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Tyson Fury is Yahoo Sports 2020 Fighter of the Year
In a year unlike any other in recent memory, the 2020 Yahoo Sports Fighter of the Year in boxing is a man unlike any other.
There was no elite high-end fighter who put together multiple impressive wins in 2020. The 10 men who make up the Yahoo Sports' pound-for-pound rankings fought a combined total of nine times. Only No. 10 Shakur Stevenson fought twice, and No. 7 Manny Pacquiao and No. 9 Artur Beterbiev did not compete.
And so it's a lot harder to come up with a clear choice for Fighter of the Year under those circumstances. If all of the top fighters essentially fought once, then do we just look at which of them faced the toughest opponent and in that case, pick him? If we went that route, the winner would be unified lightweight champion, Teofimo Lopez, who decisioned Vasiliy Lomachenko in October in a brilliant performance.
Bantamweight champion Naoya Inoue fought only once, but was incredible in a victory over Jason Moloney. Inoue may be the best fighter in the world for many years to come.
Or do we look toward someone like the legendary super flyweight champion Roman "Chocolatito" Gonzalez, who performed brilliantly in two wins in 2020 but didn't beat anyone at the top of the division?
As I mulled the choices over, one name came up again and again. This man came up huge in his only appearance and stunned fans not only with his one-sided win but in the manner in which he pulled it off.
WBC heavyweight champion Tyson Fury's only fight was a seventh-round TKO of an overmatched Deontay Wilder in Las Vegas in February.
If someone picked Fury to win before the fight, it was because they thought he'd fight at range, peck and poke at Wilder and keep the heavy-hitting WBC champion at a safe distance.
For weeks before the fight, though, Fury said he'd walk Wilder down and bring the fight to him. Wilder is one of the hardest punchers in the sport, if not the hardest, and no one assumed Fury was serious. But when the bell rang at the MGM Grand Garden in Las Vegas to start the fight, Fury raced to the center of the ring and pressured Wilder.
It was a brilliant strategy and one for which Wilder had no answer. In their first fight, Fury boxed from the outside and controlled much of the fight with his jab. But he was at risk of Wilder's power, and Wilder knocked him down twice.
The second knockdown in that first bout, in the 12th round, nearly ended as a KO for Wilder. So even though Fury established in the first bout a plan that worked, he understood it came with risks.
(Michael Wagstaffe/Yahoo Sports)
The new plan wasn't foolproof in that exchanging with a puncher puts you at risk of a fight-ending counter shot, but it brought the element of surprise and Fury executed it perfectly.
Fury outclassed Wilder from the opening bell to the moment in the seventh when trainer Mark Breland raised Wilder's ire by throwing in the towel.
He fought a formidable, dangerous opponent and was thoroughly dominated.
For that, Fury is the 2020 Yahoo Sports Boxing Fighter of the Year.
Runners-up: Teofimo Lopez, Gervonta Davis, Naoya Inoue, Errol Spence Jr., Roman Gonzalez, Juan Francisco Estrada, Emmanuel Navarette.
Prospect of the Year
This was a hard choice because there are a lot of good young prospects in the sport. For this, I limit it to boxers who are 25 or under as of Dec. 31, 2020, who have 25 fights or less and who have never fought for a world title.
In this case, there are four names that stand above the rest: welterweight Jaron Ennis, super middleweight Edgar Berlanga, super lightweight Elvis Rodriguez and super welterweight Sebastian Fundora.
The key here is finding the guy who will turn out to be the best fighter down the road, not who is the best now.
All four will probably wear world titles around their waist and I may regret passing on Fundora and Ennis, in particular, but I'm going to go with Berlanga. A guy who can punch like he does doesn't come around often and that gives him the potential to be a breakout champion.
Trainer of the Year
SugarHill Steward is the man. He took over in Fury's corner and led him to the win over Wilder. I chose him over Stephen "Breadman" Edwards and Derrick James.
Fight of the Year
This was a year filled with great fights, but the one that gets my nod had eight knockdowns in five rounds and a crushing KO finish.
No one was talking about Jose Zepeda versus Ivan Baranchyk as a Fight of the Year contender before it occurred, but it was impossible to stop talking about it after it ended.
Just a spectacular action battle with momentum switches, huge shots aplenty and a dramatic ending.
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Last Christmas.... is over. But, there are still some things to mention.
guide us into a new year, little angel. Leave all harm and sorrow behind and bring us hope.
Keona Casual? Formal? You decide.
Well, I textured the hair and played around with it and with the textures. If you like it, you can buy it. There will be no color huds atm.


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EmergeSocial.net News
?? ????? ??? ??????? Net Worth 2023
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Was born in 1976 ?? ????? ??? ??????? birthday is 1976
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?? ????? ??? ??????? aunt had gone to the same school. According to her stories, ?? ????? ??? ??????? was an outcast. He shunned people, and they shunned him. - If beauty can really save the world, then with you Horacio Pagani we are in good hands ?
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?? ????? ??? ??????? and Karina Garcia
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redpajama_set_name: RedPajamaCommonCrawl


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A Josh Hawley ad tying Claire McCaskill to Hillary Clinton draws praise from Rush Limbaugh
Will Schmitt
Missouri Attorney General Josh Hawley is touting Rush Limbaugh's praise of a new campaign video linking Sen. Claire McCaskill to Hillary Clinton.
The shout-out from the prominent conservative talk radio host follows Monday's release of a new political attack advertisement from Hawley, a Republican seen as the GOP's front-running challenger to McCaskill, a Democrat seeking a third term.
The ad highlights McCaskill's endorsement of Clinton, the Democrats' 2016 candidate for president, and criticizes the former U.S. Secretary of State and first lady's recent comments in India. Clinton is abroad to promote her new book, "What Happened," which offers her take on how she lost the election to President Donald Trump.
"If you look at the map of the United States," Clinton recently told an Indian audience, "there's all that red in the middle where Trump won. I won the places that are optimistic, diverse, dynamic, moving forward, and his whole campaign — 'Make America Great Again' — was looking backwards. You know: you didn't like black people getting rights, you don't like women, you know, getting jobs, you don't want to, you know, see that Indian-American succeeding more than you are."
Limbaugh, a native of Cape Girardeau, suggested a translation: "You people in the red are pessimistic, monolithic, dullards, dryballs, and you want to walk backwards."
By linking the two, Hawley appears to be banking on the notion that Clinton will continue to be an unpopular figure among his conservative base in Missouri. Trump won the Show-Me State by about 19 percentage points in November 2016, and as of December, both Trump and Clinton had approval ratings lower than 40 percent. (Trump has since broached the 40 percent mark, according to popularity aggregations by FiveThirtyEight.)
Limbaugh went on to congratulate Hawley for putting McCaskill on the defensive for her support of Clinton, and Hawley took notice and took to Twitter to thank Limbaugh for the shout-out.
"Hillary & (McCaskill) say the heartland is backwards," Hawley's campaign account tweeted. "I say we are the future!"
Speaking to reporters Wednesday, McCaskill said she respected that "there are a lot of people in Missouri that support (Trump's) policies, and I'm respectful of that."
"I think I've been very clear that I don't think that describes the Missourians who supported Donald Trump," McCaskill continued, speaking about Clinton's comments. "I disagree with her on that statement."
And "as far as the ad, this race is about Missouri, and that's what Claire's focused on," said spokeswoman Meira Bernstein. "Others should probably do the same."
The ad and the tweet also allow Hawley to go on the attack following steady criticism from Democrats over his investigation into Gov. Eric Greitens' and his staff's use of Confide, an application that deletes text messages after they are read.
More:Hawley's office: 'Not unusual' that Greitens' lawyer monitored staff's Confide interviews
USA Today reporter Deirdre Shesgreen contributed reporting for this article.


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Critics Weigh in on N.Y.'s Best-Interest Standard for Insurance
Critics of the best interest standard on insurance and annuities sales set by New York's Department of Financial Services say the state's rule makes it too hard for insurance agents to do their job, according to FA magazine. But supporters of the regulation tell the publication it merely requires salespeople to understand what they're selling.
Set to take effect Aug. 1, life insurance and annuities sales inside the state were to be governed by the state-level best-interest standard set by DFS. The agency opted to roll out a state standard in light of the recent demise of the Department of Labor's fiduciary rule, a broader regulation that purportedly would have required retirement account advisors to put clients' interest first but was officially vacated in June.
New York's regulation, however, puts too much burden on salespeople, essentially requiring them to assess products and services they may not even offer, Steven Lofchie, a partner and co-chair of the Financial Services Group at the law firm Cadwalader, Wickersham & Taft, insists to FA magazine.
The state regulation basically requires every salesperson to act as a fiduciary, requiring them to "gather and analyze a substantial amount of information about the client and about the market," which would carry substantial costs that the consumer in turn would bear, Lofchie tells the publication.
But Jane Bryant Quinn, AARP columnist and author of "How To Make Your Money Last," tells FA magazine the rule merely requires salespeople to understand the limited number of products they're selling, which she says is "pretty reasonable."
As for costs to the consumers, Quinn says more fee and product disclosure always benefit them, according to the publication.
In fact, Quinn only takes issue with the words "best interest" in the DFS's rule — the term "should be reserved for fiduciaries," she tells the publication.
"Salespeople have already hijacked the words," she says, according to FA magazine. "Otherwise, I think the [New York] proposal is right on."
Lofchie, meanwhile, says he would prefer a rule simply stating that salespeople had to declare themselves as such and weren't allowed to say they were acting in a client's best interest, the publication writes.
"Combined with a prohibition on material misstatements, that would be a very straightforward rule," he tells FA magazine.
To read the FA Magazine article cited in this story, click here.
Ken Fisher Slams SEC Attempt to Tighten Broker Regulation
Wells Fargo's WM Unit Poised for Major Reorganization
Warren Attacks SEC's Regulation Best Interest
SEC Bars Ex-COO for Alleged Misuse of Client Funds
Fidelity Rolls Out Two Expense-Free Index Funds


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NY town votes to let Orthodox enclave Kiryas Joel secede
Hasidic Jews in Kiryas Joel in 2006. (Stephen Chernin/Getty Images)
(JTA) — The Hasidic community of Kiryas Joel reportedly will become the first haredi Orthodox town in the United States after voters in Monroe, New York, overwhelmingly backed a referendum on secession.
On Tuesday, over 80 percent of Monroe voters backed the measure on Kiryas Joel, a village of over 20,000 Yiddish-speaking Jews associated with the Satmar Hasidic sect, to form the state's first new town in 35 years. The Town of Palm Tree — an English translation of the Satmar rebbe's surname, Teitelbaum — should come into existence in 2020, unless lawmakers speed up the process.
"Today is truly an historic day that will usher in a new era of peace and stability for all the residents of Monroe," Kiryas Joel village administrator Gedalye Szegedin said in a statement. "We would like to thank all the voters in Monroe for their overwhelming support. They chose a better path forward, one of diplomacy and compromise instead of angry rhetoric and litigation."
Monroe officials and Kiryas Joel leaders had finalized a legal settlement in July that allowed for the creation of a new town. Both parties had clashed for years over Kiryas Joel's rapid population growth and increasing influence over Monroe politics.
In 2015, Kiryas Joel annexed 164 acres of Monroe land and asked for over 500 more. Monroe challenged the original annexation, but both sides let their requests go through the vote. Kiryas Joel will get 56 more acres in addition to the 2015 annexation and drop its request for more.
Kiryas Joel's roots date back to the mid-1970s, when Hasidic Jews began settling in the area under the guidance of Satmar Rabbi Joel Teitelbaum.
By	Asaf Shalev	 January 20, 2022 10:14 am
Non-Jewish House reps form congressional 'Caucus for Advancement of Torah Values,' with Canadian rabbi's help
Colleyville rabbi who escaped synagogue hostage situation: 'It's safe to go to shul'
By	Andrew Lapin	 January 19, 2022 2:49 pm
The first urban Jewish co-housing project in the US takes shape in Berkeley
By	Sue Fishkoff	 January 19, 2022 12:14 pm


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The following story, whilst not by any means a definitive one, is one that finally gives recognition to a man long since forgotten in Carmarthen – until now. A man it can be said without doubt has brought joy and happiness to countless individuals young and old for 120 years. Never has such a facility been more appreciated by the people of Carmarthen than "the park". Carmarthen Park and cycle track was officially opened on Easter Monday 1900 (April 16th) and was acknowledged as being the finest cement cycle track in the United Kingdom. Designed and constructed in the supervision of the Borough Surveyor Mr Fred J Finglah.
Carmarthen Park & Cycle Track opened in 1900
The Thomas & Elizabeth Mayhook Charity is therefore delighted to have been able to completely rebuild and restore the last resting place of Frederick James Finglah from a forgotten, dilapidated, overgrown grave in St David's cemetery to what is now a fitting tribute to one of Carmarthen's true heroes of history. Fourteen Carmarthen Freemasons – members of the Mackworth Club came to the cemetery on what was one of the wettest day's ever in November to restore the grave of one of their forebears and the end result was a remarkable transformation – now visible for the first time for all to see.
This story starts off with a brief outline of his birth, followed by his marriage, and then newspaper reports of the opening of the cycle track and park in 1900, and him becoming Master of the St Peter's Lodge of Freemasons in 1907, an amusing and interesting account of a legal case regarding a portrait photograph followed by his obituary in 1919. Most of the information has been extracted from newspaper reports at the time together with other reference material. I hope you enjoy reading it.
Frederick James Finglah was one of seven children,-three brothers and four sisters. His father was a shoemaker from Barnsley. During the time of his employment as Borough Surveyor he lived at number 7 Church Street, just opposite St Peters Church with his wife, one year old daughter Dorothy Letitia, and his widowed mother in law and sister in law. His daughter Dorothy died unmarried in Shrewsbury in 1987 aged 88.
Fashionable Marriage at Carmarthen. 28th October 1898 Carmarthen. Report by the Weekly Reporter.
The marriage was celebrated at St David's Church, Carmarthen, on Tuesday, at 10.30 a.m., between Mr Fred J. Finglah, C.E., borough surveyor, Carmarthen, and Miss Letitia Jane Mary Grey Hughes, elder daughter of the late Rev W. Hughes, vicar of Newchurch, Carmarthenshire, and Mrs L. Hughes, Carmarthen. The bride, who looked charming, was attired in a dress of cream silk, trimmed with Swiss lace, orange blossoms, and pearls, and also wore a large tulle veil, wreathed with orange blossoms. She carried in her hands a beautiful bouquet, the gift of the bridegroom. The bridesmaids were Miss Katie Hughes, sister of the bride, and Miss Gladys Thomas, Guildhall-square, Carmarthen. The former was attired in a dress of pink silk, trimmed with white chiffon sash, and a hat of cream velvet, trimmed with cream tips and ribbon. The latter wore a white-figured muslin dress, trimmed with white sash, and a white fancy straw hat, trimmed with white tips and ribbon. Both carried large handsome bouquets, the gifts of the bridegroom. The bridegroom was accompanied by Mr C. E. E. Fisher, civil engineer, of Aston, Birmingham, as best man. The marriage ceremony was performed by the Vicar of St David's (Rev T. R. Walters), assisted by the Rev H. Hughes, Vicar of Myddfai, Carmarthenshire (uncle of the bride), who was given away by Dr Bowen-Jones, The Friary, Carmarthen. Miss B. M. Cooke, L.A.R.M., presided at the organ, and played the "Wedding March "(Mendelssohn), Handel's Grand March in Scipio," and the War March of the Priests," from" Athalic." The choir sang the hymn "The voice that breathed o'er Eden," and chanted the 128th Psalm. The church was crowded, and a considerable display of bunting was made by friends and neighbours of the bride, three garlands of flags stretching across the main street near the church. On one of these was expressed a wish for "long life and prosperity," and on the others "health and happiness." The Corporation steam-roller was decked with flags and evergreens by the workmen, and was instrumental in the discharge of numerous detonators. The peal of bells in St Peter's Church tower was also rung. After the ceremony the bridal party, upon whom confetti, rice, and flowers were plentifully showered, returned to The Cedars," Union-street, where a large company of friends, among whom was Mr C. Burton, Birmingham, uncle of the bridegroom, sat down to the wedding breakfast, and where, at a later period of the day, Mrs Hughes, the bride's mother, held a reception. The happy couple left by the 1.20 p.m. train for London, where the honeymoon is to be spent. The travelling dress of the bride was of royal blue cloth, "faced with white, and she wore a large picture hat to match. The bridal couple were the recipients of presents to the number of 160.
Opening remarks by Her Majesty's Lord Lieutenant of Carmarthenshire Sir James William Drummond CB, regarding the official opening of the Carmarthen Park & Cycle Track on Monday 16th April 1900 and his praise of James Finglah.
The Lord Lieutenant Sir James Williams-Drummond (1857-1913), of Edwinsford, Llandeilo.
"For the laying out of the ground Carmarthen was indebted to their Borough Surveyor Mr Frederick James Finglah (applause). He has been responsible for the planning and the carrying out of the whole work, including the construction of the cycle track, which was unsurpassed by anything in the Kingdom (applause). The ground represented a considerable expenditure of money, which was money well spent by the Carmarthen Sports and Recreation Committee. It is a gratifying circumstance that there is an increasing demand for land suitable for building purposes in Carmarthen. I am not at all surprised that people should be desirous of coming to live in this beautiful neighbourhood. Land suitable for the purpose of a recreation ground has been getting scarcer every year and the price inevitably increasing. I am satisfied that the verdict of the public would be unquestionably that the Corporation of Carmarthen had done the correct thing, and that the present and future generations of Carmarthen would be justly proud, thanks to the ingenuity, foresight, dedication and ability of Mr Finglah" (loud applause)
Two cyclists that took part in the opening ceremony in 1900.
Carmarthen Weekly Reporter 20th April 1900. The opening cycle race… Oh dear!! .. this could only happen in Carmarthen !
The unfortunate fiasco which happened in the mile professional scratch race has been the means of creating a lot of ill-feeling as regards the winner of the final heat. One of the official judges -Mr Mitson of London, unfortunately, had the bell rung for the last lap when it proved to be only the third and not fourth lap and Tom James going strong for the finish after the bell rung thought he had won but there being another lap to go W Rees got home first in the fourth lap. Tom James has laid an objection to the result.
The opening race. The Cycle Judge Mr Mitson who lost count after three laps can be seen in the bowler hat on the right of the photograph.
Mr Britten, treasurer of the National Cyclists Union in proposing success to the Cycle Track, said he understood that their surveyor, Mr Finglah, had had a free hand in the construction and design of the track. He congratulated Mr Finglah upon his success, and the only thing which he could suggest for its improvement would be to slightly rough it. He was glad to hear of a track in a town of the size of Carmarthen, and stated that he knew of no other in the whole kingdom like it. It was a track of which Carmarthen could be proud. As treasure of the N.C.U., he was pleased to find the South Wales Centre creeping up and up, and he hoped the results of Carmarthen Sports Committee would creep up and up. He coupled with the toast the name of Mr Finglah. Mr Finglah, in responding, said he had not, expected to be asked to make a speech. He said it was very satisfactory to hear such a good opinion of the Carmarthen track and sports management. With regard to the track he said that were it "roughed" it would only be at the expense of speed.
The amazing hire wire act without safety nets on the day of the official opening. Note St David's Church in the background.
On the 20th December 1907 the Carmarthen Weekly Reporter reported on the local Freemasons installation ceremony.
"On Tuesday night the installing ceremony in connection with the St. Peter's Lodge of Freemasons No. 476, was held at the Masonic Lodge, Spilman street, Carmarthen. Bro. F. J. Finglah was installed Worshipful Master for the ensuing year, and the following officers were invested:—I.P.M., W.Bro. B. A. Lewis; S.W., Bro. Thomas Davies; J.W., Bro. Chas. E. Davies; chaplain, W.Bro Rev J. Marsden, P.M., P.P.S.G.W. treasurer, W.Bro. James John, P.M., P.P.S.G.W secretary, Bro. Harry Reeves; director of ceremonies, W.Bro. Thomas Walters, P.M., P.S.W. S.D., Bro. Lewis Giles; J.D., Bro. C. H. Mounsey; T.G., Bro. E. G. Tuck; organist, Bro. J. Howard Morgan; steward, Bro. D. Roberts; steward, Bro. W. O. Minister; and tyler, Bro. John Thomas. After the installation a banquet was held at the Ivy Bush Royal Hotel"
The Sports and Recreation Committee responsible for employing James Finglah and financing the project of constructing the cycle track.
The story of the unwanted Portrait. Carmarthen Weekly Reporter June 1914
The Crown Court case and His Honour Judge Lloyd Morgan's verdict.
A Swansea photographer brought a claim against Mr F. J. Finglah, Borough Surveyor, Carmarthen. Mr J. F. Morris appeared for the defendant. Plaintiff stated that he had a, studio at Walters Road, Swansea. He had lived formerly at Pontypridd. He had carried on business in South Wales for six or seven years. He called on Mrs Finglah and she agreed to have a water colour enlargement of her husband's photo, the price to be two guineas. He had only had 15s. Mr J. F. Morris asked if the plaintiff had not promised Mrs Finglah that the portrait would be a special new process of which he was the sole patentee. Plaintiff said that he never said anything of the kind. He was not the patentee of any process. Mrs Finglah gave him particulars of the colour of her husband's eyes, hair and complexion to enable him to colour the enlargement. Mr S. Collin also gave evidence. He said that Mrs Finglah said that she would prefer the water colour enlargement. The price agreed was two guineas. Mrs Finglah said that the plaintiff told her that he was canvassing for portraits done by an entirely new process of which he was the inventor. He said that it was neither oil nor water colour nor a photo.
His Honour Judge Lloyd Morgan KC – A Carmarthen man, buried in the next street up from St David's in Union Street Chapel cemetery.
He said that the portrait would be washable and could be spring cleaned like a chair. She agreed to take a portrait at 15s 6d. She paid 10s, and the balance of 5s was to be paid on delivery. When the plaintiff brought the portrait and asked for three guineas, she told him to clear out of the house and to take the portrait with him. Plaintiff asked the witness whether Mr Finglah had not sent him a letter stating that he was playing a, "dangerous game." Witness said that was so. Plaintiff: What is the dangerous game? The Judge: It is a, dangerous game to say there is a contract if there is no contract. Plaintiff (to witness): The Judge can see very well that you are committing nothing but a lot of perjury. The Judge: You must not say that. Mr Finglah said that he knew nothing of the matter until the portrait was delivered. He knew something of photography and had done a little sketching. He thought that the enlargement was worth 5s if uncoloured. Coloured as it was it was worth nothing. The Judge: The wife is not the husband's agent to buy things like that. The husband is not responsible. Mr Finglah said he had no desire to fight the case on a technicality, but on its merits. Plaintiff: If the case goes on like this it is no good me bringing on cases. Can I summon the wife? The Judge: I don't think it would be any use. If I had to decide the case on the facts, I would give the same decision.
The Judge** found in favour of Mr Finglah and dismissed the case.
**Judge Lloyd Morgan himself was born in Carmarthen in 1861, becoming a Liberal MP for Carmarthen West from 1889 to 1910. He became a KC (Kings Counsel) in 1906 and was much respected in the town. He died in 1944 and is buried in Union Street Chapel Cemetery Carmarthen, a few minutes walk from St David's.
Obituary. Carmarthen Weekly Reporter 28th February 1919.
MR F. J. FINGLAH. Mr F. J. Finglah, Borough Surveyor, died at his residence in Johnstown on Saturday. The deceased, who was 50 years of age, had been appointed Borough Surveyor of Carmarthen in the year 1898. He was a native of Walsall, and previous to his appointment at Carmarthen was assistant surveyor to the Heston and Isleworth District Council. When he came to Carmarthen the Nantcwmtawel water scheme had just been adopted, and he carried out the work under the late Mr Barnes, of London, who had drawn up the scheme. Mr Finglah laid out the Park and the Cycle Track at Carmarthen. He was of a very quiet retiring disposition, and his voice was seldom heard at Council meetings. He was held in high esteem by all who knew him, and was a capable and upright official. He was well-known for his courteous and gentlemanly demeanor, and was held in high esteem by the Corporation and townspeople generally. He is survived by a widow (a daughter of the late Rev T. Hughes, vicar of Newchurch) and two daughters. The following photographs show the state of James Finglah's grave before restoration began and the progress made in it's complete restoration.
The Mackworth Club after completing the restoration. Well done to all of them.
POSTSCRIPT. 100 years on
One hundred years after the opening of Carmarthen Park in 1900, the newly restored Coalbrookdale cast iron gates that stand proudly at its entrance once again became the subject of a lesser known "campaign" by my friend the late Earl of Snowdon GCVO. It was a subject close to his heart involving the removal of a fine set of Coalbrookdale gates originally erected as the gateway to the London Great Exhibition in 1851, only to have been re-erected some years later on the boundary of Kensington Gardens and Hyde Park, now acting as a backdrop to a major road junction propping up some road signs and totally out of place.
The late Earl of Snowdon GCVO. Copyright by kind permission of Andrew Hasson.
It was Lord Snowdon's idea to have the gates removed and installed at the front of the Albert Memorial near Kensington Palace as part of a plan to erect a memorial to the late Princess of Wales. The "campaign" dragged on for ever with letters and phone calls from all over the UK and beyond but sadly to no avail. The Carmarthen Gates and that of the Great Exhibition- both being made by Coalbrookdale, were very similar in design and the fact that ours had been removed and restored and finally re-erected came to Lord Snowdon's attention through a telephone conversation I had with him.
The restored Coalbrookdale gates at Carmarthen Park entrance
Indeed we had many a conversation over the telephone about them and how wonderful it would be if a similar project could be done in London, albeit with their relocation near the Albert Memorial. I was able to advise him quite a bit and we became good friends, but sadly all our efforts fell on deaf ears.
Lord Snowdon's tribute to the fallen of Carmarthenshire in the Great War
Nevertheless Lord Snowdon maintained an interest in what was going on here in Carmarthen and in August 2014 he very kindly wrote for me the foreword to the 100th anniversary service of commemoration programme of the start of the Great War in 1914 – the event very appropriately being held, where else but at Carmarthen Park within the cycle track itself, and so after 114 years James Finglah's everlasting legacy once again provided a backdrop to a significant historical occasion as it has done continuously since it's inception all those years ago. James provided Carmarthen with a legacy beyond anyone's imagination. If nothing else, we owe it to him and his memory to remember what he achieved.
And finally….the great man himself – Frederick James Finglah. A never before seen photograph.(Copy of photograph kindly provided by The National Archives, Kew) Please ask for permission from the Thomas & Elizabeth Mayhook Charity to reproduce this image.
FREDERICK JAMES FINGLAH. 1911.


text:
'Blockbusters': Go Big Or Go Home, Says Harvard Professor
Published October 24, 2013 at 1:17 AM MDT
Movies like The Dark Knight or the Harry Potter series are touted as blockbusters — big-budget spectacles sure to make box office bank.
And though wannabe blockbusters can — and do — flop, like the $120 million disappointment Speed Racer, big budget is still the way to go, according to Harvard Business School professor Anita Elberse.
She's just written a book called Blockbusters: Hit-making, Risk-taking, and the Big Business of Entertainment — and she says the title doesn't just apply to movies. "It is identified a lot with movies," she tells NPR's Renee Montagne, "but I use the term more broadly to describe big bets in the world of entertainment, whether it's film, television, book publishing or music, or a range of other industries."
What makes a blockbuster?
The core idea in the book is that [of] a blockbuster strategy — so a strategy in which a company, a content producer ... spends a disproportionate amount of their budget on just a select few of the most likely winners, that that blockbuster strategy, that that is actually the surest path to success.
On her case study of Lady Gaga and Born This Way
What a case study entails is me having access to everyone around Lady Gaga, and actually in fact Lady Gaga herself, and being able to ask questions.
And what I found is that they are well-aware that it's necessary for them to embrace risk, and to go as big as possible ... they realized, we have to go so big that this is not even something the record label can pay for. What we need to do is get a whole bunch of partners. And they partnered up with Best Buy, with Zynga, with Gilt Groupe, with Starbucks, with a whole bunch of players that would make the launch even bigger than what a record label could do.
/ February Partners
February Partners
Anita Elberse is the Lincoln Filene Professor of Business Administration at Harvard Business School. Blockbusters is her first book.
On whether all that marketing and money really make a blockbuster
In many ways, these are self-fulfilling prophecies. What you get when you put all your resources behind a product, is you get everyone to join in. If you are championing a product, your salespeople will follow and say: Wow, this is really going to be great; we need to support this too. Your retailers are going to join in and say: This is going to be the greatest book that anyone has ever seen, or this is going to be the biggest movie of the season ... If you swing for the fences, lots of people will come and support you.
It's not the only reason why they're so successful, though — we also see marketing advantages; it's much more cost-efficient. If you double the production budget for your movie, you're not necessarily doubling the advertising budget. So in a way it's relatively inexpensive to market these movies.
On the effect of blockbusters on creativity
What we're really seeing is those sure bets are, those sure hits are paying for all these other products. To give you an example, we wouldn't have had Gravity ... and that's a $100 million movie, which is a really, really risky bet for the studio — they wouldn't have made that movie, it's not a tentpole movie, it's not a blockbuster bet — they wouldn't have made that movie if it weren't for all the successes that they had in the past decade at Warner Bros., with the Harry Potters and with the Terminators, and with Inception and with many other films.


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List of wounded and missing British, Australian, Canadian, S African personnel in all theatres of war about whom enquiries have been made; It also contains enquiries for details of death and burial of all those listed as killed. The names are grouped into corps/regiments and in the case of infantry there is, wherever available, information as to which battalion, company and platoon the casualty belonged to. There is similarly unit identification for Corps and Services, such as brigade and battery for Royal Artillery, field company for Royal Engineers. Regiments and Corps are listed alphabetically and there is an index for them.The original of this facsimile reprint is held by the Department of Printed Books, The Imperial War Museum. Who hold the largest collection of these titles known to exist.


For those of you that followed my TTC journey, I wanted to update you all that I had my baby girl Isla Pearl on the 22nd December at 37w5d due to pre-eclampsia. I have a bit more info and pics on CCMP if you want a peak! Isla is now 5 weeks old and absolutely perfect!
I am still following all of you ladies and sending you all tons of baby dust and prayers in your TTC journeys!
Congratulations! I'm so happy for you and glad to hear all is well!
Awww....congratulations!!! I'm glad you and the little angel are doing well. Thanks for the update!


text:
MORGANINTERCULTURAL
Diversity & Inclusion Workshops
Leveraging the full potential of your diverse workforce
An inclusive organizational culture leverages diversity by creating an environment with a broader bandwidth of acceptable styles of behavior—encouraging a greater range of available pathways to success."
--The Inclusion Breakthrough, Unleashing the Real Power of Diversity, by Frederick Miller & Judith Katz
Living in a diverse world—or leading a diverse work force—is more than a mental construct, a memorized list of cultural differences, or a willingness to be tolerant. It's about examining how well we function at the margins and interfaces of life, where divergent ways of being and believing meet and collide."
--Edgewalking: The emerging new-century leadership paradigm. Workforce Diversity Reader, by Cynthia Kemper
The global business landscape is changing--
and U.S. workplaces are more diverse than they've ever been:
More diverse clients, suppliers, customers: Clients, suppliers and customers are more international and more diverse than ever before.
More women in the workforce: More women are entering the U.S. workforce than ever in history.
More revenues from outside the U.S.: Business revenues are being generated outside the U.S. in the world's emerging economies more than ever before.
A more global talent pool: U.S. company employees come from a much more global talent pool than ever before; there are many more employees from countries such as China and India, etc.
A changing generational mix: Baby boomers make up a much smaller percentage of the workforce; millennials have become the dominant generation, bringing different values and expectations with them when they come to work.
Women and people of color now make up the majority of the U.S. labor force: As of 2016, two-thirds of the civilian labor force in the U.S. is comprised of women and people of color.
Shifting sexual orientations and gender identities: Sexual orientation and gender identities are shifting and changing in the workforce away from traditional orientations and identities.
Today's global organizations can leverage the full potential of all this diversity--all these genders, identities, orientations, generations, ethnicities, nationalities and backgrounds—and the different perspectives and thinking styles they represent.
Inclusive leadership is required: But to leverage the vast creative potential of a diverse workforce requires new and different skills, awareness, sensitivities, empathy, clarity of purpose and perseverance. It requires a new strategy to create more inclusive organizational cultures. It requires new kind of leadership—inclusive leadership. Organizations that fail to change in a changing world will become training academies for the organizations that are getting it right. Organizations that fail to create inclusive cultures will fall behind. Many will cease to exist altogether.
Create higher levels of innovation, morale, engagement, retention and competitiveness: Studies show that diversity in the workplace can lead to higher levels of innovation, morale, retention, engagement and competitiveness. But when organizational leadership fails to create an atmosphere of inclusion in the workplace, the full creative potential of your diverse workforce remains dormant.
What is Diversity & Inclusion (D&I)? D&I comes down to the difference between simply having diversity in your organization—and actually leveraging it. First of all, let's look more clearly at what we mean by diversity:
Diversity: Diversity is about differences. Each of us is different. Ultimately, diversity is about the mix of different kinds of people within an organization. The concept of diversity has expanded somewhat in recent years. Often, now, the word diversity is used to mean both visible and invisible differences--for example, thinking style, leadership style, working style, gender, ethnicity, nationality, abilities, religious background, sexual orientation, age, experience, culture, etc.
And what do we mean by inclusiveness?
Inclusiveness: If diversity is about the mix of differences within an organization, inclusiveness is about whether or not diverse kinds of individuals are truly valued and respected in the organizational culture. It's about creating an environment in which people want to come to work every day. And, when they come to work, they give their personal best in everything they do.
Non-inclusive organizational cultures tend to accept only a limited range of acceptable styles of workplace behavior and appearance. Inclusive cultures, on the other hand, are those that accept a broader bandwidth of workplace styles and behaviors. Ultimately, creating a more inclusive organizational culture is about creating an environment in which diverse people feel included, heard, understood, valued and involved. With just the "D" or just the "I," your organization is likely to be under-performing. You're likely to have average to low retention, morale, engagement, innovation and competitiveness. With D&I together, you're likely to be leveraging differences to achieve better business results.
Inclusive leaders leverage diversity: Do the leaders in your organization approach diversity with the mindset that it is something that must be mitigated? Or do they see the diversity as an asset to be leveraged? Inclusive leaders are those leaders that understand that diversity is an asset to be leveraged. Inclusive leaders embed inclusive practices throughout their organizational cultures.
Morgan intercultural offers your organization state-of-the-art tools and building blocks to create inclusive leaders—leaders capable of unleashing your organization's untapped potential. If you're interested in creating a more inclusive culture in your organization, please get in touch with us. We'll discuss how Morgan Intercultural can help your leaders become inclusive leaders--and help you unleash the full potential of your organization's diversity.
Diversity + Inclusion:
Unleash the Full Potential of Your Organization's Diversity
Creating a more inclusive environment improves the productivity and effectiveness of teams
Research shows that on any team, 20-30% of the effort that team members can potentially put into their work is discretionary. Whether or not there's an inclusive environment is the factor that makes the difference between whether or not team members put that 20-30% of extra effort into their work.
Dimensions of Workplace Diversity:
The time has come for us all to think more broadly and more clearly about different kinds of diversity in the workplace. Diversity workshops traditionally have focused primarily on racial and ethnic differences, and on gender equity. But there are many other diversity categories--including both visible and invisible aspects of diversity representing different experiences and perspectives.
With greater awareness of the range of human diversity, we can do a better job of ensuring our workplaces are more equitable and more inclusive. Greater awareness of diversity sets us up to leverage the full benefits of diversity for more engaged, innovative and successful organizations. Almost all organizations can do more to accommodate different types of people, and will benefit greatly by doing so.
With serious commitment from the top of the organization and a little D&I training for organization members, the pieces of the diversity "jigsaw puzzle" can fit together to create a more diverse and inclusive—and more creative and innovative—organizational culture.
Getting Your D&I"Right":
• Does the diversity within the organizational culture feel heard, understood, valued and engaged?
• Do people come to work and give it everything they've got? Or are they doing the minimum they have to do to get their paycheck?
• The organizational culture we create is inclusive or non-inclusive based on what is formally & informally expected, reinforced & rewarded, and the day-to-day experience of each individual.
Which quadrant is your organizational culture in?
If you're in the "High Diversity/Low Inclusion" quadrant, your organization may have problems with morale, engagement and retention. Diversity feels not heard, not seen, not valued, not included. Chances are, diversity is leaving your organization and going somewhere else where they feel more included. If you're in this quadrant, your organization may be, in effect, a "training academy" for your competitors who are doing a better job of getting their "D&I" right.
Organizations that get their cultures into the top right quadrant--"High Diversity/High Inclusion"--are likely to be the ones with high morale, high engagement and high retention. "Inclusive leaders" make sure their organization operates with inclusive policies. Diversity is seen as an asset to be leveraged, not a risk to be mitigated. Diverse, inclusive cultures are those that are likely to be more innovative and competitive--because they're the ones that leverage the diverse thinking styles and creativity of their people.
Morgan Intercultural
Fairfield, IA 52556
tom@morganintercultural.com
Follow Morgan Intercultural:
Core Services:
International Assignment Programs
Intercultural Business Seminars
Executive Intercultural Coaching
India Specialization
Repatriation Training
Intercultural Competence Assessment
© 2018 Morgan Intercultural All Rights Reserved


text:
from setuptools import setup, find_packages
import sys

# Temporarily download dependencies from my own host
github = "https://github.com/kevlened/pyjnius/releases/download"

if sys.platform == 'win32':
    dependency_links = [
        github + "/v1.1/jnius-1.1-dev.win32-py2.7.exe"
    ]
else:
    dependency_links = [
        github + "/v1.1/jnius-1.1-dev.tar.gz"
    ]

setup(
    name='sikuli',
    version='0.2',
    description='A CPython wrapper around the sikuli standalone jar',
    author='Len Boyette',
    author_email='boyettel+sikuli@gmail.com',
    url='https://github.com/kevlened/sikuli_cpython',
    packages=['sikuli'],
    keywords=['testing'],
    requires=['jnius'],
    package_data={'': ['sikuli-api-1.0.2-standalone.jar']},
    include_package_data=True,
    setup_requires=['jnius >= 1.1-dev'],
    install_requires=['jnius >= 1.1-dev'],
    dependency_links = dependency_links,
    classifiers=[
        'Programming Language :: Python',
        'License :: OSI Approved :: MIT License',
        'Operating System :: OS Independent',
        'Topic :: Software Development :: Libraries :: Python Modules',
        'Topic :: Software Development :: Quality Assurance',
        'Topic :: Software Development :: Testing',
        'Intended Audience :: Developers',
        'Development Status :: 4 - Beta'
    ]
     )

# To update pypi: 'python setup.py register sdist bdist_wininst upload'

redpajama_set_name: RedPajamaGithub


Student Competition for the President's Prize Display Presentations, Section A.
Student Competition for the President's Prize Display Presentations, Section B.
Student Competition for the President's Prize Display Presentations, Section Ca.
Student Competition for the President's Prize Display Presentations, Section Cb.
Student Competition for the President's Prize Display Presentations, Section Cc.
Student Competition for the President's Prize Display Presentations, Section Cd.
Student Competition for the President's Prize Display Presentations, Section Ce.
Student Competition for the President's Prize Display Presentations, Section Cf.
Student Competition for the President's Prize Display Presentations, Section D.
Student Competition for the President's Prize Display Presentations, Section Ea.
Student Competition for the President's Prize Display Presentations, Section F.
Student Competition for the President's Prize Display Presentations, Section Fa.
Student Competition for the President's Prize Display Presentations, Section Fb.


text:
Conservatoire Research Degrees - PhD
Level: Postgraduate Research
Starting: September 2020, February 2021
Study mode: Full Time, Part Time, Distance Learning
Location: Royal Birmingham Conservatoire
Save this course
Ask about the course
Fees & How to Apply
Course in Depth
Facilities & Staff
A PhD at Birmingham Conservatoire will help you create opportunities to develop research skills that support performance, composition or a scholarly career. Whether you are interested in music (including composition, music technology, musicology, performance and jazz) or performing arts (theatre, acting, directing, applied drama, dance and interdisciplinary performance practice), you will be supervised by leading experts in the field.
Choosing to study in a conservatoire environment allows you access to top-level performers, enabling you to situate your research in an environment of practical music making and acting.
What's covered in the course?
A PhD enables you to follow a programme of self-directed, independent study, supported by experienced supervisors who are themselves experts in their area. Birmingham Conservatoire operates a system whereby you are able to assign your allocated hours to a number of specialist advisors, allowing you to tailor the support you need to the requirements of your own project.
Whilst you will be developing as an independent researcher, you will be supported both by your supervisors and the wider Conservatoire research community. As well as bespoke research skills training for musicians and performing arts students, there are regular opportunities for you to present and share your work with other research students.
The staff are extremely supportive. My supervision team and the research degrees co-ordinator are always there to answer my questions and give me a nudge in the right direction.
Johan Eriksson, current PhD student
We work daily on our own research projects in the research students' office space, but because we are in close proximity to each other we are able to discuss our ongoing work, providing constructive critique for each other and generally giving support and guidance.
Andy Ingamells, current PhD student
Birmingham Conservatoire has a thriving research community, with particular specialisms in composition, music technology, musicology, performance and performing arts.
Regardless of your specialism, you will benefit from access to top-level performers and a brand-new, £57 million building with state-of-the-art recording facilities, concert venues and practice rooms.
Research students have access to a dedicated work-space. We have close links with the city's musical and theatrical organisations such as the CBSO, BCMG, The Rep Theatre, Midlands Arts Centre and The Royal Shakespeare Company.
Music students are eligible to audition for our ensembles, and in addition both Music and Performing Arts students can take part in a full range of our practical activities and lectures.
Our programme offers the flexibility to present your research in a range of formats, depending on the nature of your research, whether it be fully text-based (80,000 words) or practical (composition, performance or scholarly edition) with a written element.
Our next Open Day for this course will take place on Thursday 23 January 2020. Visit us to get a real insight into student life at Royal Birmingham Conservatoire.
This course is open to International students
Midlands4Cities Scholarships
Find out about applying for funding for this course.
If you've got any questions about the course, we'd love to hear from you. Please email Dr Carrie Churnside, Research Degrees Coordinator.
PhD Research Interests
We have a large number of research staff who supervise PhD students in a range of different areas. We particularly welcome proposals for projects in the following areas:
Composition (Professor Joe Cutler, Dr Michael Wolters, Howard Skempton, Dr Ed Bennett, Dr Seán Clancy, Dr Andrew Hamilton, Edwin Roxburgh, Errollyn Wallen)
We welcome applications from students with a wide range of compositional interests, including:
Experimental and Conceptual approaches to existing genres,
Interdisciplinary and Cross-disciplinary work,
Jazz composition, (Dr Hans Koller)
Electronic Composition and Composition involving live electronics (Dr Simon Hall, Professor Lamberto Coccioli)
We particularly welcome applications in the following areas:
French Music, notably Charpentier, Lully, Rameau, Ravel, Milhaud, Jolivet and Messiaen (within our French Music Research Hub) (Professor Deborah Mawer, Professor Christopher Dingle, Dr Shirley Thompson, Professor Graham Sadler)
17th- and 18th-Century Music, with a particular focus on performance practice and critical editing, including Italian and French Baroque, English music in the 18th century, late 18th-century German music (as part of our Forum for Seventeenth- and Eighteenth-Century Music) (Dr Carrie Churnside, Dr Shirley Thompson, Professor Graham Sadler, Dr Jamie Savan, Martin Perkins, Dr Siân Derry)
Contemporary Film and Television Music, Theory and Analysis (Dr Steve Halfyard)
Late Medieval Music, Theory and Critical Editing (Professor Ronald Woodley)
Music Critics and Criticism (Professor Christopher Dingle)
Performance Practices of the Renaissance and Early Baroque (Dr Jamie Savan)
Jazz Studies (in collaboration with Birmingham Centre for Media and Cultural Research) (Professor Deborah Mawer, Professor Tony Whyton)
Beethoven and early 19th-century piano music (Dr Siân Derry)
(Dr Simon Hall, Professor Lamberto Coccioli)
As part of the Integra Lab, we welcome applications in:
Electronic Music Composition and Performance
Musician-centred Interaction Design
Music and Audio Software Development
Music Performance as Research
Proposals in historical performance practice and/or contemporary practice (including jazz) are particularly welcome.
(Dr Aleksandar Dundjerovic)
Proposals in Interdisciplinary Performance Research (Media, Theatre, Dance, Applied) are particularly welcome.
PhD Supervisors and Specialisms
Professor Deborah Mawer is the Director of Research for Birmingham Conservatoire, whilst Dr Carrie Churnside is Research Degrees Coordinator.They are supported by a team of supervisors (appointed from our Research Staff) who have a wide range of specialisms and expertise including:
Since our mission is to promote the highest standards of performance and composition, it follows that our Research Policy is sharply focused on these activities.
Applications relating to the practice and philosophy of musical performance and composition and other areas of particular interest in the conservatoire context are therefore encouraged.
UK/EU students
Award: PhD
Starting: Sep 2020
Starting: Feb 2021
If you're unable to use our online application form for any reason, please email Research.Admissions@bcu.ac.uk.The University reserves the right to increase fees in line with inflation based on the Retail Prices Index or to reflect changes in Government funding policies or changes agreed by Parliament up to a maximum of five per cent.
To apply for our Conservatoire PhD research degree you should have, or expect to be awarded, a Masters degree in a relevant subject area from a British or overseas university.
Exceptional candidates without a Masters degree, but holding a first class Bachelors degree in a relevant subject area, may be considered.
We also welcome enquiries from potential PhD researchers without formal academic qualifications but with appropriate levels of professional experience.
Please send us an initial PhD enquiry containing your brief PhD research proposal (max. 500 words), and/or any questions or queries you may have.
We will review your initial enquiry to ensure your research proposal compliments one of our PhD research interests and if so we will ask you to make a full application.
Please refer to our English Language Requirements.
Interview and Audition Requirements
Musicology (including performance-related topics)
At interview you will normally be asked to bring along a recent essay demonstrating your academic writing skills.
If you intend to use performance as integral to the project you will also need to audition. We would like to hear you perform for about 30 minutes, with a programme relevant to your project if possible. The standard should be equivalent to post-Masters' level at a UK conservatoire.
You will need to present two recent scores together with recordings if available. The expected standard, in each case, is equivalent to that of a completed Masters' from a UK conservatoire. Feel free to consult our Research Department for further guidance.
Research proposal guidance
Your research proposal in the full application should address the following areas:
The Working Title of Proposal
Context of the Research
Provide a succinct summary of what has already been done in the field. In the case of practice-based projects this will include compositions and performances as well as literature.
Research Question(s)
What is it that your project sets out to discover? What are your aims and objectives?
How will you go about undertaking your proposed project? Provide a provisional timeline.
Resources Required
Indicate here if you require any specialist resources (e.g. access to studios, performers, specialist software, etc.)
Potential application and impact of your research
What will be the outcome of your project? How will it benefit the research community? Will the findings be applicable outside of academia?
If your project includes practice (composition or performance) you will be asked to provide a portfolio of recent work and may be required to audition.
As each PhD is an individual research project, it is impossible to specify what additional costs may be incurred. Whilst the Conservatoire is able to offer limited financial support towards the direct costs of research (e.g. the purchase of books or digital reproductions of primary sources; attendance at conferences and workshops, etc.) you may need to supplement this. Any potential costs should be identified in your application.
Initial PhD Enquiry
Before you apply, please send us an initial PhD enquiry containing your brief PhD research proposal (max. 500 words), and/or any questions or queries you may have.
Send your inital PhD Enquiry
Thinking about a PhD?
Our PhD section is the place to go for application tips, FAQs, funded opportunities, helpful blogs and more!
View fees for continuing students...
A day in the life of a PhD student
If you're considering doing a PhD there's probably a lot of questions going through your mind: how am I going to pay for it? Should I quit my job? Will I cope with the workload? But most importantly, what is it really like? Karen Patel, a full time PhD student, shares her experiences of juggling life, a part time job and her studies. Read more in Karen's blog.
The PhD journey
Full-time students are expected to complete within 3-4 years, whilst part-time students may take 4-7 years. In your first year (two years for PT students) you will spend time reviewing the field and refining your research proposal and projected plan. You will be supported in this through attendance at the PGCert in Research Practice, which runs for the first semester of your studies.
At the end of your first year (second year for PT students) you will complete a Progression Assessment Panel, at which you will present your work to the Conservatoire research community and undergo a viva with an external specialist. Your second year (years 3 and 4 for PT students) is likely to be spent undertaking in-depth research in your chosen area, with the third year (years 5-6 for PT students) involving writing up your results and presenting them in a suitable format (whether that be through composition, performance, or entirely written).
Our PhD programmes are offered full-time or part-time. These modes of study ensure that we can create a PhD research plan around your lifestyle needs, even if you are in full-time employment or overseas.
Full-time PhD Research: three to four years
As a full-time PhD research student you will undertake much of your research on campus using the facilities at Birmingham Conservatoire.
You will be expected to complete your research and submit your work for examination within 36-43 months.
Part-time PhD Research: four to seven years
You would chose part-time PhD research if you opt to study whilst in employment or if full-time study is impractical.
You will be encouraged to use the campus facilities when you can and may often work from home.
Examples of classroom activities
As each doctoral project is unique, so is each student's day-to-day experience. A typical day might include reading, analysis, composition, performance, or critical editing, or any combination of the above. Whatever the nature of your project, all doctorates require independent study and require you to manage an extended, self-directed research project.
We support a range of thesis submissions, including composition portfolio supported by a short written commentary, or a combination of written and performance elements, as well as a traditional written thesis of 80,000 words.
Birmingham Conservatoire is a multidisciplinary institution that is home to both musicians and actors. Our research students benefit from the opportunity for collaboration between these two disciplines, as well as from working with others from across the faculty, which includes the Schools of Art, Architecture and Design, English, Fashion and Textiles, Jewellery, Media and Visual Communication.
Maya Verlaak is a composer who creates new music by developing compositional concepts relating to the properties and context of place, performer or instrument.
"Her hands-on composing attitude encompasses the idea that nothing is taken for granted, every single parameter invites reflection. In addition, by being fully committed, open to learn and using creativity, no project is impossible." (Dr Michael Wolters, supervisor)
"What I most enjoy about the course is the freedom to do anything, and the possibility of doing projects both in the UK and abroad" (Maya Verlaak)
PGCert in Research Practice
For the first six months of your PhD you will undertake the PGCert in Research Practice, which is a taught and compulsory part of the PhD programme. You will meet with your supervisors and attend classes every week. This is an essential part of the PhD which will help you to get your research started and set you up for the rest of your PhD journey. The PGCert programme covers literature review and research methods which are specific to your faculty.
You will also be supported through the activities of our PGR Studio. The PGR Studio seeks to promote an experimental, creative and practice-based space that resonates across all the academic Schools and disciplines in the Faculty of Arts, Design and Media. A studio can be an artists' studio, a design studio, a recording studio, a rehearsal studio or a writing studio.
The PGR Studio aims to enhance our postgraduate research (PGR) community and student experience through supporting routes into and out of PhDs through professional and career development within and beyond Higher Education as well as the transition throughout PhD study. We run workshops, training, social events and other activities in partnership with our PGRs for our PGRs
You can also strengthen your PhD research and personal/professional development by participating in wider international research communities and conferences, and by helping to teach degree modules to undergraduate students.
The value of a PhD to employability
The Doctor of Philosophy or PhD is recognised worldwide and is often an essential requirement for those wishing to follow an academic or research career in the field. Our ConservatoirePhD research degree has been designed to help you achieve a career in music and performing arts research or academia. Many of our PhD graduates have gone on to have successful careers as practitioners.
Since completing my doctorate, I have expanded my areas of research to include aspects of music education. I now work at Birmingham City University as a full-time post-doctoral researcher on a range of funded projects, whilst continuing to develop my research portfolio in historical musicology
Dr Adam Whittaker
Dr Fang Fang completed her PhD in composition in 2016 with a portfolio of works integrating Chinese folk songs into new music. She now works as a lecturer in composition at Sichuan Conservatory of Music, China, teaching composition, analysis of music and musical form.
The PhD in Music that I gained from Birmingham Conservatoire offered me an amazing opportunity to experience another world of music study and living. My three years of studying in England widened my view of writing music, but also my view of connecting my music with various aspects of life, such as arts, conversations, theatre and so on. Besides the experience of studying and living overseas, the doctorate is also hugely beneficial in achieving a higher position and professional musical life in future.
Dr Fang Fang
PhD graduates often continue their research through post-doctoral fellowships and academic posts. Conservatoire graduates also frequently go on to have successful careers are practitioners in the field.
PhD researchers funded under the Midlands 3 Cities Doctoral Training Partnership have the opportunity to undertake industry placements as part of their research. For more information visit the Midlands 3 Cities website.
For those students not funded by Midlands 3 Cities, the PhD still allows you the opportunity to work with other institutions and companies as part of your research. You can discuss your options with your potential supervisors, if you feel a placement would benefit your research.
OpportUNIty: Student Jobs on Campus ensures that our students are given a first opportunity to fill many part-time temporary positions within the University. This allows you to work while you study with us, fitting the job around your course commitments. By taking part in the scheme, you will gain valuable experiences and employability skills, enhancing your prospects in the job market.
It will also allow you to become more involved in University life by delivering, leading and supporting many aspects of the learning experience, from administration to research and mentoring roles.
Our Conservatoire PhD will help you create opportunities to develop research skills that support performance, composition or a scholarly career.
Birmingham Conservatoire has close links to arts organisations both in the city and beyond. PhD students and graduates often benefit from these connections. For example, Dr Seán Clancy was composer-in-residence with Birmingham Contemporary Music Group (BCMG) whilst studying here, and current student Patrick Giguère has had a piece commissioned by the London Symphony Orchestra (LSO), following his success in the Panufnik Scheme.
Birmingham City University is a vibrant and multicultural university in the heart of a modern and diverse city. We welcome many international students every year – there are currently students from more than 80 countries among our student community.
The University is conveniently placed, with Birmingham International Airport nearby and first-rate transport connections to London and the rest of the UK.
Our international pages contain a wealth of information for international students who are considering applying to study here, including:
Explore some of the good reasons why you should study here.
Find out how to improve your language skills before starting your studies.
Find all the information relevant to applicants from your country.
Learn where to find financial support for your studies.
Birmingham City University International College (BCUIC)
International students who have a serious interest in studying with us but who perhaps cannot meet the direct entry requirements, academic or English, or who have been out of education for some time, can enter Birmingham City University International College (BCUIC) and begin their degree studies.
BCUIC is part of the global Navitas Group, an internationally recognised education provider, and the partnership allows students to access the University's facilities and services and move seamlessly through to achieving a Bachelor's degree from Birmingham City University.
Learn more about BCUIC
90% ...of our research environment was considered to be conducive to producing research of world-leading or internationally excellent quality. REF 2014
Royal Birmingham Conservatoire's £57 million music building opened in September 2017, and is located on Birmingham City University's City Centre Campus in the Eastside 'learning quarter' of the city.
This brand new music facility include five public performance venues – a 500 seat Concert Hall, 150 seat Recital Hall, Organ Studio, Eastside Jazz Club and the experimental black box performance venue known as The Lab. As well as these stunning performance venues, we have nearly 100 practice spaces; including 70 small practice rooms and larger ensemble rooms and workshops.
Our new home is the first conservatoire built in the digital age, and as such it has been vital to ensure that the technical infrastructure installed is on par with any advanced commercial facility. We have seven recording studios, a mastering suite, a distance learning hub, and all of our performance venues feature high specification audio-visual equipment that enables interconnectivity and advanced functionality throughout the building.
These impressive modern facilities guarantee that we are excel in our unique dual purpose of providing the highest standard of music education deserved by our students, as well as meeting our role as a concert and performance venue for the people of Birmingham; taking our place in the vibrant cultural landscape of the UK's second city.
Professor Deborah Mawer is the Director of Research for Birmingham Conservatoire, whilst Dr Carrie Churnside is Research Degrees Coordinator. To see a full list of staff and active research interests, please visit the Research Interests tab.
Dr Carrie Churnside
Senior Lecturer in Music & Research Degrees Coordinator
Carrie Churnside is a Senior Lecturer in Music and Research Degrees Coordinator. She is also Director of the Forum for Seventeenth- and Eighteenth-Century Music.
Carrie specialises in Italian Baroque music, particularly the genre of the cantata.
After graduating from the University of Birmingham with a BA (Hons, First Class) in English and Music in 2002, she went on to complete an MPhil on cantatas by Giovanni Paolo Colonna ('Colonna's Cantatas for the Medici: A Study of GB-Lbm Add. MS 27931') and a PhD on Bolognese volumes of cantate morali e spirituali ('A Study of Sacred Cantatas Printed in Bologna 1659-1717').
Prior to joining the staff of the Conservatoire in 2010 she held a Rome Fellowship at the British School at Rome (2008-9), studying Roman seventeenth-century sacred cantatas.
Carrie's research centres on Italian seventeenth-century vocal music, in particular the relationship between text and music, and its performance context. She has presented at various international conferences throughout Europe. Recent work includes studies of the relationship between composer and librettist in early eighteenth-century oratorio, propaganda cantatas that discuss the Ottoman conflict, and music printing and publishing in Bologna at the beginning of the eighteenth century. She is also a member of the Council of the Handel Institute.
Current projects include an edited volume, Transitions in Mid-Baroque Music: Style, Genre and Performance (for Boydell press) and a study of musical patronage in Bologna c. 1700, based on newly discovered documents in the Albergati archive. She is also working on a study of Muzio Scevola (HWV 13): an opera by Filippo Amadei, Giovanni Bononcini and George Frideric Handel.
She teaches on a number of modules for both undergraduate and postgraduate courses, on subjects including performance practice, Italian Baroque music, women and music, and music and philosophy, as well as supervising research students.
Deborah Mawer
Director of Research: Royal Birmingham Conservatoire (Music and Performing Arts), Co-Director, French Music Research Hub
Deborah Mawer is the Director of Research for Birmingham Conservatoire and the Birmingham School of Acting. She joined the Conservatoire in 2013. She is also an international research specialist on twentieth-century French music, especially Ravel, Les Six and Jolivet, as well as in music-dance and classical-jazz interactions.
As an Editorial Board member for The British Journal of Music Education, and former Senior Academic Adviser for PALATINE, Deborah's long-standing interested in education and pedagogy saw her awarded an individual National Teaching Fellowship. She has written and released a number of books and monographs, has written in scholarly journals and presented at many international conferences. She is also a Fellow of the Royal Historical Society.
She has broadcast on BBC Radio 3 and 4 (with Robert Winston), is in demand for pre-performance talks, including at Glyndebourne and Music in the Round (2012), and has produced CD essays for Deutsche Grammophon and Hyperion.
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Check out the full line-up for What the Fest!?
IFC Center is proud to announce the full slate for the upcoming film festival What the Fest!? (www.whatthefestnyc.com), a four-day showcase of outrageous content -- horror, sci-fi, documentary, thrillers, and beyond -- from March 29th through April 1st. What the Fest!? will feature exciting premieres, including one world premiere, one US premiere, many New York premieres and the world premiere of a new digital restoration of a film never before released in the U.S. What the Fest!? also boasts under the radar cinematic finds, film festival hits from Sundance, TIFF, and Rotterdam, as well as buzzworthy talent in-person at screenings and post-screening events. Opening night of What the Fest!? will feature the New York Premiere of Coralie Fargeat's REVENGE, a thriller about a mistress who exacts "revenge" on her married lover and his friends, turning their annual hunting trip into a decidedly deadlier adventure. The closing night film will be Jenn Wexler's THE RANGER, about a group of teen punks on the lam, who hide out from the cops in a remote cabin… only to run into bigger troubles. Wexler will appear at the Q&A, along with producer and co-star Larry Fessenden of Glass Eye Pix.
"It's a thrill to celebrate the opening of the festival with a powerhouse film and filmmaker like Coralie Fargeat. Equally exciting is our closing with THE RANGER, the feature debut of producer-director Jenn Wexler," says Creative Director Maria Reinup. "And with the diverse, fun, delightfully scary, slightly crazy, and entirely awesome movies that round out the rest of our lineup, we are happy to say that What The Fest!? is here to stay. Now join us for a feast for your eyeballs!" Reinup is a veteran film programmer who has worked in the film industry for the past decade in her native Estonia and around the world. She has served as Director of the Haapsalu Horror and Fantasy Film Festival for seven years; additionally, she programs the Black Nights Film Festival, the only A-list art house festival in Northern Europe. Over the years, she has also worked for several other notable film festivals and has produced and directed short films and music videos.
More What the Fest!? programming highlights include the World Premiere of BOILED ANGELS: THE TRIAL OF MIKE DIANA, a documentary chronicling the obscenity trail of the eponymous comic book artist Mike Diana, directed by cult favorite Frank Henenlotter (BASKET CASE); Henenlotter and Diana will appear in person. There will also be a sneak peek of an unseen episode from the new AMC series "The Terror," with star Jared Harris of "Mad Men" in person for a Q&A, the critically lauded horror film GHOST STORIES starring Martin Freeman, and theWorld Premiere restoration of the never-before-seen-in-the-U.S., CURSE OF SNAKES VALLEY, a.k.a "The Soviet Indiana Jones." West Village neighborhood bar Vol de Nuit (148 West 4th Street) will serve as a central What the Fest!? gathering place, bringing together filmmakers, film fans, and everyone in between.
What the Fest!? promises to upend what people think of when they hear "genre films," highlighting films in a new way throughout a can't miss weekend for cinema lovers who are looking for the next cool thing. Expect anything!
Synopsis: Three wealthy, married men learn the hard way that you should never bring your mistress along on a guys' getaway, especially when there's hunting involved. A Neon release.
Synopsis: In this mesmerizing Scandinavian Gothic fable shot on 35mm, a small boy sets out into the deep, dark woods in search of a mysterious creature. Filmmaker Jonas Matzow Gulbrandsen will appear in-person for a post-screening Q&A.
Synopsis: Two brothers (played by co-directors Justin Benson and Aaron Moorhead, of SPRING and RESOLUTION) return to the cult they fled years ago, only to discover that the group's beliefs may make much more sense than they once thought. A Well Go USA release. Benson and Moorhead will appear in-person for a post-screening Q&A.
Synopsis: As if adapting to a new town and a new life weren't enough, 15-year-old Mia faces an overwhelming transformation when her body starts to change radically.
Synopsis: Jailed for comics?! The true story of Mike Diana, the only American artist ever convicted of obscenity, directed by cult filmmaker Frank Henenlotter (BASKET CASE, BRAIN DAMAGE, FRANKENHOOKER). Henenlotter and Diana will appear in-person for a post-screening Q&A, along with producers Anthony Sneed and Mike Hunchback.
Synopsis: Arch-skeptic professor Phillip Goodman embarks upon a terror-filled quest when he stumbles across three long-lost cases of unexplainable "hauntings." Filmmakers to appear in-person for post-screening Q&A.
Synopsis: A hit at Rotterdam, acclaimed director Joko Anwar's (MODUS ANOMALI, A COPY OF MY MIND) remake of a beloved 1982 Indonesian horror classic (reputedly itself inspired by PHANTASM) is a delightfully terrifying haunted house movie -- and the country's biggest box office smash of 2017.
Synopsis: This unseen 1980s Eastern Bloc-buster presents the Soviet answer to Indiana Jones in a tale that combines snakes and jungle traps and the "classic weirdness" of Polish sci-fi! Never released in the U.S., CURSE OF SNAKES VALLEY screens in a beautiful new digital restoration by the Estonian Film Institute.
Synopsis: The sordid lives of an addict, an ex-con, and a luchador collide when an organ harvesting caper goes very, very wrong. An IFC Midnight release. Director Ryan Prows and co-star Mark Burnham will appear in-person for a post-screening Q&A.
Synopsis: Join star Jared Harris for a sneak preview of AMC's new series based on Dan Simmons's 2007 bestseller, the true-life tale of a group of sailors confronting certain death at the frozen ends of the earth. Jared Harris and Executive Producers Soo Hugh and David Kajganich will appear in-person for a post-screening Q&A.
Synopsis: Teen punks on the run from the cops hide out in a remote cabin, only to find out that the forest has its own law. Writer/director Jenn Wexler and producer/co-star Larry Fessenden will appear in-person for a post-screening Q&A.
Tickets for all screenings are available online at WhatTheFestNYC.com, or in-person at the IFC Center box office, 323 Sixth Avenue (at West 3rd Street), open daily 10:30AM-10:00PM.


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Home / Unlabelled / Nigeria, Lebanon partner on Diaspora investment
Nigeria, Lebanon partner on Diaspora investment
Abiola Kolawole
Nigeria and Lebanon are set to boost the investment potentials of their Diasporic relations for the development of both countries.
The Lebanon Ambassador to Nigeria, Amb. Houssam Diak gave this assurance during a courtesy visit on the Senior Special Adviser to the President on Foreign Affairs and Diaspora, Honourable Abike Dabiri-Erewa, in Abuja.
Diak said that his country and Nigeria will collaborate on how to explore the potentials of their Diaspora for the growth and development of both countries.
According to Diak, there are deliberate efforts seeking cooperation about Lebanon and Nigeria on Diaspora and how to take the advantage of potentials of both countries' peoples living outside the countries, the two nation's experts on investment and their achievement level.
"We are thinking of having something together in future that could be of benefit to Nigeria and Lebanon Diaspora with the benefit of Nigeria," he said.
Diak, said his country had a Diaspora initiative at the Ministry of Foreign Affairs that oversee the conferences for the Diaspora all over the world
"We have Lebanese Diaspora which is the body established at the Foreign Affairs Ministry which is in charge of conferences outside Lebanon; they will be in Nigeria next month for a conference on Lebanese Diaspora
"And every year, the ministry convenes a conference on Lebanese Diaspora in the five continents to take care of the potential of Lebanese Diaspora in those countries," he said.
He congratulated Nigeria for joining the league of those having a full-fledged Commission for its Diaspora, saying it will fast track mutual huge benefits for the country and its citizens abroad.
Responding, Hon. Abike Dabiri-Erewa commended the Ambassador for the visit, saying there are a lot of things that the two countries could do together when it comes to Diaspora matters.
"We look forward to partnering with you and besides that, we have a huge number of Lebanese Diaspora in Nigeria.
"Looking at the key issue you have said especially on investment and a lot of things we can do together so we look forward to working with you for the benefit of both countries and its Diaspora," she said.
Nigeria had in November 2018 had its maiden Diaspora summit where Nigerians abroad and their investors showcased what they can do for the country in various areas of investments ranging from agriculture, oil and gas, roads, health, education and transportation.
Nigeria, Lebanon partner on Diaspora investment Reviewed by Ridwan Kolawole on February 05, 2019 Rating: 5


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