Today the Arizona Supreme Court granted a Petition by Geoffrey Trachtenberg, on behalf of the Arizona Association for Justice, to completely revamp Ethical Rule 1.15 as of January 1, 2014.
The existing rule imposes harsh consequences on clients when third-parties claim interests to funds received by the lawyer. As a practical matter, when a client receives an award or settlement, the existing rule freezes that money when a third-party does nothing more than "make a claim" to the funds. The third-party claim need not be legitimate, and can simply be a phone call, email or letter saying that they claim rights to the funds.
Imagine that, your settlement funds frozen by a letter from a hospital making an illegitimate claim to proceeds from your case? The fact is, it happens every day and Levenbaum Trachtenberg, PLC is currently prosecuting a class action, known as the Winters class action, against Arizona hospitals to end a 25 year practice of asserting liens against client funds after the hospitals have billed or accepted Medicaid a/k/a AHCCCS.
The Arizona Supreme Court's new ethical rule will change the dynamic. Moving forward, when a third-party makes an illegitimate claim to proceeds, the lawyer may now employ a mechanism to send the third-party notice which forces them to either file a lawsuit to assert their alleged rights and, if they fail to do so, permits the lawyer to disburse the funds to the client. In other words, the Supreme Court has shifted the burden to file lawsuits over these disputes from the clients to the third-parties claiming rights to money.
This is where it has always belonged and this will prevent decades-long abuses such as the one in the Winters class action.


Do you have the original firewall?
Yes Chris but I used it in reconstructive surgery. The orginal setback for the engine is now the hump to clear the bellhousing and the ends are still in the firewall.
I was looking at the clereance between the front axel and the ubolt nuts. (mine hit). It appears you have a reversed eye spring and a stock cross member? is there a spacer above the spring?
Its been quite a while but after spending a couple of years on the road building roads I fired up my hot rod AA last week !!! What a great feeling hope to have it on the road this year !!


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text:
A timely reminder of the horrific reality and waste of war
Oh What a Lovely War
Clwyd Theatr Cymru , Theatr Clwyd, Mold , February-10-03
THERE could hardly have been a more appropriate time for a revival of Joan Littlewood's savage and poignant satire, Oh! What a Lovely War.
While the world waits on the brink of major conflict, Littlewood's 1960s musical indictment of the horror, pity and sheer waste of man taking up arms against man is both chilling and timely.
Set in an early 20th-century pierrot show, complete with hammy turns and hackneyed songs, it rapidly moves from comedy to pathos with a re-enactment of war games to show how World War I began and developed.
National stereotypes are evoked, jingoistic emotions are played on, and what begins as a comic promenade in a Sarajevo park, where a shot rings out, moves into mass mobilisation and unimaginable slaughter.
Littlewood, who died last September, based the show on a series of authentic World War I songs recorded by the BBC in the early '60s, but added her own unique ingredients in the form of satire and irony.
The result was then, and is in this fresh production, to summon up anger and sympathy for that lost generation of young men: lions led into battle by donkeys.
Tim Baker directs an excellent cast with a strong Welsh bias, many of whom are familiar faces to Mold audiences.
Lynn Hunter, who won plaudits as the nurse in last season's Romeo and Juliet, is excellent in the key role as the pierrot's Master of Ceremonies; a sort of Good Old Days host, cross-dressed in immaculate white tie and tails.
Jane Quinn, Kate Pinell, Catrin Rhys and Sally Evans play a variety of roles, including personifications of nation states, nurses, staff officers' wives and mill girls waiting for news at home.
Quinn's voice in particular is powerful and evocative of the era when the message from women was, "We don't want to lose you, but we think you should go."
Among the men, Dylan Williams deserves special mention but the entire company is excellent, playing musical instruments, singing, dancing and acting through a succession of quick changes.
Mark Bailey's design includes a gold painted proscenium arch with tasselled crimson curtains to evoke a fin-de-siecle feeling of pre-1914 life, and a series of cards on a stageside easel illustrate the deadly inexorability of the progress of the war, measured not in land won but in lives lost.
It was significant that a group of young students in the Mold audience laughed in places where older people, whose parents and grandparents fought and died in 1914, fell silent.
Littlewood's vision provided a compelling lesson the world should never forget about the horrific reality and waste of war.
Reviewed by: Western Mail arts pages
This review has been read 12854 times

redpajama_set_name: RedPajamaCommonCrawl


text:
How to Get the Old YouTube App Back on iPhone and iPad
YouTube recently updated its iOS app, and if you're not a big fan of the new interface, here's how to get the old YouTube app back on your iPhone or iPad.
What's being considered one of the worst updates for the YouTube app ever (with one-and-a-half stars out of over 6,500 ratings), Google redesigned the app with a new look that isn't exactly flattering. While it does come with new in-app editing tools, the new look of the app has many users up in arms.
First off the new app gets rid of the slide-over navigation sidebar in favor of a new tab that you can access from the home screen. The top navigation bar also takes a page from the Android book with a flat one-color design that Google has pulled off well in the past, but sort of swings and misses with its new YouTube app.
However, the app does include a dedicated tab that includes a timeline of YouTube videos from channels you subscribe to, which is actually a neat little feature to have, but some users simply just want the old YouTube app back.
Old vs. New YouTube layout
Luckily, there are ways to do this, with one way requiring a jailbroken device, but in any case, here's how to get the old YouTube app back on your iPhone or iPad.
Jailbreak Your iPhone or iPad
This trick only works if your device is running iOS 8.4.0 or older, and if you're not already jailbroken, you most likely already updated to iOS 9. Since iOS 9 isn't jailbroken, this trick won't work.
However, for those who are jailbroken, you can download a Cydia tweak that brings back the old YouTube app.
The tweak is called YTOldNav and it can be downloaded from Cydia after adding the repo.ioscreatix.com repository to your Cydia app.
It's a simple tweak that doesn't require any settings to mess with. Once it's downloaded, you can go back to the YouTube app and enjoy it just like how it was before Google changed it.
Restore from a Previous Backup
This trick works well, but it can be a bit tricky since you have to restore from a previous backup for your iPhone or iPad, so if you have new apps and new files on your device since updating to the new YouTube app, you'll those files and such.
Essentially, what you're doing is restoring your iOS device back to a time before you updated to the new YouTube app in order to get the old design back.
To do this, simply plug in your iPhone or iPad into your computer and open up iTunes. From there, click on the device icon that pops up toward the upper-left corner to go to your device's summary page.
Toward the bottom, click on Restore Backup. You'll need to turn off Find My iPhone in order to do this, but after you do that, the next screen will have you choose a backup from a drop-down menu. Hopefully you back up often enough so that you can choose a backup from right before you updated the YouTube app.
From there, just restore that backup and let it do its thing. Eventually, you'll be running on a backup that included the old YouTube app.
Don't Sweat It Too Much
In the end, if either one of these tricks won't work for you, don't sweat it too much. The new YouTube layout may not be the best, but it's still usable and it isn't the end of the world.
We're sure that Google is hearing the feedback on its new design of the iOS app, so hopefully they'll update it in the near future with some positive changes.
Otherwise, while it may not be the best look that the YouTube app has had, the new added features are at least pretty cool.
Related Topics:AppleAppsGoogleiOSiOS appsiPadipad appsiphoneiPhone AppsYouTube
You could use Linkstore to download an old version.
5 Reasons to Wait for the iPhone SE 2 & 9 Reasons Not To
Android46 mins ago


text:
Fca binary options ban
Binary Options ban will be permanent in the UK – FCA announces,Comments made by the FCA representative
The FCA's rules are permanent and come into force on 2 April The FCA estimates the permanent ban on binary options could save retail consumers up to £17m per year, and The FCA estimates that the proposals for CFDs could reduce annual losses for retail consumers of UK firms by between £m to £m. A permanent ban on binary options could save Since January 3rd , firms involved in binary options trading in the UK have been required to be authorised by the FCA. Firms that are not authorised by the FCA and continue with binary After almost nine months of temporary measures in place, the Financial Conduct Authority (FCA) has confirmed the permanent ban on the sale of binary options to retail consumers Starting tomorrow the ban on selling, marketing, or distributing binary options to the retail consumers will be permanent. Home; News. Top Stories; Analysis. Currencies; Crypto; ... read more
These restrictions were supposed to be temporary but the FCA decided that the best way forward was rolling out a permanent ban.
The FCA collected market feedback during the temporary ban and given that the feedback was not very positive, a permanent ban was always on the cards. From April 2, all firms that operate in the UK may not sell, market or distribute binary options to retail consumers.
The FCA ban goes one step further than the regulations imposed by ESMA. Covering so-called securitized binary options, the ban extends to these products because they have the same risks to investors as their parent product. Binary options are financial products that come with a huge risk because it all depends on a yes or no result that the buyer is supposed to make.
The right call could bring in a profit whereas a wrong call brings in a loss. The choice is usually whether the price of a commodity or asset will go above or below a particular price on a particular date or a particular time. The problem with binary options is that it is a bit too much like a coin toss for some people, which is why there is a lot of regulatory pushback.
Binary options are gambling products dressed up as financial instruments. With the ESMA measures in place, no one was actually buying or selling binary options anymore. What the FCA ban does is to further confirm that binary options will not come back to the market, even if the UK leaves the EU. The FCA believes that this decision will reduce investor losses by up to £17 million per year. However, it will remove the uncertainty as to whether trading of binary options will be ever permitted again for retail brokers or not.
Get started with XM and enjoy the pro trading conditions. Stop settling for an average. Choose the best. Sign up with XM now. Christopher Woolard, Executive Director of Strategy and competition at the FCA commented on the measures and stated that binary options are gambling products that are dressed as financial instruments.
According to him, with the permanent ban, the FCA is ensuring that the investors in the UK will not lose any money from a product that is inherently flawed. The British Agency also stated that it estimates that the permanent ban on binary options could save up to £17 million to retail investors per year in losses. Also, the FCA believes that the ban will reduce the risk of fraud and similar activities by entities that claim to offer binary options. The regulator of the UK also warns that as the sale of binary options to retail consumers is now permanently prohibited, any financial companies that offer them is likely to be a scam.
Hence, the consumers should stay alert for binary options investment fraud and scam and not deal with companies that are not regulated by the FCA and are offering their service to the UK residents without proper authorization. Stay up to date with the financial markets everywhere you go. Trade the Bitcoin and altcoins at the most advanced web trading platform with a regulated broker. Home - Top Stories - Binary Options ban will be permanent in the UK — FCA announces.
Top Stories. by Jacob Brown on April 1st, Comments 0 comment s Click here to cancel reply. Leave a comment. Get the most recent news at your inbox Stay up to date with the financial markets everywhere you go. Sign up for updates. TOP BROKERS. Register Read review. sidebar text ad Get Started with Crypto Trade the Bitcoin and altcoins at the most advanced web trading platform with a regulated broker Try it now.
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The Financial Conduct Authority FCA has confirmed that it will roll out a permanent ban on retail selling of binary options.
These restrictions were supposed to be temporary but the FCA decided that the best way forward was rolling out a permanent ban. The FCA collected market feedback during the temporary ban and given that the feedback was not very positive, a permanent ban was always on the cards.
From April 2, all firms that operate in the UK may not sell, market or distribute binary options to retail consumers. The FCA ban goes one step further than the regulations imposed by ESMA. Covering so-called securitized binary options, the ban extends to these products because they have the same risks to investors as their parent product. Binary options are financial products that come with a huge risk because it all depends on a yes or no result that the buyer is supposed to make. The right call could bring in a profit whereas a wrong call brings in a loss.
The choice is usually whether the price of a commodity or asset will go above or below a particular price on a particular date or a particular time. The problem with binary options is that it is a bit too much like a coin toss for some people, which is why there is a lot of regulatory pushback.
Binary options are gambling products dressed up as financial instruments. With the ESMA measures in place, no one was actually buying or selling binary options anymore. What the FCA ban does is to further confirm that binary options will not come back to the market, even if the UK leaves the EU.
The FCA believes that this decision will reduce investor losses by up to £17 million per year. This ban will also help to cut down all the fraudulent sites that were offering fake binary options. The FCA also issued a warning to investors telling them that they should only deal with FCA-licensed firms and that any company offering UK binary options services now is likely running a scam. The stock of internet traffic and content management solutions provider F5 Networks Inc.
NASDAQ: FFIV recorded a yearly high of. The euro dollar fell against the greenback Friday despite the release of poor retails sales data from the US. FCA To Permanently Ban Binary Options From Tomorrow 01 Apr, by Clive Nelson. News 2 years ago. Markets News 6 years ago. Overbought F5 Networks signals reversal ahead of results The stock of internet traffic and content management solutions provider F5 Networks Inc.
US Capacity Utilization Rate Rises to Close Window Loading, Please Wait! This may take a second or two.
FCA Makes Binary Options Ban for Retail Investors Permanent,Preview Mode
However, the FCA's ban also applies to securitised binary options, which are not covered by the Esma restrictions. The UK watchdog wants to stymie the development of a market for these The UK's Financial Conduct Authority (FCA) is to introduce a permanent ban on the sale, marketing or distribution of binary options to retail consumers. Due to come into effect from The FCA's rules are permanent and come into force on 2 April The FCA estimates the permanent ban on binary options could save retail consumers up to £17m per year, and The Financial Conduct Authority (FCA) has confirmed that it will roll out a permanent ban on retail selling of binary options. This does not come as a huge surprise as the UK financial The FCA estimates that the proposals for CFDs could reduce annual losses for retail consumers of UK firms by between £m to £m. A permanent ban on binary options could save After almost nine months of temporary measures in place, the Financial Conduct Authority (FCA) has confirmed the permanent ban on the sale of binary options to retail consumers ... read more
GET YOUR BONUS. Is MetaTrader 4 Still The Most Popular FX Trading Platform? Social media has also rapidly evolved as a critical element of marketing. The announcement today may not come as a huge surprise to market participants and follows from consultation feedback given to the British regulator. From April 2, all firms that operate in the UK may not sell, market or distribute binary options to retail consumers.
The Financial Conduct Authority FCA of the United Kingdom has confirmed that it will permanently bin the sale fca binary options ban binary options to retail costumers, fca binary options ban. Advertising is the most commonly deployed technique for forex marketing. ForexNewsNow Team. Advertising can include banner ads, notifications, newsletters, or other mechanisms for drawing attention to any brand or brokerage. Jacob Brown. The UK watchdog wants to stymie the development of a market for these products, which it believes consumers find just as difficult to value accurately. Get started with XM and enjoy the pro trading conditions.


It is time for IWSG. Perhaps the great writing group ever formed. All us writers have our insecurities, and it is great that we care share them with each other. I feel privileged to be a part of this group, and have been so welcomed by other members.
This post should be one of celebration, but unfortunately it is not.
I should have called this month "The Good, The Bad, and The Ugly", as that best represents what is going on right now, though the Bad and the Ugly are one in the same.
My book, Character Astrology Profiles, has been released on Amazon. This is a unique writing help book, as it aims to help writers develop their characters in more complex ways, by giving them complete profiles of different personalities, using both Eastern and Western Astrology, with Myers-Briggs Type Indicator (MBTI).
If you've not heard of MBTI, it's that personality test that gives you the four letter personalty types, such as ENTP (which is what I am). There is a lot of complexity to MBTI, that can help us understand what someone is like as a child, and how they develop over time to their retirement, all of which is what I used to build the profiles.
With this book, you don't have to use it solely for the Astrology, like you don't have to match your character based on their Astrology signs (although you could) but rather based on their personality and which combination best represents themselves.
The Artisans book represents the first of four books that will cover 144 personalities. This one features the first 16. You can get it for $2.99, but the other three will be $3.99. Once it is all complete, I hope to do a big book with all of it together, but I have well over 10 ideas for future help books I want to write.
Now for the bad. I've warned of this for several years, but it's finally happened. I am now homeless, or I will be within the next few days.
For those visiting for the first time, I'm disabled. I have Post-Concussion Syndrome. There is no fix for that, nor have I ever found a doctor who took it seriously. I've been denied for Social Security Disability several times, and had lawyers flat-out refuse to help me.
I'm unable to work a normal job. Even part time is out of the question. Writing was the only thing I could do, as it was something I could set my own schedule to do. No other job would allow that. I often need to take a lot of breaks, and in an eight hour period, I maybe get three hours worth of work done, but then I can't do anything the next day.
My current situation was that someone agreed to take me in for 18-months, when I was almost homeless. Those 18 months are up. I tried to figure something out to earn money. I tried to raise awareness of my situation. I tried to teach online courses. And I tried to promote my books, and just released a book in hopes that I sell enough to make a difference in my life.
Shelters are not a viable option for me. Primarily because the shelters have stated they will only put me up for a month. Space is rather limited for shelters. Some do have programs to help you get a home, but you still need to be able to work, which I can't do.
An upside to all of this: I recently started work as a Ghostwriter for a company, but it is for low pay and only when there is work available. Plus, I can only do a little at a time. It's good that I will have some money for food, so I don't have to forage for food, which I have researched.
A good friend started up a GoFundMe for my situation, which I am thankful for. Hasn't gotten a lot of donation, but I am thankful for what has been raised so far. I hate that most of the last five years has been spent asking for charity when all I really wanted was to work hard and earn money, especially as a writer. It's a tough business to get into, especially when you don't have a main source of income to help you out.
I don't know how much I can give to this blog, but I will try to post here and there, at least for IWSG, as I don't want to lose my place on the master list. I wish I could just focus on sharing my imagination with the world, telling the stories that are inside me, and teach others how to write. I'm hoping that however long this lasts, it is for a short time, and I can return to writing.
I ask anyone who is reading this, if you can make a post on social media, to spread the word of my situation. I wish I could celebrate the release of my 5th book on Amazon, as that is an achievement. I definitely encourage all writers to read it, and I hope it inspires you to create more complex characters.


text:
Events in 1998 in animation.

Events

February
 February 4: The South Park episode "Damien" premieres, featuring the debut of Satan.
 February 8: The Simpsons episode "The Joy of Sect" is first broadcast.
 February 18: The South Park episode "Mecha-Streisand" premieres, guest starring Robert Smith from The Cure.

March
 March 15: The first episode of PB&J Otter airs.
 March 23: 70th Academy Awards: Geri's Game by Jan Pinkava wins the Academy Award for Best Animated Short.

April
 April 1: The South Park episode "Terrance and Phillip in Not Without My Anus" first airs, in which Satan is depicted having a relationship with Saddam Hussein. However the episode was panned by many South Park fans as it preempted the second part of the cliffhanger ending of season 1 where Eric Cartman needs to reveal the identity of his father. As a result of angry letters from fans, the second part of the episode aired on April 22.
 April 3: The first episode of Cowboy Bebop airs.
 April 4: The first episodes of CatDog and Yu-Gi-Oh! air.
 April 13: The final episode of Stickin' Around airs.
April 20: The first episode of Stressed Eric airs.
 April 26: The Simpsons airs its 200th episode, "Trash of the Titans", guest starring the band U2 and actor Steve Martin.

May
 May 14: The first episode of Celebrity Deathmatch is broadcast.
 May 15: Quest for Camelot is released.
 May 17: The Simpsons episode "Natural Born Kissers" premieres, in which a nude Homer and Marge have to run from being discovered.
 May 28: American voice actor Phil Hartman (voice of Troy McClure and Lionel Hutz in The Simpsons) is murdered by his wife who was under the influence of drugs, and committed suicide afterward.

June
 June 19: The Walt Disney Company releases Mulan.
 June 22: The first episode of Bob and Margaret is broadcast.

July
 July 19: The first episode of Oh Yeah! Cartoons airs.
 July 21: The first episode of Lascars airs.
 July 24: Roy O. Disney receives a star at the Hollywood Walk of Fame.

August
 August 31: The first episode of Disney's Hercules is broadcast.

September
 September 1 - The first episodes of Cousin Skeeter and The Wild Thornberrys air.
 September 4: The first episode of Archibald the Koala airs.
 September 6: The first episode of Oggy and the Cockroaches airs.
 September 12: The first episode of Godzilla: The Series airs.
 September 14: The first episode of Histeria! airs.
 September 27: The Simpsons episode "Bart the Mother" premieres, featuring the last speaking appearance of Troy McClure after Phil Hartman's death on May 28, 1998. The character was retired after this episode. This is also the last episode David X. Cohen wrote before leaving the series to work on Futurama. However, he later wrote the season 32 episode "Podcast News" in 2020.

October
 October 2: DreamWorks Animation's first film, Antz, directed by Eric Darnell and Tim Johnson, is released.
 October 3: The first episode of Anatole airs.
 October 4 - The first episode of Rolie Polie Olie airs.
 October 5: The first episode of Ojarumaru airs.
 October 9: The first episode of The Wacky Adventures of Ronald McDonald airs.
 Specific date unknown: The Japanese animation studio Bones is founded.

November
 November 2: Chris Wedge's Bunny is first released.
 November 8: The Simpsons episode "When You Dish Upon a Star" premieres, which had a cutaway at the end which showed the 20th Century Fox studio with "A division of The Walt Disney Co." at the bottom of the studio sign. This episode would get renewed attention 20 years later after Disney's acquisition of Fox in 2019.
 November 16: Steamboat Willie is added to the National Film Registry.
 November 18: The first episode of The Powerpuff Girls airs on Cartoon Network.
 November 20:
 The Rugrats Movie premiers.
 The film A Bug's Life by Pixar and the Walt Disney Company airs.
 November 28: The first episode of Bob the Builder airs.

December
 December 9: Michel Ocelot's Kirikou and the Sorceress premiers.
 December 16: The South Park episode "Gnomes" first airs, in which Tweek Meak makes his debut.
 December 18: The film The Prince of Egypt premiers.
 December 21: The first episode of Rex the Runt airs.
 December 23: Enzo D'Alò's Lucky and Zorba premiers.

Specific date unknown
 Mikhail Tumelya's The Magic Pipe is released.
 The first episode of Fat Dog Mendoza airs.

Films released

 January 6 - Hercules and Xena – The Animated Movie: The Battle for Mount Olympus (United States)
 January 16 - H.C. Andersen's The Long Shadow (Denmark)
 February 6 - General Chaos: Uncensored Animation (United States)
 February 17:
 Belle's Magical World (United States)
 Camelot (United States)
 March 7:
 Doraemon: Nobita's South Sea Adventure (Japan)
 Galaxy Express 999: Eternal Fantasy (Japan)
 March 17:
 Batman & Mr. Freeze: SubZero (United States)
 FernGully 2: The Magical Rescue (United States)
 April 3 - Grandma and Her Ghosts (Taiwan)
 April 18:
 Crayon Shin-chan: Blitzkrieg! Pig's Hoof's Secret Mission (Japan)
 Detective Conan: The Fourteenth Target (Japan)
 April 21 - FAKE (Japan)
 April 24 - Królestwo Zielonej Polany. Powrót (Poland)
 April 25 - MAZE ☆ The Mega-Burst Space: The Giant of Temporary Threat (Japan)
 May 2 - Camelot: The Legend (United States)
 May 15 - Quest for Camelot (United States)
 May 18 - The Brave Little Toaster Goes to Mars (United States and United Kingdom)
 May 20 - Socialisation of the Bull? (Slovenia)
 May 21 - Golgo 13: Queen Bee (Japan)
 May 26 - The Legend of Su-Ling (United States)
 June 16 - The Mighty Kong (United States)
 June 19:
 Mulan (United States)
 A Tale of Egypt (United States)
 July 13 - Moses: Egypt's Great Prince (United States)
 July 14 - The Spirit of Mickey (Australia)
 July 17:
 Ahmed, Prince of Alhambra (Spain)
 Gen¹³ (United States)
 July 18 - Pokémon: The First Movie – Mewtwo Strikes Back (Japan)
 July 21:
 The Animated Adventures of Tom Sawyer (United States)
 VeggieTales: Madame Blueberry (United States)
 July 24 - Lupin III: Crisis in Tokyo (Japan)
 July 25 - Soreike! Anpanman Tenohira o Taiyō ni (Japan)
 August 1:
 Gundam Wing: Endless Waltz -Special Edition- (Japan)
 Mobile Suit Gundam: The 08th MS Team – Miller's Report (Japan)
 Slayers Gorgeous (Japan)
 August 4 - The Swan Princess: The Mystery of the Enchanted Kingdom (United States)
 August 7 - Gurin with the Foxtail (Norway)
 August 25 - Pocahontas II: Journey to a New World (United States)
 August 27 - Silant Legend (Malaysia)
 September 4 - What Neighbours are Animals! (Spain)
 September 5 - Spriggan (Japan)
 September 22 - Scooby-Doo on Zombie Island (United States)
 October 2 - Antz (United States)
 October 13 - Buster & Chauncey's Silent Night (United States)
 October 16 - Rudolph the Red-Nosed Reindeer: The Movie (United States)
 October 27 - The Lion King II: Simba's Pride (United States)
 November 7 - Visitor (Japan)
 November 8 - Reise um die Erde in 80 Tagen (China and Germany)
 November 16 - An American Tail: The Treasure of Manhattan Island (United States)
 November 17:
 An All Dogs Christmas Carol (United States)
 Money, A Mythology of Darkness (Greece)
 November 20:
 A Bug's Life (United States)
 The Rugrats Movie (United States)
 November 24 - VeggieTales: The End of Silliness? (United States)
 December 1 - The Land Before Time VI: The Secret of Saurus Rock (United States)
 December 4 - Circleen: City Mouse (Denmark)
 December 9 - Kirikou and the Sorceress (France, Belgium and Luxembourg)
 December 11 - Touch: Miss Lonely Yesterday (Japan)
 December 18:
 Fire Force DNAsights 999.9 (Japan)
 The Prince of Egypt (United States)
 December 19 - Beast Wars II: Lio Convoy's Close Call! (Japan)
 December 22 - The Secret of NIMH 2: Timmy to the Rescue (United States)
 December 23 - Lucky and Zorba (Italy)
 December 25 - Luminous Visions (United States)
 Specific date unknown:
 Ancient Alien (United States)
 Camelot (Australia)
 Greatest Heroes and Legends of the Bible: Daniel and the Lion's Den (United States)
 Greatest Heroes and Legends of the Bible: David and Goliath (United States)
 Greatest Heroes and Legends of the Bible: The Garden of Eden (United States)
 Greatest Heroes and Legends of the Bible: Jonah and the Whale (United States)
 Greatest Heroes and Legends of the Bible: The Last Supper, Crucifixion and Resurrection (United States)
 Greatest Heroes and Legends of the Bible: The Miracles of Jesus (United States)
 Greatest Heroes and Legends of the Bible: Samson and Delilah (United States)
 Greatest Heroes and Legends of the Bible: The Story of Moses (United States)
 The Legend of Mulan (Netherlands)
 The Little Mermaid (Australia)
 The Magic Forest (Germany)
 The Magic Pipe (Russia)
 Mu-lan (Italy)
 Mulan (Australia)
 Otoko wa Tsurai yo: Torajirō Wasure na Kusa (Japan)
 Prince of the Nile: The Story of Moses (Australia)
 The Story of Rennyo (Japan)
 Le Voyage de la Souris (France)

Television series debuts

Television series endings

Births

January
 January 23: Rachel Crow, American singer and actress (voice of Carla in Rio 2, Tip in Home: Adventures with Tip & Oh, Imara in The Lion Guard episode "Return to the Pride Lands").
 January 28: Ariel Winter, American actress (voice of Sofia in Sofia the First, Gretchen in Phineas and Ferb, Marina in Jake and the Never Land Pirates).
 January 31: Chills, Canadian internet personality and singer (voice of Patron in Smiling Friends).

February
 February 15: Zachary Gordon, American actor (voice of Little Lopart in Handy Manny, San San in Ni Hao, Kai-Lan, Kotaro in Afro Samurai: Resurrection, Matt Mattin in Star Wars Rebels, first voice of Gil in Bubble Guppies).
 February 21: Zach Aguilar, American actor (voice of Genos in One Punch Man, Tanjiro Kamado in Demon Slayer: Kimetsu no Yaiba, Koichi Hirose in JoJo's Bizarre Adventure: Diamond Is Unbreakable, Arthur Pendragon in The Seven Deadly Sins, Joyride in Power Players).

June
 June 19: Atticus Shaffer, American actor (voice of Edgar in Frankenweenie, Ono in The Lion Guard, Peedee Fryman in Steven Universe, Fox in Home: Adventures with Tip and Oh, Dennis in Star vs. the Forces of Evil, Albert Glass in Fish Hooks, Melvin in Harvey Girls Forever!).
 June 24: Soma Chhaya, Canadian-American singer, rapper and actress (voice of Shauzia in The Breadwinner).

July
 July 8: Maya Hawke, American actress and singer-songwriter (voice of Abyss in the Moon Girl and Devil Dinosaur episode "Moon Girl's Day Off").
 July 24: Bindi Irwin, Australian television personality, conservationist, zookeeper and actress (voice of Bindi Bungee in the Curious George episode "Monkey Down Under", Isla Coralton in the Spidey and His Amazing Friends episode "Sonic Boom Boom").
 July 31: Rico Rodriguez, American actor (voice of Raha in The Lion Guard, Luigi Vendetta in the Kick Buttowski: Suburban Daredevil episode "Luigi Vendetta", Snow-Foot in the Jake and the Never Land Pirates episode "The Legendary Snow-Foot!").

August
 August 1: Khamani Griffin, American actor (voice of Khalid in Sofia the First, Cal Devereaux in Cloudy with a Chance of Meatballs 2, Caleb in Rise of the Guardians).
 August 12: Lily Snowden-Fine, British former child actress and daughter of David Fine and Alison Snowden (voice of the title character in Peppa Pig, additional voices in Bob and Margaret).

October
 October 23: Amandla Stenberg, American actress (voice of Bia in Rio 2).

November
 November 4: Darcy Rose Byrnes, Irish-American actress and singer (voice of Amber in Sofia the First, Ikki in The Legend of Korra).

December
 December 16: Kiara Muhammad, American actress (voice of the title character in the first two seasons of Doc McStuffins, Kari in Sofia the First).

Deaths

January
 January 4: Mae Questel, American actress (voice of Betty Boop and Olive Oyl), dies at age 89.
 January 7: Eli Bauer, American comics artist and animator (Terrytoons, Sesame Street), dies at age 69.
 January 21: Yoshifumi Kondō, Japanese animator (Studio Ghibli) and director (Whisper of the Heart), dies at age 47.
 January 28: Shotaro Ishinomori, Japanese manga artist (creator of Cyborg 009), dies at age 60.

February
 February 14: Thomas McKimson, American comics artist and animator (Walt Disney Company, Warner Bros. Cartoons), dies at age 90.
 February 21: Art Seidel, American production manager (assistant director for the live-action sequence in The Simpsons episode "Treehouse of Horror VI"), dies at age 66.
 February 23: Philip Abbott, American actor (voice of Nick Fury in Iron Man and Spider-Man), dies at age 73.
 February 24: Milicent Patrick, American actress, makeup artist, special effects designer and animator (Fantasia, Dumbo), dies at age 82.
 February 26: James Algar, American film director, screenwriter, and producer (The Walt Disney Company), dies at age 85.

April
 April 17: Linda McCartney, American photographer and activist (voiced herself in The Simpsons episode "Lisa the Vegetarian"), dies from breast cancer at age 56.
 April 23: Enrique Riverón, Cuban-American cartoonist, animator and comics artist (Walt Disney Animation Studios), dies at age 95 or 96.

May
 May 14: Frank Sinatra, American singer and actor (voice of Singing Sword in Who Framed Roger Rabbit), dies from a heart attack at age 82.
 May 28: Phil Hartman, Canadian-American actor, comedian, screenwriter and graphic designer (voice of Professor Von Joy, Hans-Cuff and Staks in Challenge of the GoBots, Mr. Wilson, Henry Mitchell and Ruff in Dennis the Menace, Air Conditioner and Hanging Lamp in The Brave Little Toaster, Troy McClure and Lionel Hutz in The Simpsons, Psycho Bunny in Eek! The Cat, Calaboose Cal, Hot Dog Vendor and Inspector De Paws in Tom & Jerry Kids, Adolph Hitmaker, Tom Morgan in The Pagemaster, Russian Filmreel Announcer and Midget Clown in The Ren & Stimpy Show, Chauncey in Buster & Chauncey's Silent Night, Game Show Host in the Happily Ever After: Fairy Tales for Every Child episode "The Empress' Nightingale", Vaccu-Spook Auctioneer in The 13 Ghosts of Scooby-Doo episode "Reflections in a Ghoulish Eye", School Patrol Robots and Executive Vice President in The Jetsons episode "Boy George", Captain Frye in the DuckTales episode "Scrooge's Pet", Ace London in the TaleSpin episode "Mach One for the Gipper", Paddywhack in the Darkwing Duck episode "the Haunting of Mr. Banana Brain", Dimitri in the Captain Planet and the Planeteers episode "Mind Pollution", Inspector C. Bass in the Fish Police episode "A Fish Out of Water", Bernie Wasserman and Professor Blowhard in The Critic episode "Eyes on the Prize", Dan Anchorman in the Animaniacs episode "Broadcast Nuisance", Jiji in Kiki's Delivery Service, announcer for Cartoon Network), was murdered at age 49.
 May 31: Sherman Labby, American storyboard artist and production illustrator (Filmation, Hanna-Barbera, Marvel Productions), dies from muscular dystrophy at age 68.

June
 June 3: William L. Snyder, American film producer (Rembrandt Films), dies at age 80.
 June 5: Jeanette Nolan, American actress (voice of Ellie Mae in The Rescuers, Widow Tweed in The Fox and the Hound), dies from a stroke at age 86.
 June 12:
 Retta Davidson, American animator (Walt Disney Animation Studios, Chuck Jones, Ralph Bakshi), dies at age 76.
 Richard Thompson, American animator and film director (Warner Bros. Cartoons, MGM, Hanna-Barbera, DePatie-Freleng Enterprises, Bill Melendez), dies at age 83.
 June 28: Jean-Yves Raimbaud, French animator and screenwriter (Space Goofs, Oggy and the Cockroaches), dies from lung cancer at age 40.

July
 July 6: Roy Rogers, American singer and actor (narrator of the Pecos Bill segment in Melody Time), dies at age 86.
 July 8: Dušan Vukotić, Yugoslav-Croatian cartoonist and animator (Zagreb Film, Ersatz), dies at age 71.
 July 16: Tony Sgroi, American comics artist and animator (worked for Warner Bros. animation, Bob Clampett, Walter Lantz, Hanna-Barbera), dies at age 73.
 July 17: Joseph Maher, Irish actor (voice of Emile Dorian in the Batman: The Animated Series episode "Tyger, Tyger"), dies at age 64.

August
 August 14: Stanislav Holý, Czech graphic artist, caricaturist, animation designer, children's book illustrator and animator (Mr. Pip), dies at age 55.
 August 25: Lee Gunther, American film editor (co-founder of Marvel Productions), dies at age 63.

September
 September 6: Whitney Lee Savage, American animator (Mickey Mouse in Vietnam, animated segments in Sesame Street), dies at age 69.

October
 October 3: Roddy McDowall, American actor (voice of Mad Hatter in the DC Animated Universe, Proteus in Gargoyles, the Breadmaster in The Tick, Snowball in Pinky and the Brain, Mr. Soil in A Bug's Life), dies from lung cancer at age 70.
 October 15: Jack Boyd, American animator and special effects creator (Walt Disney Company), dies at age 82.

November
 November 3: Bob Kane, American comic book writer, animator and artist (co-creator of Batman, Cool McCool, and Courageous Cat and Minute Mouse), dies at age 83.
 November 24: Jacques Eggermont, Belgian comics artist and animator (worked for CBA), dies at age 80.
 November 30: Ruth Clifford, American actress (fifth voice of Minnie Mouse and third voice of Daisy Duck) dies at age 98.

December
 December 10: Ray Goossens, Belgian animator (Musti, Plons de Kikker) and comics artist, dies at age 74.
 December 12: Don Patterson, American animator and film director and producer (Walt Disney Company, MGM, Walter Lantz, Hanna-Barbera), dies at age 88.
 December 19: Kazuo Harada, Japanese film director and producer (Studio Comet, Nihon Ad Systems, Tsuchida Production), dies at an unknown age.
 December 21: André LeBlanc, Haitian-American-Brazilian comics artist and animator (worked for Hanna-Barbera), dies at age 77.
 December 25: Richard Paul, American voice actor (voice of Sonny in Coonskin), dies at age 58.
 December 30: G. Stanley Jones, Canadian actor (voice of Lex Luthor in Challenge of the Superfriends, Riff Raff in Heathcliff), dies at age 72.

Sources

See also
1998 in anime

External links
Animated works of the year, listed in the IMDb

1990s in animation

redpajama_set_name: RedPajamaWikipedia


Director of Educational Effectiveness Dr. Virginia Quiñónez was interviewed in this Catalyist Chicago article addressing the shortage of bilingual and culturally competent mental health providers for Latinos, and the negative impact it can have on Latino adults and youth with mental health issues.
Virginia Quiñónez, Psy.D. is currently the director of Educational Effectiveness and was formerly the chair of the Counseling Department at The Chicago School from 2004 to 2013. During her tenure as chair, she highlighted the need for culturally competent training for and about Latinos and helped establish The Center for Latino/a Mental Health and a curricular concentration embedded in the masters program.


text:
'A master who worked with a very small hammer'
He has gone from being the bad boy of classical music to one of its grand old men. As Pierre Boulez turns 80, some of the world's greatest composers give their verdict on the high priest of modernism
Former angry young man... Pierre Boulez at the 2000 Edinburgh international festival. Photo: Murdo MacLeod
Compiled by Andrew Clements and Tom Service
Thu 24 Mar 2005 19.10 EST
It's sometimes hard to believe that Pierre Boulez, who celebrates his 80th birthday tomorrow, was in the 1960s the bad boy of classical music, an iconoclastic bomb thrower who half a lifetime earlier wanted to destroy the classical music establishment. Difficult, too, to recall what a doughty foe Boulez was to those who did not quite share his commitment to modernism in music. Even today, eminent musicians such as Henri Dutilleux lick their wounds over the ideologico-aesthetic maulings that Boulez was capable of doling out to those less filled with revolutionary zeal than he.
Boulez was an angry young man, an austere modernist composer and conductor who, before he turned 40, sought to effect a puritan revolution to free serious Western music from what he saw as its shameful decadence. In doing this, he sometimes seemed as ideological as a member of the most abstruse socialist sect, particularly when he contended that all music that did not subscribe to the high modernism of Schoenberg was "inutile" - useless. He famously said, without a trace of irony: that "the most elegant solution for the problem of opera is to blow up the opera houses". In retrospect, given the creative cul de sacs into which much music had wandered, his incendiary impact was clearly necessary.
But today Boulez has become such a globally venerated figure, that it is difficult to appreciate how radical he was. To say he has mellowed would be an understatement: today he is often found conducting in those very opera houses whose demolition he earlier demanded and conducting operas such as Wagner's Parsifal, whose lush late romanticism would surely seem to be inimical to the high modernism for which he used to be the noisiest proselytiser.
Boulez was at the forefront of the Western European avant garde from the end of the second world war, when he was completing his studies in Paris with Olivier Messiaen, and absorbing the significance of the modernism of composers like Debussy, Stravinsky and the Second Viennese School from the previous half century. In the language of total serialism that he and contemporaries like Karlheinz Stockhausen went on to establish, the implications of Schoenberg's 12-note technique were ruthlessly followed through so that every parameter of music was strictly ordered and controlled. With that language Boulez produced an extraordinary series of scores in the 1950s, climaxing in 1954 in his first masterpiece, Le Marteau sans Maître, in which settings of the poetry of René Char are embedded in a totally original sound world. It showed too how Boulez could use even such a rigorous musical ethos with great expressive flexibility, and he exploited it still further in the music that occupied him into the early 1960s, a huge musical portrait of the poet Mallarmé, Pli Selon Pli.
By then he was conducting regularly too, not only his own works but those of composers he admired. In the 1960s conducting became ever more important - whether because Boulez found himself in a dead end as a composer, or because he thought the two activities could be creatively complementary is hard to say. By the early 1970s he had been invited to conduct the centenary Ring cycle at Bayreuth in 1976 and was chief conductor of both the New York Philharmonic and the BBC Symphony in London, where he not only set new standards for the performance of 20th-century music but attempted to drag the musical life in the two cities kicking and screaming into the 1970s.
That was not an entirely successful crusade but his next project, the founding of IRCAM, the Institut de Recherche et Coordination Acoustique/Musique in Paris, has had a more long-lasting impact, and in the process given his own music a new impetus: works like Répons (1984) and "... Explosante-Fixe ..." (1993) exploited the possibilities of the real-time computer transformations the IRCAM technology allowed. Now, as one of the grand old men of music, he can chose to work wherever he wants among the world's great orchestras; his influence remains immense. Charm may have replaced the rapier assertiveness of the young composer, but his authority as one of the guiding lights of music in our time is as unquestionable as ever.
Alexander Goehr
72, Cambridge
Boulez 80? Surely this can't be. This was (and perhaps still is) the young man who with infectious enthusiasm and authority set out to renew the tradition of newness of the early part of the 20th century's musical achievement. In his 30s he had already drawn together in his own pieces - the first two piano sonatas and the series of vocal and instrumental pieces setting René Char and Mallarmé, to mention some of those which I particularly love - the various inspirations of Debussy, Stravinsky, Webern and Varèse into a synthesis which, as long as music remains, will be heard as original, urgent and personal. He was then sharp and impatient and did not suffer fools gladly - but he is generous too, and as his influence in the world increased he has become publicly courteous (which I sometimes regret). His ambition is to recreate music-making as he sees it in all its aspects: this is probably too much for any one man, but his failures will be better than most people's successes.
58, California
As a conductor, Boulez did much to raise the standards of performance of 20th-century modernist classics. The precision of his performances and his recordings had a huge effect on folowing generations of conductors and performers. For this alone, I am immensely grateful to him.
It would be curious to appraise Boulez the composer in 2005 had he not become Boulez the great conductor. A "radical serialist" in the 1950s, his aesthetic throughout the intervening 50 years has remained firmly rooted in the mindset of that decade. Despite having lived through an era of earth-shattering revolutions in the world of vernacular culture, including the flowering of jazz and rock, he remained either aloof, cool or just plain tone deaf to all of the richness and vitality that the "vulgate" has to offer. Perhaps he had too much good taste.
Boulez's music, for all its technical sophistication, never ventures outside a narrow bandwidth of emotion. It lacks warmth, humour, boldness and the peril of emotional risk-taking that characterises great art. Historically I believe he'll be seen as a mannerist, a niche composer, a master who worked with a very small hammer.
45, London
There is no more illustrious figure in today's musical world than Pierre Boulez. Yet most of his output is still insufficiently understood and appreciated by the general public. Perhaps this can partially be blamed on Boulez himself, or more specifically the young Boulez, a half-century ago. The dogmatic pronouncements he made then - coupled with the theoretical speculation that typified his output during a crucial period of stylistic evolution - still colour the accepted image of the man and his music to an absurd degree. However, since he found his uniquely personal voice with Le Marteau sans Maître in the mid-1950s, he has produced a catalogue of wondrously luminous and scintillating works. Within them a rigorous compositional skill is coupled to an imagination of extraordinary aural refinement. Pli Selon Pli, Eclat/Multiples, the spectacularly inventive orchestral Notations, Explosante-Fixe - these are among the most beautiful works of our time. Boulez's music has a very distinctive flavour - a love of rare timbres and spicy harmonies, a supreme formal elegance and a passion for virtuosity and vehement energy. The polemics that periodically surround him obscure the intensely poetic source of his musical vision. In these days of "cultural industries" and deference to the most banal of market statistics, Boulez's music stands out as a monument to individualism and the supremacy of the artistic imagination.
68, New York
When I was 19, I saw the first page of his second piano sonata, written in 1948. It was like seeing a photo of the dark side of the moon. I had never seen anything so mysterious or so inaccessible. I spent much of the next 10 years of my life finding out about this extraordinary composer. I played the first piano sonata, and with Cornelius Cardew, the Structures Book 1 for two pianos. We were the first British pianists to play this music. As Boulez was practically unknown in England at this time, the only thing I could do was to go to him for lessons. I was his first student; he refused to accept any payment. I studied with him for two years, and thus met and worked with one of the great musicians of the 20th century.
Much has been said about his great importance as a conductor, composer and theorist. For me, his most important role in 20th-century music lay in the fact that he was able to bring together the legacy of Schoenberg, Berg and, most especially, Webern with that of two great figures in contemporary French music - Debussy and Messiaen. It goes without saying that the Stravinsky of The Rite of Spring was an essential part of his musical personality. All these elements combined in Boulez's music into something entirely personal, quite uncompromising and lastingly important.
60, Dorset
The achievement of Boulez, both as a composer and conductor, is very great indeed. Although personally antipathetic to his modernist pioneering spirit, I have been seduced time and again by the ravishing sounds that he produces. I remember particularly the unfolding of Pli Selon Pli at its first performance, stemming as it does from the French tradition, as indeed does all his music. At a personal level, I remember him once quipping to me in a lift: "How can I like music that is supposed to represent a lost paradise, when I don't believe in such things?" Perhaps his phenomenal ear has brought him closer to that "lost paradise" than he would like to think.
Pascal Dusapin
50, Paris
In 1974, I first saw Pierre Boulez's name on a poster in Rue Lafayette in Paris. I knew his name but not his face. I was 18, and to me as an apprentice composer, he was totally unapproachable. The following years taught me not to confuse a picture with what is hidden beneath it. Almost all the history of the composers of my generation stands between these two opposed and complementary poles - how to resist the flamboyance of Boulez's nimble and effervescent art and to exist outside its inflexible theoretical oracles. In France, many of us came to grief.
Beyond the incessant controversies the thought of Pierre Boulez generates, however, it appears today that the destiny of this homme musique has shaken the principles of a world consumed by the poverty of its ambitions. In that sense, Boulez is a musician absolutely necessary and unique in music history. Now I understand that the enigmatic smile on Rue Lafayette was one of a supreme and free musician.
Harrison Birtwistle
70, Wiltshire
In the years after the second world war, music went through a period when, out of historical necessity, it was unattractive. Boulez came through that: though he would have been famous even if he had only written his first work, the flute sonatine, it was with Le Marteau sans Maître that he created something never done before. Like Ravel's Introduction and Allegro, there's nothing quite like Le Marteau; the same is true of his Rituel and in such works, Boulez recognised the expressive qualities of instruments such as the vibraphone. He is a musical jeweller, a superb craftsman, and as a conductor he has been a great ally to me in ways I can't reciprocate.
Thomas Adès
Leaving aside for a moment the success or failure of Boulez as an artist, it is worth considering the power of his name in France. This is perhaps not so unusual in the country of Louis XIV, Mme de Pompadour or Napoleon, where it is usual to invest one person with total authority and maintain it by prolifically exaggerating his or her capacity to inflict their will. Here is a passage from Michael Levey's Painting and Sculpture in France 1700-1789:
"In contemporary eyes, there could be no doubt who was the greatest French sculptor of the century ... The truth is that his period overestimated Bouchardon ... Drama, rhetoric, colour, did not appeal to him... hence the harshness of his criticisms and his hostile attitude to fellow sculptors. Hence also the exaggerated care and extreme finish which he gave to most of his work. It was meant as a rebuke but often resulted in flawing the final sculpture; it became too finished, too chaste, and, at times, icily dull. Intelligence and application have polished the surface until all fire is lost. An almost rancorous rejection of the adventitious, or the merely charming, can make his work artistically displeasing ... perhaps the tragedy was that Bouchardon feared to express himself fully."
Gerald Barry
I have great respect for Boulez but don't love him. I love Webern and Feldman. They have a mystery I don't find in Boulez. But I do feel close to one piece, the wonderfully parched Le Marteau sans Maître.
Oliver Knussen
52, Suffolk
The sheer scope of Boulez's accomplishments means that his shadow is virtually inescapable. His rehearsals are models of clear-headedness and professional courtesy - he effortlessly commands respect. Having become indispensable at the centre of concert life, he has incalculable influence (some might say a monopoly) as ex-officio consultant on the new to conductors and managements worldwide. Boulez's characteristic sound world, an early established identity of method with harmony, figuration and sensuous colour, has been widely emulated. For me, the richest finds are in his later music - large, evolving fragments which imply far more massive dimensions than the fastidiously crafted half-hour scores that exist on paper - my favourites being Figures-Doubles-Prismes, Eclat/Multiples, Explosante-Fixe and Dérive II. However pragmatic Boulez the performer, a glance at his sketches suggests someone different, a man who fashions his scores with the fanatical idealism of a medieval monk minutely illuminating volumes. The two meet, perhaps, in the flamboyantly micro-detailed orchestral Notations.
The efforts of Pierre Boulez have revolutionised not only the musical life of France, but that of many other places in the world. His compositions are an inspiration to us all.
Clearly my music and Pierre Boulez's music occupy completely different stylistic worlds. That is not the point. For me, what is important is not the style but the quality and integrity of any composer's music. Back in 1962 I learned from my teacher Luciano Berio a bit about Boulez's Structures for two pianos and that made it clear how thoroughly Boulez had worked to come up with a new, highly integrated musical language based on earlier music by Schoenberg, Webern and Messiaen.
I am also grateful or the way he invigorated musical life in New York while he was music director of the New York Philharmonic as well as for the superb performances of my music by his Ensemble Intercontemporain conducted by Peter Eotvos and David Robertson. I salute him for helping to create Cité de la Musique in Paris and for his work integrating the computer into live performance, work largely done through another of his contributions to musical life, Ircam. Finally, I have derived enormous pleasure from his recording of The Rite of Spring with the Cleveland Orchestra. He is an amazing and superb conductor. I wish Pierre Boulez a very happy 80th birthday and many more.
· Boulez Conducts Boulez and Boulez: Three Piano Sonatas, Mahler Song Cycles and Bartok's Piano Concertos are available on Deutsche Grammophone. Boulez conducts Bartok at the RFH, London SE1 (0870 382 8000) on April 4


text:
Home › Print › The slum series – Welcome to Arusha
The slum series – Welcome to Arusha
Posted on September 3, 2013 by Adam Bemma — Leave a comment
An old railway connecting P.P.F. to Unga Limited.
ARUSHA, Tanzania — Driving from Arusha's Impala roundabout to the suburb of Njiro, a relic of a railway cuts across the road, almost acting as a demarcation line between extreme wealth and extreme poverty in this city.
On one side of the tracks is the P.P.F. housing estate, a gated community where many of Arusha's wealthiest residents reside. While a little way down, across the tracks, is Unga Limited, the city's largest slum and home to the poorest in Arusha living in makeshift shacks and mud huts.
P.P.F. stands for Parastatal Pensions Fund, one of Tanzania's public and private sector pension schemes. Unga Limited is named after a flour company which closed down many years ago.
When visiting Arusha, former U.S. President Bill Clinton called it "the Geneva of Africa" due to it being home to almost as many international agencies as the Swiss city.
Arusha municipal councillor Nanyaro Ephata, 27, doesn't like this moniker. He has a different perspective on his home town, saying the disparity between rich and poor has become too great. He goes on to compare Arusha's growing slums to those of Mumbai, India and Nairobi, Kenya.
"I've visited the slums in both these cities and Arusha's are just as bad," he says.
P.P.F. is a gated community located in Arusha's Olorien village.
A United Nations Human Settlements Programme, or UN-HABITAT, report states about 35 per cent of 45 million Tanzanians live in cities. It goes on to state the annual urban population growth rate is 4.9 per cent, making the country among one of the most rapidly urbanizing in the region.
"Due to our socialist past in Tanzania, we're now paying the price, as more villagers move into the city," Ephata says and admits Arusha council isn't doing enough to help its poorest residents, who have relocated here to look for cheap land and work opportunities.
With the help of UN-HABITAT, Tanzania is studying the growth of slums along the coast, in Dar es Salaam, as well as Morogoro, but no study has yet begun in Arusha, even though it's the country's tourist hub, acting as a gateway to Northern Tanzania's safari circuit and national parks.
Arusha is a historically important city in Tanzania, which has grown to become important politically for all of Africa. It's home to the UN and its International Criminal Tribunal for Rwanda, the African Union and its African Court on Human and Peoples' Rights, as well as the East African Community, and the Arusha International Conference Center, which plays host to regular high-profile meetings and conferences.
"P.P.F is mainly home to people from abroad who come to Arusha to work at one of the many international organizations based here," says 34-year-old Arusha resident Godfrey Ogutu. "While Unga Limited is home to many poor Tanzanians looking for any work they can find."
Unga Limited is Arusha's largest slum.
If Arusha is, in fact, the fastest growing city in the region, as many say it is, then it still has a long way to go before achieving a population growth like that of Lagos, Nigeria, where hundreds of thousands pour into the city every year.
As for qualifying Arusha as a Geneva of Africa, the Arusha born-and-raised Ogutu says if you go to some places in town like Unga Limited, you may even cry after seeing the reality of life in this city.
"Some people here are living very good lives here, but the majority are living in miserable conditions," he says.
‹ The slum series – Moshi's social reality
Albertan finds adventure on impromptu African epic on the back of an inexpensive scooter ›
Tagged with: #RightsMedia, Arusha, Arusha town, human rights, Impala roundabout, Njiro, Olorien, P.P.F., poverty, railway, slum series, slums, tanzania, Unga limited, Welcome to Arusha


text:
J & D Rigging Pty Ltd v Agripower Australia Limited & Ors
[2014] QCA 23
J & D Rigging Pty Ltd v Agripower Australia Limited
J & D Rigging Pty Ltd v Agripower Australia Limited & Ors [2014] QCA 23
J & D RIGGING PTY LTD
(appellant)
AGRIPOWER AUSTRALIA LIMITED
(first respondent)
ADJUDICATE TODAY PTY LIMITED
(second respondent)
HELEN DURHAM
(third respondent)
Appeal No 6662 of 2013
SC No 2128 of 2013
General Civil Appeal – Further Orders
Heard on the papers
Holmes JA and Applegarth and Boddice JJ
Judgment of the Court
FURTHER ORDERS:
1.The order for costs made in paragraph 3 of the orders pronounced on 20 December 2013 should be confirmed with the addition of the words "to be assessed on the standard basis".
2.The first respondent pay the appellant's costs of and incidental to the appeal to be assessed on the standard basis up to and including 20 December 2013.
3.The appellant pay the first respondent's costs of and incidental to the submissions on costs filed on 31January 2014 and 7 February 2014.
PROCEDURE – COSTS – INDEMNITY COSTS – where prior to the original hearing Calderbank offer made to the applicant, which was not accepted – where the respondent was unsuccessful at first instance – where the respondent to that application was successful on appeal – whether the decision to reject the Calderbank offer was unreasonable or imprudent – whether the applicant is entitled to costs on the indemnity basis
Edelbrand Pty Ltd v HM Australia Holdings Pty Ltd (No 2) [2012] NSWCA 217, cited
Hazeldene's Chicken Farm Pty Ltd v Victorian WorkCover Authority (No 2) (2005) 13 VR 435; [2005] VSCA 298, followed
McBride v ASK Funding Ltd [2013] QCA 130, cited
Oversea Chinese Banking Corporation v Richfield Investments Pty Ltd [2004] VSC 351, cited
Velvet Glove Holdings Pty Ltd v Mount Isa Mines Ltd [2011] QCA 312, cited
No appearance by the appellant, the appellant's submissions were heard on the papers
No appearance by the first respondent, the first respondent's submissions were heard on the papers
No appearance for the second and third respondents
Boulton Cleary & Kern for the appellant
TressCox Lawyers for the first respondent
[1] THE COURT: The appellant was successful in its appeal.[1] The decision at first instance to declare the adjudication decision void was set aside. As a result of the appeal, the appellant has the benefit of a decision which awarded it an amount of just over $2.5 million. The first respondent accepts that costs orders ought to be made in favour of the appellant in respect of both the proceeding at first instance and the appeal, assessed on the standard basis. But the appellant seeks both its costs at first instance and on appeal to be assessed on an indemnity basis. The sole basis upon which the appellant seeks costs on an indemnity basis is the failure of the first respondent to accept a Calderbank offer which was made shortly before the hearing at first instance.
The Calderbank offer
[2] The offer, dated 23 April 2013, was made one day after the first respondent served its written outline pursuant to directions made with respect to the originating application. The offer expired at 4.00 pm on 1 May 2013, which was five business days before the hearing at first instance.
[3] The offer to settle was made on the following basis:
1.The application be dismissed;
2.The sum of $2,604,188.47 paid into Court by the applicant, together with any accretions, be released to the [appellant]; and
3.The [appellant] pay the [first respondent's] costs fixed in the sum of $15,000.
The offer did not seek any of the appellant's costs of the proceeding at first instance.
[4] The offer was not accepted. The first respondent (the applicant at first instance) succeeded upon its application, and in doing so, the commercial result was significant. It was relieved of the obligation to pay the adjudicated amount, together with any interest which had accrued upon it. That success has now been reversed, essentially because this Court reached a different conclusion to the learned primary judge on a point of statutory construction.
Relevant principles
[5] The failure to accept a Calderbank offer is a matter to which a court should have regard when considering whether to order indemnity costs.[2] The refusal of an offer to compromise does not warrant the exercise of the discretion to award indemnity costs. The critical question is whether the rejection of the offer was unreasonable in the circumstances.[3] The party seeking costs on an indemnity basis must show that the party acted "unreasonably or imprudently" in not accepting the Calderbank offer.[4]
[6] In Hazeldene's Chicken Farm Pty Ltd v Victorian WorkCover Authority (No 2)[5], the Victorian Court of Appeal stated that a court considering a submission that the rejection of a Calderbank offer was unreasonable should ordinarily have regard to at least the following matters:
"(a)the stage of the proceeding at which the offer was received;
(b)the time allowed to the offeree to consider the offer;
(c)the extent of the compromise offered;
(d)the offeree's prospects of success, assessed as at the date of the offer;
(e)the clarity with which the terms of the offer were expressed;
(f)whether the offer foreshadowed an application for an indemnity costs in the event of the offeree's rejecting it."
[7] As to the first matter, and as already noted, the offer was received about two weeks before the date of the hearing before the learned primary judge. Factors (e) and (f) are not contentious. The terms of the offer were clear and the offer foreshadowed an application for indemnity costs in the event the offer was not accepted.
The time allowed to the offeree to consider the offer
[8] The first respondent was given seven days within which to accept the offer. The appellant's written submissions were delivered after 4.00 pm on 30 April 2013 and the Calderbank offer expired at 4.00 pm the next day. Those submissions were 16 pages long and contained 86 paragraphs. Although the appellant contends that the material was not factually complex and the arguments were delineated, the first respondent was given little time to assess the merits of the appellant's submissions before the offer lapsed. It was not unreasonable for the first respondent to allow the Calderbank offer to lapse in circumstances where it had insufficient time to consider the merits of the appellant's submissions. This is especially so when regard is had to the extent of the compromise offered.
The extent of compromise offered
[9] The offer dealt with a pre-hearing component for costs in the amount of $15,000 in favour of the first respondent. The element of compromise related to interest and the appellant's costs. By the time the offer expired the first respondent would have incurred substantial costs in preparing for the hearing, including preparation of submissions in accordance with the Court's direction. The amount effectively offered by way of compromise by the appellant was relatively small when compared to the principal amount in dispute, which exceeded $2.5 million.
The offeree's prospects of success, assessed as at the date of the offer
[10] In its submissions on costs to this Court, the appellant emphasises the arguments upon which it prevailed in the appeal. It downplays the competing arguments that were advanced by the first respondent at first instance and further developed upon appeal. The arguments related to the proper construction of words appearing in s 10 of the Building and Construction Industry Payments Act 2004 (Qld). The first respondent had substantial arguments in its favour. Its prospects of success, assessed as at the date of the offer, could not have been fairly described as poor. They had substantial merit, as reflected in their general acceptance by the learned primary judge.
Did the first respondent act unreasonably or imprudently in failing to accept the Calderbank offer?
[11] Given the very limited time within which the first respondent had to consider the offer in the light of the appellant's written submissions, the limited extent of compromise when regard is had to the amount in dispute and the first respondent's prospects of succeeding in its application, the appellant has failed to demonstrate that the first respondent acted unreasonably or imprudently in failing to accept the Calderbank offer. Whilst the availability of special orders for costs where offers of compromise are rejected serves the policy of encouraging settlement, there are other competing objectives of equal importance. As was said by Redlich J in Oversea-Chinese Banking Corporation v Richfield Investments Pty Ltd[6]:
"Potential litigants should not be discouraged from bringing their dispute to the Courts. It is such considerations which underlie the general rule that an order for special costs should only be made in special circumstances."
[12] In circumstances in which the parties' dispute turned upon a point of statutory construction and the first respondent's arguments could not be said to be without prospects[7], it was not unreasonable for the first respondent to seek resolution of the application at the pending hearing and allow an offer which offered little compared to the amount in dispute to lapse.
The costs of the appeal
[13] There was no offer, Calderbank or otherwise, to compromise the appeal.
[14] The appellant seeks its costs of the appeal on an indemnity basis for the reason that, had the Calderbank offer to settle the originating application been accepted, then the appeal proceedings would not have been required, and the appellant would not have been put to the costs of the appeal, in which it was successful.
[15] The Calderbank offer does not warrant the costs of the proceedings at first instance being assessed on the indemnity basis for the reasons set out above. For the same reasons, it does not justify the costs of the appeal being assessed on an indemnity basis.
[16] Moreover, the first respondent having been successful at first instance, and having grounds to resist the appeal, it was reasonable of it to litigate the appeal. Where there was no attempt by the appellant to compromise the appeal, it is not appropriate to make an order for indemnity costs in respect of it.[8]
Conclusion and orders
[17] The first respondent accepts that orders for costs should be made in favour of the appellant in respect of the proceedings at first instance and of the appeal on the standard basis. This is the appropriate basis. The appellant's submissions that costs should be assessed on the indemnity basis are unmeritorious. The appellant should pay the first respondent's costs of and incidental to the submissions on costs filed on 31 January 2014 and 7 February 2014.
[18] The order for costs made in paragraph 3 of the orders pronounced on 20 December 2013 should be confirmed with the addition of the words "to be assessed on the standard basis". There should be additional orders that:
2.The appellant pay the first respondent's costs of and incidental to the submissions on costs filed on 31 January 2014 and 7 February 2014.
[1] J & D Rigging Pty Ltd v Agripower Australia Pty Ltd & Ors [2013] QCA 406.
[2] Hazeldene's Chicken Farm Pty Ltd v Victorian WorkCover Authority (No 2) (2005) 13 VR 435 at 441 [20]; [2005] VSCA 298 at [20].
[3] At 441 [23].
[4] McBride v ASK Funding Ltd [2013] QCA 130 at [65].
[5] [2005] 13 VR 435 at 442 [25], an authority frequently cited with approval in this and other Australian courts.
[6] [2004] VSC 351 at [60], cited with approval in Hazeldene's Chicken Farm (supra) at 441 [22].
[7] Compare the position in relation to a point of contractual interpretation in Velvet Glove Holdings Pty Ltd v Mount Isa Mines Ltd [2011] QCA 312 at [106].
[8] Edelbrand Pty Ltd v HM Australia Holdings Pty Ltd (No 2) [2012] NSWCA 217 at [13].
QCA
Holmes JA, Applegarth J, Boddice J
Citation or File
QCA Interlocutory Judgment [2014] QCA 23 21 Feb 2014 -


Keswick Vineyards - Blog - Congratulations Corrie & Matthew!
Congratulations to Corrie and Matthew who were married at Keswick Vineyards on Saturday, October 12th. While Mother Nature continued to provide us with overcast and misty weather from the left overs of Tropical Storm Karen, Corrie's Mother went to work setting up her daughters dream wedding. Corrie and her Mother are very crafty people and made so many things for this wedding. Her Mother sewed all the tablecloth overlays, napkins, placemats, even the bouquets! Can you believe those bouquets are made of fabric???? Amazing! Corrie's Mom had also made this incredible quilt as a wedding gift that was hung behind the sweetheart table. Another surprise for Corrie and Matthew was a huge canvas painting that was hung in the tent of the couple, along with their dog, in a sports car. Corrie also had collected china with every plate being different, furniture to hang out in under the tent, different items to be set up as centerpieces that were different on each table, a big trunk to put ice in and display beer on the lid of the trunk. There are just way too many things that Corrie and her Mom did to make this wedding so personable to describe. Corrie and Matthew chose to be married on the East lawn of Edgewood Estate under a 300+ year old oak tree. Even though Mother Nature was being difficult, she did let up on the drizzle so we could still do an outdoor ceremony. Everything was simply beautiful! Corrie had two dresses for her day; the traditional wedding gown and then a party dress for the reception. Love how her dress and bridesmaids dresses match the feel and decor of the tent. Of course, none of this could of happened without the help of the following vendors: Event Planner Barb Wired, Catering by The Catering Outfit, DJ Dan Sims, Photographer Jodi Miller, Hair & Make-up Artist Jesse Wagner from Aveda Newport News, Hedge Florist, Officiant Rob Marshall and Albemarle Limo's for buses.


text:
Q: Filter JSON arrays with nested array filters combined I'm writing a JS code that has to filter JSON data based on a condition. I've posted a question yesterday but without trying anything at How to filter data from a json response, it was down voted and since I didn't try anything I am good with it. I've tried using the filter, but unfortunately I've got an array with in array and here I'm stuck. Here is my code.
var arr2 = [
  [{
    "max": "0.685",
    "target_state": "6",
    "ingredients": "a",
    "rule_no": "7",
    "id": "18"
  }, {
    "max": "14",
    "target_state": "6",
    "ingredients": "b",
    "rule_no": "7",
    "id": "17"
  }],
  [{
    "max": "14",
    "target_state": "7",
    "ingredients": "b",
    "rule_no": "8",
    "id": "19"
  }, {
    "max": "1.36",
    "target_state": "7",
    "ingredients": "a",
    "rule_no": "8",
    "id": "20"
  }]
];

var result = arr2.reduce(function(a, b) {
    return a.concat(b);
  })
  .filter(function(obj) {
    return (obj.max == 0.685 && obj.ingredients === "a")
  });

alert(JSON.stringify(result[0].target_state));

when I run this code, I get the result as "6".
But here my condition is something like this ((obj.max == 0.685 && obj.ingredients === "a") && (obj.max == 14 && obj.ingredients === "b")), but this is not returning anything.
Here the expected output is "6".
Here is a working fiddle https://jsfiddle.net/vjt45xv4/14/
Please let me know where am I going wrong and how can I fix this.
Thanks

A: I think I understand what you are trying to achieve here.
How about the following one? It worked for me.
var result = arr2
  .filter(function(objs) {
    return ((objs.find((obj) => obj.ingredients === "a" ).max == 0.685)
&& (objs.find((obj) => obj.ingredients === "b" ).max == 14));
  })
  .reduce(function(a, b) {
    return a.concat(b);
  });

redpajama_set_name: RedPajamaStackExchange


text:
England's Fitful Dozing
July 17, 2016 July 17, 2016 / backwatersman / Leave a comment
On the Sunday afternoon of the Worcestershire game at Wantage Road, I found myself sitting in the back row of the Briggs & Forrester Family Stand. If there is any sun, this stand traps it (several tattooed men had stripped to the waist, closed their eyes and were using it as a cheap alternative to a tanning salon) ; there was also a strong south-easterly wind. A few rows in front of me sat a ruddy-faced man from Worcestershire (I like to think he was a retired pear-farmer) wearing a broad-brimmed canvas hat.
Perhaps nine times in the hour I sat there the wind blew the hat off his head. Sometimes it lifted it vertically, like a Harrier jump-jet, and flipped it backwards on to the seat behind ; sometimes it spun off horizontally like a Frisbee ; once it cartwheeled away and came to rest four or five rows back. Every time, the man patted his head to confirm his headgear had gone, before, with a look of mild puzzlement, trotting patiently back to retrieve it and replace it on his head. It did not seem to occur to him to take his hat off, or move to a less blowy location.
Something about this scene seemed to me to suggest the mentality of the regular watcher of County cricket : the dogged persistence, in the face of considerable experience to the contrary, in believing that, if you turn up day after day after day, you will eventually be rewarded with the discovery of whatever it is you have come there to find. I say "you", but, of course, what I really mean is "me".
I have often referred to Cardus's visions of the ideal, Platonic season (In "Prelude" and "the Summer Game" and elsewhere), where "when June arrives, cricket grows to splendour like a rich part of the garden of an English summertime" and "if the sun be ample and you close your eyes for a while you will see a vision of all the cricket fields in England at that very minute" and I would count myself unlucky if I did not, at least once a year, surprise, or be surprised by, some midsummer spirit of cricket (and often in some of the less looked-for places, such as here, or even here).
Whether, if ever, the season, like a budding English garden, blooms and "grows to splendour" depends on that elemental, but banal quantity, the English weather. Midsummer should be England's dreamtime, but this year it has struggled to emerge from a fitful, interrupted sleep. Or, to put it more prosaically, we have had an awful lot of rain and, if not rain, then cloud.
On my return from Scarborough, I had been intending to eke out the holiday feeling by pursuing the spirit of cricket to one of its likelier hiding places, the Cricket Festival at Queen's Park, Chesterfield, which, with its fish and chips and miniature railway, is the nearest the East Midlands has to offer to the seaside. There was little rain during the Festival but, thanks to some heavy rain the week before, there was no cricket either. I do not know whether this was because of exceptionally poor drainage, or over-caution on the part of the Umpires, but I fear I may have to look elsewhere for my Festival spirit and chips in coming seasons.
Leicestershire v Gloucestershire, County Championship, Grace Road, 27-30 June 2016
ViviLnk
The week before Scarborough I had watched Leicestershire play Gloucestershire. Consulting the photographs I had taken as an aide-memoire, I found several of Chris Dent (the Gloucestershire batsman and occasional wicket-keeper), a few of the patterns of light dancing on the back of the score box, several of the boundary fence and two or three of some copulating ducks, which were pretty much the salient points over the four days.
As anyone who had consulted the weather forecast knew (and I believe Leicestershire Captain Cosgrove has now picked up this Pommy habit) there was little chance of a result from the outset. By lunchtime on day 2, Leicestershire had made 334. By the time play resumed at the beginning of the fourth day, the first question was whether both sides would forfeit an innings to set Gloucestershire a target of 335.
Perhaps mindful of the last time Leicestershire made a sporting declaration against Gloucestershire, which resulted in the defenestration (almost literally so, I've heard) of the previous Captain, Ronnie Sarwan, Cosgrove was, understandably, reluctant. In the event, this was just as well, as Chris Dent made a good-looking 165 to take Gloucestershire to 403-2. (It is hard not to look good when making 165, but then it is hard to make 165 if you aren't any good.)
The ducks had made their appearance late on the first day, making a horrible racket as they frolicked shamelessly in the outfield, to a running commentary from the Leicestershire balcony. Ducks are never a welcome sight on a cricket field, but this was a disgraceful performance.
Nottinghamshire v Lancashire, County Championship, Trent Bridge, 6th July 2016
There were no ducks (or low comedy of any kind) at Trent Bridge, where I witnessed another day of "proper cricket", the fourth day of the game between Nottinghamshire and Lancashire. Nottinghamshire began the day with victory in sight, a vision that slowly faded as Lancashire batted out the day, led by an obdurate, but not inelegant century from nineteen-year-old Boltonian opener Haseeb Hameed (who might, at some point, make a good opening partner for Alex Lees). If the keynotes of the day were Stoical restraint from the batsmen and mounting frustration for the Nottinghamshire crowd, there was also one moment of cathartic relief, as Stuart Broad bowled the best ball I've seen this season to send Petersen's middle stump cartwheeling, like my pear-farmer's hat.
Pakistan A v Sri Lanka A, Grace Road, 5th July
My companion for the day at Grace Road (the Last Gnome) had predicted the likely crowd level as "pauper's funeral" and, by those standards, there wasn't a bad turnout. At the start of play there were just the two of us, but, at its height, the crowd had swelled to eleven paying customers (including one professional autograph merchant and two small children), watched over by eight stewards and four St. John Ambulance personnel. In the lunch hour a steward was posted to prevent a pitch invasion ; the Gnome and I thought of running on from different sides of the pitch in a pincer movement, but calculated that, in the five minutes it would take us to reach the square, the steward would have had time to call for reinforcements.
At these A games, the hope is always to spot some future great in embryo, some budding Waqar or infant Murali, but, if I did, I had the experience but missed the meaning (as the poet hath it). Pakistan (this was the third day of four) had, as you might expect, four nippy seamers who bowled a little too short, a spinner who might have been very effective against English batsmen, and Sri Lanka two or three top-order batsmen who seemed to be under orders to play sensibly "in English conditions". The main source of entertainment was to see whether the run-rate on the scoreboard was going to dip below one an over (a thing I've only seen once before, at a Women's Test against India). It came close to it shortly after lunch, but accelerated to just over two slightly after tea, before the innings inexplicably collapsed, like a shanty town in an earthquake.
Northamptonshire v Worcestershire, County Championship, Wantage Road, 10-13 July 2016
When Adam Rossington and Richard Levi walked out to resume Northamptonshire's first innings on 60-3 at the beginning of the second day against Worcestershire, they were greeted with a barrage of high-pitched squealing and shrieking of an intensity last heard when the Beatles made their debut at the Shea Stadium. It was Schools Day at Wantage Road.
If the intention was to introduce the children to cricket, they must have formed the impression that it is a game that is played in brief bursts of about thirty minutes, before a tall man in a white coat (Alex "the Terminator" Wharf) waves his arms about and they all go back into the pavilion, to re-emerge about ten minutes later. Sometimes the men in green hats seemed reluctant to leave and hung around expectantly on the edge of the pitch, while the men in maroon caps seemed to want to get off the pitch as quickly as they could and seemed very reluctant to come out again.
The children left at lunchtime, which was just as well, as there was very little lunch available. The Pic'n'Mix stall was open, as was Gallone's ice-cream van (incongruously staffed by what appeared to be Anna Sharapova's more attractive younger sister). For members there was a perfectly palatable chicken supreme available in the pavilion, (though in very small quantities), but, as the announcer put it "the Speckled Hen Lounge does not appear to be serving lunch". This might not be unconnected to a 2nd XI match against Derbyshire having being abandoned due to nine of the players and an umpire going down with food poisoning, but a ground that cannot rustle up a plate of chips or a cheese roll for its patrons does not convey the impression that it is prioritising its traditional clientele.
It is a cliché that games are won by the side "that wants it more". If "it" is promotion, then Worcestershire do want it (and seem well-equipped to attain it), Northamptonshire do not and don't really need this competition at all, while they are (very successfully)putting all their very limited resources into "white ball cricket". The incessant delays for rain only delayed the inevitable trouncing, which arrived late on the third day, with Northamptonshire bowled out by Mighty Joe Leach and Matt Henry for 148 and 142.
Ben Duckett had been made Captain for this game. If this was in an effort to encourage him to stay with Northamptonshire, it may have been counter-productive. As a 21-year-old with a background in dressing room pranking, he seemed to be struggling to impose his authority on some of the more experienced members of his side.
In Worcestershire's first innings, he explained, with hand-signals, some cunning stratagem he had devised to bowler Panesar, who listened as patiently as a cat. He then positioned himself at short mid-on. The next ball was driven hard and straight into his gut, and then straight out again. In the second, the Sri Lankan Prasanna, in particular, took as much notice of his semaphored field directions as a seagull.
In his first innings he had failed (trapped LBW by Leach for 4) but, when he opened Northants' second innings shortly before lunch on the third day, the romantic optimists in the crowd (less common at Wantage Road than Ukrainian beauty queens though we are) might have been anticipating an epic, match-saving Captain's innings.
Duckett comfortably rode out the opening blast from Henry and Leach. Then, predictably, Worcestershire brought on D'Oliveira Minimus (who has added about three inches to his height with a Little Richard style pompadour) to bowl his heritage leg-breaks for an over before lunch. The first two balls were full-tosses, which he slop-swept imperiously for four, the third a better-pitched ball, which he blocked. The fourth he tried to sweep again, but scuffed it up just short of one of the two deeply silly short legs he had been engaging in conversation. The fifth an exact repeat of the fourth, except that he was caught.
Very late on an elderly man returned to the ground (shortly before Worcestershire won by 311 runs) and announced "I've just been to the dentist's … I wish I'd stayed there now". It's being so cheerful as keeps us going, you know.
Some Matches of No Importance
August 9, 2015 / backwatersman / 4 Comments
I think I have mentioned before the man whom I, apparently disrespectfully, but in fact, as anyone familiar with the works of the children's writer and naturalist "BB" will recognise, most respectfully, refer to as "The Last Gnome". He is a small man, I'd estimate in his early seventies, whom I often see at Grace Road, and not only there but at Fairfield Road (home of Market Harborough CC) and further afield at Wantage Road, Loughborough, Kibworth, Leicester Ivanhoe, Trent Bridge and anywhere else where cricket is played (I think I once even glimpsed him at the Oval).
He is one of that small but happy band who, in full possession of their faculties and a bus pass, spends as close to every day of the season watching cricket as makes no difference. He knows everything there is worth knowing, from where to get off the bus for Ivanhoe's ground to the fact that the lower reaches of the Northamptonshire Leagues continue playing on well into September. A thesaurus of useful memories (old enough to remember, for instance, the days when Grace Road would fill up after tea when the nearby factories finished for the day), he is full of surprises (once pulling from his over-stuffed rucksack an early edition of "Lillywhite's Scores and Biographies" that, he said casually, he had just picked up at auction in Sotheby's).
Anyway, the point of this story is that, late last season, I turned up at Kibworth's ground to watch them play Harborough. Now this, by local standards, is an Important Match (I think Aadil Ali, who is now attracting a little attention with Leicestershire, made some attractive runs) and I was surprised not to see the Gnome there. Kibworth are lucky enough to have two pitches and, during a break in play, I strolled over to have a look at what turned out to be their 3s (or possibly 4s) playing some Northamptonshire village team. And there, sitting in front of the small secondary pavilion, was a full complement of Last Gnomes (he is only the most prominent of their kind).
We exchanged pleasantries on the subject of the exodus of players from Grace Road ("I'm surprised anyone wants 'em" and "they'll just get some more in") being his sanguine views and I enquired why he was watching this match of no importance instead of the more skillful and significant one on which he had his back turned. "Oh, I've found nice little sun trap here, you know. At my age that's what matters.".
I thought of this when I looked back at the photographs I've taken of the matches I've seen this Summer. Through circumstances (both personal and to do with this year's County schedule) I've seen very few matches of any real importance since May, but I have found an awful lot of sun traps at Geddington, Rothwell, Harpenden, Finedon, Luton, Belper Meadows, Lady Bay and wherever minor cricket is played. I've yet to feel myself shrinking, but if you ever need to know where to get off the bus for the Ivanhoe, I'm your gnome … I mean man.
(Come to think of it, I haven't seen the LG quite so often this season but then nor has he, I suppose, seen as much of me. Perhaps one, or both, of us may have started slip slidin' away?)
A Last Gnome (Or perhaps a Spirit of Cricket?) glimpsed at Belper Meadows


There is a lot of debate on this subject, most say somewhere between 60,000 and 100,000 for replacement of the shocks/struts, you're definately due at your mileage. If you really like the vehicle and plan to keep it I would suggest replacement of the shock absorbers and springs so you get a newcar ride again. If you just want to replace the shock absorbers themselves you'll still see an improvement. I generally suggest the monroe sensatrac line, I've also had good luck with kyb shocks and struts, it's just a matter of which line the store you're working with carries.


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