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"Outstanding Universal Value means cultural and/or natural significance which is so exceptional as to transcend national boundaries and to be of common importance for present and future generations of all humanity. As such, the permanent protection of this heritage is of the highest importance to the international community as a whole. The Committee defines the criteria for the inscription of properties on the World Heritage List."
"To be deemed of Outstanding Universal Value, a property must also meet the conditions of integrity and/or authenticity and must have an adequate protection and management system to ensure its safeguarding."
"Cultural and natural heritage are defined in Articles 1 and 2 of the World Heritage Convention.
For the purposes of this Convention, the following shall be considered as "cultural heritage";
- monuments: architectural works, works of monumental sculpture and painting, elements or structures of an archaeological nature, inscriptions, cave dwellings and combinations of features, which are of Outstanding Universal Value from the point of view of history, art or science;
- groups of buildings: groups of separate or connected buildings which, because of their architecture, their homogeneity or their place in the landscape, are of Outstanding Universal Value from the point of view of history, art or science;
- sites: works of man or the combined works of nature and of man, and areas including archaeological sites which are of Outstanding Universal Value from the historical, aesthetic, ethnological or anthropological points of view.
For the purposes of this Convention, the following shall be considered as "natural heritage":
- natural features consisting of physical and biological formations or groups of such formations, which are of Outstanding Universal Value from the aesthetic or scientific point of view;
geological and physiographical formations and precisely delineated areas which constitute the habitat of threatened species of animals and plants of Outstanding Universal Value from the point of view of science or conservation;
- natural sites or precisely delineated natural areas of Outstanding Universal Value from the point of view of science, conservation or natural beauty."
"Properties shall be considered as "mixed cultural and natural heritage" if they satisfy a part or the whole of the definitions of both cultural and natural heritage laid out in Articles 1 and 2 of the Convention."
"A nominated property may occur:
a) on the territory of a single State Party, or
b) on the territory of all concerned States Parties having adjacent borders (transboundary property)."
"Wherever possible, transboundary nominations should be prepared and submitted by States Parties jointly in conformity with Article 11.3 of the Convention. It is highly recommended that the States Parties concerned establish a joint management committee or similar body to oversee the management of the whole of a transboundary property."
"Extensions to an existing World Heritage property located in one State Party may be proposed to become transboundary properties."
"Cultural landscapes are cultural properties and represent the "combined works of nature and of man" designated in Article 1 of the Convention. They are illustrative of the evolution of human society and settlement over time, under the influence of the physical constraints and/or opportunities presented by their natural environment and of successive social, economic and cultural forces, both external and internal."
7. "[Cultural Landscapes] … should be selected on the basis both of their Outstanding Universal Value and of their representativity in terms of a clearly defined geo‑cultural region and also for their capacity to illustrate the essential and distinct cultural elements of such regions".
9. "Cultural landscapes often reflect specific techniques of sustainable land‑use, considering the characteristics and limits of the natural environment they are established in, and a specific spiritual relation to nature. Protection of cultural landscapes can contribute to modern techniques of sustainable land‑use and can maintain or enhance natural values in the landscape. The continued existence of traditional forms of land‑use supports biological diversity in many regions of the world".

redpajama_set_name: RedPajamaCommonCrawl


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On the subject of the Freemasons Arms…
Posted on November 23, 2012 by BrownhillsBob
From 'Walsall Pubs – A History' by John Cockayne, spotted by reader Greame Clarke.
I had the above clip in from reader Greame Clarke this morning, and seeing as there's such debate around the Freemasons Arms, I thought I'd post it up. The English seems a bit odd, and I can't vouch for the accuracy, but it's something to add to the melee.
Cheers, Greame!
Transcribed below for Google to find:
At 24 Park Street on the opposire side from the 'New Inn' was the 'Freemasons Arms', the owner in 1834 was Harry Smith and 1909 it was in the possession of Lichfield Brewery Co. Thar Brewery was in SL John's Street Lichfield and registered in 1869 and was acquired by Samuel Allsopp & Sons in 1930 when it had 182 houses, brewing ceased in 1935 and the Brewery has since been demolished. By 1910 the owner of the 'Freemasons' was Thomas Watson and the manager in 1916 was Alfred Williams, a retired Police Inspector receiving £2.10s.0d p.w. The premises had passed into the hands of the Lichfield Brewery again with William Lea as tenant by 1925 when it has stabling for four horses and it was described as an 'old property in a good state of repair'. The Public Bar was 19'7 x 16' x 9'4 with a lobby. Smoke room, Snug and a Billiards room, 'used as a sitting room', there were 5 bedrooms. The 'Freemasons' was closed in March 1933 and the full license transferred to the new 'Red House' in the Sutton Road.
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6 Responses to On the subject of the Freemasons Arms…
Ann Cross says:
Many thanks Bob and Greame
I wonder where the stabling was? Must have been in a different location or somewhere behind reached from another road! The 1911 census states there are 11 rooms, I can find 10: according to above public bar, snug, smokeroom and billiards room and five bedrooms and of course a kitchen. They didn't count bathrooms on censuses. All very interesting thank you.
Andy Dennis says:
Kelly's Directory 1896 has William Plant. In 1891 census the licensee was Elizabeth Plant, widow, whose son William was a saddler. In 1871 William lived with his parents Elizabeth and George, licensed victualler, at 58 Park Street (same?). In 1881 Elizabeth, widow, was licensed victualler at No 58. In 1901 at 24 Park Street was William Plant hotel proprietor.
In 1861 George was a greengrocer in Dudley Street.
I don't know who the licensee was in 1911, but Alfred Williams was a police inspector at the time.
Under the Quasar Centre, now.
I've looked again at the earlier post. As I recall it Burton's was on the same side of Park Street as the New Inn, but a considerable distance nearer to The Bridge, maybe about half way. Possibly next door to NatWest? Burton's had a billiards room above.
There was a Burtons on the Bridge, and I believe that one had billiards above, I seem to remember my father saying he played there as a young man.
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Grasp the front of the seat base and pull firmly upwards to release the clip. Once this is completed on both sides of the vehicle the seat will simply pull out away from the backrest.... V8 VE and VF (Series 1) COMMODORE. Holden VE LS2 / LS3 V8 Cold Air Intake Kit. Billet Strut Tower Carbon Fibre Cover Set Commodore LS1 LS2 LS3 SV6 SS SSV VE VF. To suit Holden Holden VE LS2 / LS3 V8 Cold Air Intake Kit.
You will first need to open the fuel flap on the Skoda Superb bypressing on the left side of the flap. Once the flap is open takeoff the fuel cap by unscrewing it counterclock... V8 VE and VF (Series 1) COMMODORE. Holden VE LS2 / LS3 V8 Cold Air Intake Kit. Billet Strut Tower Carbon Fibre Cover Set Commodore LS1 LS2 LS3 SV6 SS SSV VE VF. To suit Holden Holden VE LS2 / LS3 V8 Cold Air Intake Kit.
V8 VE and VF (Series 1) COMMODORE. Holden VE LS2 / LS3 V8 Cold Air Intake Kit. Billet Strut Tower Carbon Fibre Cover Set Commodore LS1 LS2 LS3 SV6 SS SSV VE VF. To suit Holden Holden VE LS2 / LS3 V8 Cold Air Intake Kit.... Grasp the front of the seat base and pull firmly upwards to release the clip. Once this is completed on both sides of the vehicle the seat will simply pull out away from the backrest.
The easiest way is to disconnect the bottom radiator hose and drain the fluid. Give the engine and radiator a flush then reattach the bottom hose.
6/07/2016 · yeah ive gone through the process of locking and unlocking the car like 50 times ensuring its fully locked and fully unlocked, found out if i hold my unlock button my windows go down haha but still cant get the cap open.
We've now driven Holden's new LS3-powered VF II Commodore, but for those short of time here are a few things we like… Feel the noise – I can't remember a lairier sounding stock Holden.


If we really believed that winning the world for Christ is the purpose for which the Church exists, it seems to me that we would be living and operating in entirely different ways. We are concerned about perpetuating our programs. We want to make sure that everything goes smoothly and that our programs survive. Sometimes our programs just get in the way of what God wants us to do.
A program is neither good nor bad in itself. But our programs tend to take up our time and attention in such a way that we get caught in the mechanics of what we are doing and forget the reason we are doing it. In the church, any program that does not exist to serve people should be eliminated.
Too often the success of our programs becomes more important than the relationships we have with the people who participate in them. For instance, I would rather have fifty people involved in music because they want to be in it, because they want to praise God, than have ten people who are so concerned about musical perfection that the technique of their performance becomes the supreme importance.
That does not mean we need to be sloppy in our singing or less than prepared. It does mean that when there is a conflict between accomplishing the goals of our program and meeting the relational needs of those in our church who participate or would like to participate in the program, we should value the relationships more than we value the program.
Rather than being an influence on our culture, we too often are influenced by our culture. Much of our decision-making process grows out of North American ways of conducting business. I think too many of our decisions are based on the logical process rather than on prayer.
To be what we need to be, we must come to understand what it means to be the body of Christ. In our western culture, we are so individualistic. Individualism is a kind of self-centeredness. As individuals, we believe that if we are all right, then everyone is all right. As congregations, we seem to believe that if our congregation is all right, then everything is all right.
We haven't learned what it is to be a part of the body of Christ. When one part of the body hurts, the whole body suffers. We don't talk about body life very much in the church. In reality there are no individual Christians or individual congregations—no Christian or congregation is self-contained. The hurts, dangers, joys, and hopes of all Christians are bound together because we are all part of one body.
To really be the body of Christ requires a sense of commitment that is rare. If the Church, however, is to have strength and prophetic voice today and in the future, it will require a commitment that realizes there are things more important than one's own congregation. Our commitment must be to the cause of Jesus Christ and to the body which is the Church.
Then we will have the opportunity to be prophetic. There can be no prophetic quality about our lives until we have found something more important than life itself. Until there is that kind of ultimate commitment, there is no prophetic voice.
This goes back to what I've been trying to say about being part of the body. When we really understand what it is to be in the body, then whatever we are doing—whether it's our vocation or some job we have in the church—our first question will always be, Is this what God would have me do at this particular stage in my life? If not, then let's find the person who should be doing it and get that person placed where God wishes her or him to be. In other words, let's do what is best for the whole church, not what is most exciting or stimulating for ourselves.
The kind of change we need will come as we being to read the Bible in a more reflective mood. We must try to understand Scripture in light of what God wants for us in our lives, rather than look for passages of Scripture to confirm what we've already decided is right and good.
Our congregations will change as two or three people discover new things from their study of Scripture and their prayer life and then begin to model the changes that God through the Holy Spirit brings about in their lives. Others will begin asking questions, and they, too, will find an increased life in the Spirit.
Pastors are key. As pastors begin real reflective thinking about what it means for them and for their churches to be the body of Christ, interacting with other Christians and other churches, and when that understanding comes into their preaching, teaching, and the way they live and model their Christianity, then the whole church has a chance to come alive in the Spirit. When we become caught up in the cause of being Christ's body for others, when we being to pray about it, when we open our lives to the Holy Spirit, then we will find ourselves changing the world for Christ and reaching new people for Christ.
We can make a deliberate choice. We can decide that, for me and my house, we—whether we are asked to or not—will take seriously the task of praying in any decision-making process. We can fast and pray and seek God's will rather than our own logic. That does not mean that we cease thinking or that we forsake logic. It does mean that our spiritual understandings take precedence over what might seem to be the logical decision.
Finally, we must find in Christ a true humility. Our prayer life, if we are open, will help to humble us. True humility is a gift of the Spirit of God. Humility will take away the judgmental spirit that is among us. Humility will give us an openness to God and to people that will change us. Humility will allow us to repent. Humility will make new beginnings possible.
Ann Smith is a former Church of God missionary and longtime speaker and friend to countless. This article was originally published in the January 1989 issue of Vital Christianity. Republished by permission.
This entry was posted in All Church of God and tagged Ann Smith, body of Christ, changing the world, From the Archives, programs, relational, relationships. Bookmark the permalink.


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investor_reporting_manual
Investor Reporting ManualsCurrently selected
https://www.ginniemae.gov/issuers/program_guidelines/Pages/investor_reporting_manual.aspx
The information contained in the Ginnie Mae Mortgage-Backed Securities Investor Reporting Manuals ("Reporting Manuals") is based on Ginnie Mae Mortgage-Backed Securities ("MBS") program requirements as of September 2011, and conforms with guidelines in effect at that time as outlined in the Ginnie Mae Mortgage-Backed Securities Guide, Ginnie Mae 5500.3 (the "Guide"). The Guide is the primary source of information concerning both Ginnie Mae I and Ginnie Mae II pool administration. Ginnie Mae notifies Issuers of periodic changes in guidelines and requirements through All Participants Memoranda and changes to the Guide. We urge Issuers to consult these documents for definitive answers to questions about current program requirements. Both the Guide and All Participants Memoranda ("APM") are available on Ginnie Mae's Web site at http://www.ginniemae.gov. Those accessing this site can download entire copies or individual sections of the Guide.
An Issuer may also contact its assigned Account Executive in Ginnie Mae's Office of Mortgage-Backed Securities, Single Family Division or Multifamily Division (as appropriate), or the Mortgage-Backed Securities Administration Agent ("MBSAA") contractor for assistance.
This Reporting Manual is intended only as a supplemental instructional device to help clarify certain aspects of pool administration, not as an authoritative source. If there are any discrepancies between this Reporting Manual and the Guide, the Guide will be considered correct. The instructions contained herein are not a substitute for the Guide. The examples in this Reporting Manual are designed to illustrate specific points, not to serve as complete models for pool reporting.
HMBS Investor Reporting Manual
Investor Reporting Manuals (AllRegs)


June 2018 Updates in Labor and Employment Law - Seaton, Peters & Revnew, P.A.
Starting July 1, 2018, pursuant to the Minneapolis Minimum Wage Ordinance, small Minneapolis businesses (100 or fewer employees) must pay employees a minimum wage of $10.25 per hour, while large employers' increases to $11.25 per hour. As you may recall, the $10.00 minimum wage requirement for large employers began on January 1, 2018.
On May 29, 2018, the Duluth City Council adopted its own sick and safe time ordinance, establishing minimum standards for earned sick and safe time in the City of Duluth. Effective January 1, 2020, the ordinance mandates that employers with 5 or more employees, provide employees 1 hour of earned sick and safe time for every 50 hours worked, up to 64 hours per year. The ordinance applies to employees that perform work within the geographic boundaries of the City of Duluth for more than 50 percent of the employee's working time in a 12-month period or are based in the City of Duluth and spend a substantial part of his or her time working in the city and do not spend more than 50 percent of their work-time in a 12-month period in any other particular place. The ordinance does not apply to independent contractors, student interns, seasonal employers, or any person who is entitled to benefits or is covered by the Federal Railroad Unemployment Insurance Act.
The Eighth Circuit Court of Appeals recently decided that the United States Parcel Service ("UPS") was not required to accommodate an employee requesting to work no more than eight hours a day, when working overtime was found to be an essential function of his position. Faidley v. United Parcel Serv. of Am., Inc., 889 F.3d 933 (8th Cir. 2018).
This is an important decision for employers that have positions in which working overtime is an essential function of the respective job. If an employee requests an accommodation seeking to work no more than eight hours a day, employers should be very careful about denying such a request, unless it is an essential function of the position. The decision regarding what constitutes an essential function of a position is a fact-intensive one, and courts within the Eight Circuit review factors such as "the employer's judgment, its written job description, the terms of any applicable collective bargaining agreement, and the consequences of not requiring the incumbent to perform the function" in making such a determination. Along with including the overtime requirement in the applicable job description and any other job-related documents, employers should also be able to provide several explanations and examples regarding why working overtime is an essential function for the particular role.
If you have any questions about anything in this article, please contact Brent Kettelkamp at 952-921-4606 or bkettelkamp@seatonlaw.com or any of the Seaton, Peters & Revnew attorneys.
Join Seaton Peters & Revnew for the upcoming interactive breakfast briefing discussing timely topics in labor and employment law .
June 19, 2018, 7:30 a.m. - 9:15 a.m., Attorney Greg Peters will be discussing 2018 Labor and Employment Update. Crowne Plaza Bloomington MSP Airport/MOA.
Registration information is available on our webpage at https://www.seatonlaw.com/seminars/.


A day after John Eliot Gardiner and wandering violist Antoine Tamestit had converted the Royal Albert Hall into a sonic map of Hector Berlioz's Italy, conductor Peter Oundjian and his full-strength divisions transported us to the Western Front. Benjamin Britten's War Requiem, premiered in the rebuilt Coventry Cathedral in May 1962, combines the Latin text of the requiem mass with the First World War poetry of Wilfred Owen to speak, now as then, of fragile human understanding and affection in the face of overwhelming terror and violence. Yet its plea for the still, small voices of truth and love paradoxically depends on a musical armoury that should frighten the living daylights out of us.
Often dismissed as the graveyard of musical refinement, the trackless terrains of South Kensington can intensify the spatial drama of such a wide-screen work like few other venues. Oundjian deployed his giant forces to fill every corner of the stage – and the building – with urgent hubs of contrasting sound. Yet the various units Britten marshals – big mixed choirs with soprano, children's chorus with organ, full orchestra, tenor and baritone soloists alongside a chamber ensemble – have inherently unequal firepower. It takes shrewd generalship from the podium to manage the ever-shifting balance between them, and to make sure that the big choral guns don't unduly dominate. For a farewell gig after six years in charge of the Royal Scottish National Orchestra, the Canadian-born Oundjian directed a performance that did ample justice to the shattering climactic scenes of Britten's pacifist masterpiece. At the same time, he kept us alert to the smaller-scale drama that (in keeping with the composer's world-view) cherishes tenderness and intimacy in this fractured aural landscape of extremes.
Four years ago, a Proms War Requiem steered by Andris Nelsons (on active duty here last weekend with the Boston Symphony Orchestra) marked the centenary of the First World War's outbreak. In 2018, to commemorate its end, Oundjian led an army that at first glance looked almost too vast for even this mammoth shell-crater of a hall. The male soloists (tenor Allan Clayton, baritone Russell Braun) stood stage left by the chamber group, with soprano Erin Wall mid-stage behind the orchestra. Above her on both sides stretched the seemingly infinite ranks of the Huddersfield Choral Society and the RSNO Chorus. Offstage left, up in the heavens, the RSNO Junior Chorus and its organ added their gorgeous, otherworldly gloss to the mud- and blood-stained textures of the onstage action. From the outset, the War Requiem has hauled in its wake a groaning baggage-train of political and personal contexts. As in the case, for instance, of Shostakovich's "Leningrad" Symphony, that can make any strictly musical judgment sound not just pedantic but heartless. The legacy of mass mourning from both world wars, Owen's own death just before the guns fell silent in November 1918, Britten's wartime flight to New York and his choice to register as a conscientious objector, his post-war emergence as a hallowed "national composer", the contemporary Cold War fears that shadowed the work's unveiling in Blitz-flattened Coventry: this packed agenda has long disarmed, or distorted, criticism. Bristly as ever, Stravinsky thought it all too sentimental. But in our postmodern times, the eclectic homage Britten pays to Mozart and Verdi (and, strongly audible I thought last night, Mahler) will no longer bother many.
Under Oundjian (pictured above), the teeming ranks of the Huddersfield and RSNO choirs brought delicacy as well as majesty to the great emphatic statements of the requiem setting: the recurrent, properly terrifying Dies irae, the slow-burn menace and explosive ending of the Libera me, the sweet consolation of the women's Recordare as it takes us back to twilit evensong in one of Owen's "sad shires" before the men smash into this hard-won rest with their Confutatis. Britten's ground-shaking blasts of big noise can only succeed if other crucial passages maintain a genuine piano hush. For all their numerical strength, Oundjian's battalions did that.
Massed voices aside, the ferocious spit, chatter and punch of brass and timpani punctuate the piece, from the Dies irae to the Sanctus. The RNSO heavy artillery delivered, often with a diabolical swagger. Stranded amid the vocal regiments, Erin Wall (pictured below) held fast to shine and soar in the Lacrimosa and the Sanctus. But, for all its bursts of brilliance, Britten's testament would hardly win the loyalty of generation after generation simply as a high-minded, technically polished and modern-flavoured pastiche. It's the heart-stopping Owen settings for tenor and baritone that breathe a unique life into this piece. Would Clayton and Braun, fronting the stage, survive against the crowded cavern in front and the clamour behind? They did, with Braun especially rich and firm, although it was a close-run thing. That great human wall of sound to their rear had its moments of excess capacity. The RAH could also feel like hostile terrain for the plucky little chamber ensemble as it battled to stand out as a separate unit. Uncouple some of its heavy emotional baggage from the Requiem and you may start to hear it (as I did) almost as a sort of sublime anti-militaristic cabaret – it belongs, after all, to the early-Sixties era of Beyond the Fringe, early Private Eye and Oh! What Lovely War. Ironic intrusions and digressions barge into the Latin texts as Britten sets Owen's often bitter and furious commentary on "the pity of war" – above all, perhaps, in the lurchingly ambiguous music for the retelling of the Abraham and Isaac story ("The Parable of the Old Man and the Young") as a confidence trick that slaughtered "half the seed of Europe, one by one". Clayton and Braun brought out the sardonic, almost Weimar-nightclub quality of some of Britten's settings, with their satirical inversions and mockeries. There's angry mischief as well as solemnity here.
That said, the final duet of Owen's "Strange Meeting" attained all the devastated, post-traumatic serenity it merits. Britten's corrosive wit and astringency, you felt, earns him the consoling calm of the two singer-soldiers' "Let us sleep now", followed by the heavenward ascent of the merged choirs for In paradisum. Yet the grating C-F# tritone that governs the entire work never sounds completely resolved. Britten's beloved bells returned one last time to knell over a musical landscape that has reached an exhausted truce, but hardly real peace. Now the audience could play its part, by holding the long silence that – following the work's tradition – Oundjian sustained.
Would that, 56 years after its arrival, we could now treat this restless hybrid epic as a great period piece and little more. Oundjian and his tiered forces proved that it has lost none of its power, and penetration. Yet I was left yearning for a more compact, even more overtly dramatic, presentation. So roll on Daniel Kramer's stage adaptation for the ENO, which opens at the Coliseum in November with Martyn Brabbins (music director of the Huddersfield choir) as conductor and artist-photographer Wolfgang Tillmans as designer. That could prove a revelation.


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