed via notifiable variation.
Objective: application is made to vary an agricultural chemical product to add a new 25 L pack size for a liquid herbicide product.
Background: the product already has 5 L, 10 L and 100 L pack sizes approved. There are no changes to the product label other than to add the new net contents.
Application requirements: an application of this nature is considered under a notifiable variation as the new pack size falls within the range of the approved pack sizes. A new electronic label (e-label) must be provided.
Where you have an agricultural chemical product that has set of specified pack sizes (eg 5 L, 10 L, 100 L) and you wish to apply for a pack size range (eg 5–100 L) this can be determined under a notifiable variation when the pack size falls within the already approved range. A pack size range is NOT available for veterinary chemical products.
You will be redirected to online services to log in.
For both agricultural and veterinary chemical products, variations to the pack size, where the proposed pack size falls outside the range of the already approved pack sizes, can sometimes be processed as a non-technical assessment, when the APVMA can be satisfied of the product's stability and safety without data being provided.
The fee for a non-technical assessment (Item 12) is a fixed fee of $1170. The timeframe is 3 months.
This application type is subject to an extended assessment period if a notice under section 159 of the Agvet Code is issued, requiring additional information. In these circumstances, the maximum extended assessment period would be 5 months.
A non-technical variation needs to meet the application requirements as defined at s 8A of the Agvet Code. The application must contain, or be accompanied by, information specified for this type of application as set out in Part 4 (Division 1) of the Agricultural and Veterinary Chemicals Code (Application Requirements) Instrument 2014.
A completed application form—if you are unfamiliar with the application process you may wish to consult the Guide to completing an online application.
The fee of $1170 should accompany the application. You may choose to pay the initial preliminary assessment fee of $710 on submission with the balance due prior to evaluation.
An e-label that contains the new net contents statement. The e-label may contain other minor alterations including updates to ensure that the label meets the 5D labelling criteria and the relevant labelling code, such that it satisfies regulation 19AE(1)(6).
the proposed pack size will not change the use of the product from individual use to use in a multi-dose situation or vice versa (for veterinary chemical products) where the human safety risk may need to be re-assessed.
Some variations, to add a new pack size that is outside the approved range can be processed via non-technical variation (Item 12), when the APVMA can be satisfied of the products stability and safety without a technical assessment being needed.
Objective: application is made to vary an agricultural chemical product to add a new 5 x 30 g pack size for a cockroach bait product.
Background: the product already has 3 x 30 g pack sizes approved. The applicant has provided argument that the proposed pack size is outside their current range but that the immediate bait packaging is not changing and therefore no additional data is required.
Application requirements: an application of this nature could be considered under a non-technical variation as the new pack size falls outside the range of the approved pack sizes, but no data is required as the immediate packaging remains unchanged. A new electronic label (e-label) must be provided.
For both agricultural and veterinary chemical products, variations to the pack size, where the proposed pack size falls outside the range of the already approved pack sizes, can sometimes be processed as a technical modular application (item 14), which includes a technical assessment, to evaluate data provided to demonstrate product stability.
A technical modular variation (Item 14) is a modular application type, with fees and timeframes determined according to the modules required to complete the assessment.
This application type is subject to an extended assessment period if a notice under section 159 of the Agvet Code is issued, requiring additional information. In these circumstances, the maximum extended assessment period would be 12 months.
A completed application form for the variation. If you are unfamiliar with the application process you may wish to consult the Guide to completing an online application.
The fee of $4295 should accompany the application. You may choose to pay the initial preliminary assessment fee of $710 on submission with the balance due prior to evaluation.
The application should include an information list that includes the details for all the information that has been provided in support of your application. If you are unfamiliar with the process then you should consult the guidance for preparing information lists.
If any of the information provided is subject to limits on use then you must provide Consent for Use of that information for your application.
a Chemistry 2.3 module. View information on the required chemistry data for agricultural products.
To determine what information you should provide to address the safety criteria in relation to 'the stability of the product' which we may have regard to, you should consult the chemistry data guidelines.
Validation of analytical methods for active constituents and agricultural products.
a granular or powder product.
if the proposed pack size is the addition of a very large pack size (>1000 L).
You should consider whether or not the proposed pack size may pose new risks to the environment and/or human safety and would require additional technical assessment modules.
If you are unsure then you may consider submitting an application for pre-application assistance to determine the most suitable pathway as additional modules may apply.
A variation to add a new pack size that is outside an already approved range for either agricultural or veterinary chemical products can be processed via a modular technical variation (Item 14).
Background: the product already has 50 L and 100 L pack sizes approved. The label instructions remain unchanged other than to add the new net contents. The herbicide is a relatively new chemical and no publically available data exists to support the new pack size.
Application requirements: an application of this nature would be considered under a modular technical variation (Item 14) as the new pack size falls outside the range of the approved pack sizes, and data is required to demonstrate that the product will remain stable in the proposed smaller pack size. A Chemistry module 2.3 will apply. A new electronic label (e-label) must be provided.
You will be redirected to online services to log in. You will be able to select the appropriate modules once you have generated the decision ID.
An e-label that contains the new net contents statement, and contains no other alterations, such that it satisfies regulation 19AE(1)(6).
Objective: application is made to vary a veterinary chemical product to add a new 15 L pack size for a liquid ectoparasiticide sheep dip product.
Background: the product already has 5 L, and 20 L pack sizes approved. There are no changes to the product label other than to add the new net contents.
Application requirements: an application of this nature is considered under a Notifiable Variation as the new pack size falls within the range of the approved pack sizes. A new electronic label (e-label) must be provided. A pack size range is NOT available for veterinary chemical products.
A completed application form. If you are unfamiliar with the application process you may wish to consult the Guide to completing an online application.
Objective: application is made to vary a veterinary chemical product to add a new 6 x 0.1 mL pack size for a topical parasiticide liquid product.
Background: the product already has 3 x 0.1mL pack sizes approved. The applicant has provided argument that the proposed pack size is outside their current range but that the immediate pipette packaging is not changing and therefore no additional data is required.
Application requirements:an application of this nature could be considered under a non-technical variation as the new pack size falls outside the range of the approved pack sizes, but no data is required as the immediate packaging remains unchanged. A new electronic label (e-label) must be provided.
A technical variation will need to meet the application requirements. These are defined at section 8A of the Agvet Code. The application must contain, or be accompanied by, information specified for this type of application in Part 4 (Division 1) of the Agricultural and Veterinary Chemicals Code (Application Requirements) Instrument 2014.
An e-label that contains the new net contents statement, and contains no other alterations including updates to ensure that the label meets the 5D labelling criteria and the relevant labelling code, such that it satisfies regulation 19AE(1)(6).
Evidence that your veterinary chemical product will remain stable in the proposed new pack size (stability data).
You will need to provide a chemistry 2.3 module.
View information on the required chemistry data for veterinary products.
Some veterinary chemical products may require more specific information.
an antibiotic product where the only ingredient is the active constituent.
Part 10 – Special data – Antibiotic resistance and Antibiotic resistance risk assessments.
An immunobiological product or a vaccine product.
If you are unsure then you may consider submitting an application for pre-application assistance to determine the most suitable pathway.
Objective: application is made to vary a veterinary chemical product to add a new 10 mL pack size for an oral anti-inflammatory liquid product.
Background: the product already has 25 mL and 50 mL pack sizes approved. The label instructions remain unchanged other than to add the new net contents.


The electronic relay turns on further separate circuits automatically in the model when you turn on the receiver, such as lighting, electrical chassis, turbine control systems etc.
Control circuit (receiver) and load circuit are electrically isolated.
The switching is contactless and therefore without interference to vibration or aging, dirty contacts. A particularly sophisticated feature the use of electronic relays in combination with the Jeti RC Switch series.
More information can be found in the detailed manual.


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import "user";
import "urlHelper";

redpajama_set_name: RedPajamaGithub


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Tag Archives: Spectator
UK Spectator's books of the year
November 8, 2018 gcw
Regular reviewers choose the best — and most overrated — books of 2018
Short stories seem to fare better in the US than the UK, and among this year's rich crop, Deborah Eisenberg's Your Duck is My Duck (Ecco, £20.70) is outstanding.
Everything about Eisenberg's writing is highly controlled — watchful, well-made — and everything it describes teeters on the verge of chaos or collapse. It makes for a brilliant mixture of a book — at once compact and capacious, eerily familiar and extremely strange.
Roger Lewis
One of my favourite authors is Laura Thompson. Her biographies of sundry Mitfords, of Agatha Christie and Lord Lucan (recently revised in the light of the unpleasant Countess's demise) are brilliant and forensic. This year she published a memoir of her grandmother, The Last Landlady (Unbound, £16.99), which is a typically eclectic mix of social history and elegy, ironic comedy and indelible Englishness. It is about the pub as theatre, and like everything else worth cherishing, pubs are closing down — replaced with gender-neutral lavatories, compulsory veganism and virtue-signalling teetotalism.
A Hero for High Times (Cape, £16.99), Ian Marchant's account of being a wild old hippie with a bucket for a toilet in a copse on the Welsh Marches, made me laugh.
Matthew Sturgis's biography of Oscar Wilde, Oscar: A Life (Head of Zeus, £25) made me furious. How idiotic to trail this book as putting Richard Ellmann right, when it is full of copycat flourishes. Ellmann, for example, in 1987, called Bosie Douglas 'totally spoiled, reckless, insolent and, when thwarted, fiercely vindictive'. Sturgis now says Bosie was 'selfish, spoilt, vain, intemperate, needy and demanding'. It is like a bad translation. Read on…


There are no shortcuts to growing a long healthy hair. On average, hair grows about a half an inch every month. However, it is possible to accelerate your hair growth by taking good care of yourself.
So do you want to grow your hair fast but you are wondering what you should do to make it grow fast? The hair growth tips help individuals on the different methods to use so as to maintain long hair. If yes then today you are in the right place because in this article, we are going to give you natural hair growth tips.
One vital factor that you need to observe if you want your hair to grow fast is ensuring that you eat a well-balanced diet. Nowadays, many people embrace junk and highly process food which have adverse effects on the body.
If you want your hair to grow fast, ensure that your diet is rich in protein, minerals as well as essential vitamins that will aid in hair growth. The food that you eat has a direct effect on your general body health as well as your hair.
Do you know that massage can help your hair grow fast? Massaging helps blood flow to the scalp, which in turn stimulates hair follicles enabling your hair to grow fast.
However, you should ensure that the massage is done by a professional if you want to get good results. In addition to massage, ensure that you condition your hair at least once per week with a deep conditioning mask.
Stress is also a major contributor of slow hair growth. If you are stressed, your normal hair cycle is disrupted leading to slow hair growth. Therefore, if you want your hair to grow fast ensure that you learn how to manage stress. Consult an expert for help if you are not able to handle it yourself.
This is one of the most practical tricks that many people often overlook. If you flip your hair upside down for 5 minutes daily, you will notice a immense difference in your hair growth within one month. This technique is believed to help improve circulation around the head thus aiding in hair growth.
Sleep is vital when it comes to hair growth. Experts recommend that you should get at least 8 hours of sleep every day to give your body time to stimulate hair follicle to grow.