text:
Four Fast Takes — As You Like It, The Mousetrap, Nureyev's Eyes, Sound of Music
AS YOU LIKE IT, Lantern Theater, 10th and Ludlow Streets, Philadelphia, through Sunday, April 17 —Ultimately entertaining, Charles McMahon's production of Shakespeare's wise comedy is a hodge-podge that not only hits and misses between and during scenes but has high points and low points within individual performances. Diction and tone are the usual culprits when matters go awry. Dialogue is spoken fast and often with no sense of purpose or tone. I like Shakespeare to sound conversational, but even good performers such as Jake Blouch (Orlando) and Liz Filios (Rosalind) garble the wit and substance of the Bard's thoughts on love, family politics, and the difference between bucolic and sophisticated life. The actors obviously understand all they are saying, but they often put speed and an air of naturalness above having their lines hit home as comedy, philosophy, or exposition. Pointedness is missing…and missed. Several performers seem to be on their own page rather than following a careful thematic plan that blends text and production style. J Hernandez manages to be autonomous in terms of ad libbling and giving trick voices to Touchstone while always keeping within the pace and purpose of a scene. His delivery, even when suited as much to character as to text, can serve as a model to castmates for clarity and how to keep all amusing while being informative and giving Shakespeare his due. Another model is Adam Altman, who plays three relatively minor characters (Oliver de Boys, LeBeau, and one of Duke Senior's courtiers in Arden) and finds the right pitch and tone for all three in a way that stabilizes McMahon's production when he joins a scene. Altman's contribution is particularly important when he appears early and late in the play as Oliver. In opening scenes, he gives Blouch's Orlando an auditor that sharpens his readings while answering Orlando in a way that establishes texture and builds intensity that was lacking when Orlando, before Oliver arrives, bewails his fate and position as the youngest son whose brother, keeper of their father's estate by primogeniture, denies him his social and financial birthright. Also promoting constancy in McMahon's "As You Like It" is Frank X, who incites you to share his humiliation and anger when Oliver refers to him as an "old dog" and does remarkable work as a listener and commentator as Jaques. X not only accentuates the poetry and supposed extemporaneity of the "Seven Ages of Man" sonnet but creates an atmosphere of intensity as he listen to both Orlando, whom he has berated for marring Arden's pristine trees with doggerel, and Rosalind as they speak about love, worldliness and melancholy. X's attentiveness makes the Lantern audience pay more attention. Meghan Winch makes an impression as the two country wenches, Audrey, the randy and ready woman Touchstone dabbles with, and Phebe, the scold who tortures the man who adores her and is smitten with Rosalind's male counterfeit, Ganymede. In shows at Villanova and Hedgerow, Winch has shown her knack for keeping characters on a human scale while giving them appropriate and well-considered personality. This is a young actress to watch. Just as Chris Anthony is a young actor who should receive more roles such as the one he played in Philadelphia Shakespeare Theatre's "Two Noble Kinsmen" in 2013. He shows robust swagger as Charles the wrestler and a sweet, resigned ardor as Phebe's abused suitor, Silvius. Ruby Wolf is among those who can be pedestrian one moment and impressive the next, especially in her fine collection of facial takes and physical reactions. Kirk Wendell Brown does best as the old shepherd, William. Without a solid core, this "As You Like It" does not play fluidly but in fits and starts. There's enough cohesion for us to follow all of the activity and appreciate Shakespeare's thoughts about romance and life choices; the leads, Blouch and Filios, are handsome enough even when they readings are muddy or rushed; and Hernandez, Winch, Altman, and X provide liveliness and consistency, but you can never settle into the production and relax with it as one piece. In the long run, the energy and spirit of the actors overcomes the choppiness of the staging. You also key into individual speeches when they don't seem to be breaking records for words spoken per second. Grade: C+
THE MOUSETRAP, McCarter Theatre, 91 University Place, Princeton, N.J., through Sunday, March 27 — Adam Immerwahr and a wonderful cast including Jessica Bedford and Richard Gallagher, make this piece that's been running as long in London as Queen Elizabeth II alive with energy that denies the Agatha Christie classic's age and makes a favorite old chestnut into something new and glorious. It would be hard to imagine a better, or more thoughtfully conceived staging of this play. Immerwahr keeps all suspenseful, and I mean edge-of-your-seat, I-know-who-did-it-and-I remain-nervous-and-enthralled suspenseful, while eking scads of legitimate laughs from the mystery and allowing characters to develop so they seem big and individual, yet everyday and authentic. This "Mousetrap" is a high theatrical achievement that is to be savored and will be remembered as a production that rejuvenates the old and shows why theater is such a remarkable art. In typical Christie style, a group of people arrive at an English country site, in this case a guest house opening to its first round of residents, on an occasion when exit is impossible (a blinding, road-closing snowstorm) and murder is planned, the murdered blending invisibly among the assembled. Immerwahr's gift is making all seem so natural and nonchalant, even after a murder takes place and the murderer is easily associated with a killing in London. People who may seem extreme on the surface prove to be less bizarre as "The Mousetrap" proceeds, and each of the denizens of Monkswell Manor, the drawing room of which is beautifully and interestingly designed by Alexander Dodge, is a potential suspect and potential victim. Immerwahr has fun with Christie's inspired notion to have a police detective (Gallagher) ski in to Monkswell to begin an investigation tying to the London murder. Just as characters talk excitedly about seeing a man with skis go by, Gallagher passes the drawing room windows the audience can see and gives a friendly, enthusiastic wave to the Monkswell guests also looking at him. Red herrings about, and Immerwahr and company make each of them count, and each of them fun. As with any smart production of a mystery, you look back at past scenes from the perspective of knowing what comes next and marvel at how well future incidents were foreshadowed or at least hinted at. Pace and personality add to Immerwahr's staging. Time seems to glide by naturally. Tension always hovers over the Monkswell setting while characters attempt to be as routine as they can with a detective nosing about. None of Christie's clues, or jokes, is missed. Even the description of the London culprit becomes funny beyond its desert in this excellent, cunningly crafted production that has so much seem mundane when nothing is mundane, and all is fraught with danger. Jessica Bedford is superb as the guest host owner who attempts to please her tenants, cook meals, and tend to the detective as she worries visibly about whom the murdered might be. Especially when clues make it clear the murderer might be looking for people involved in a specific incident from decades earlier.
Andy Phelan is fun as a sensitive guest who can be more openly gay, as Immerwahr chooses him to be, in 2016 than in 1952 when he would have had to remain more subdued and less flamboyant. Phelan is quite entertaining with his fey approach to his character, an architect who calls himself Christopher Wren. His performance contrasts well with Emily Young's as a young woman who has recently returned to England after living on Majorca for more than a decade and displays definite Lesbian tendencies, especially when she gives the once-over to Bedford's concierge in early scenes. Sandra Shipley is beyond excellent as a demanding, exacting, and meticulous former judge who criticizes Bedford's character's housekeeping and oversights as a first-time landlord and who has some disapproving words for everyone at Monkswell. Shipley is particularly good in the scene in which she discusses a judge's habits and responsibilities. Her Mrs. Boyle is a woman of high British standards, complete with tweeds and a penchant for complaining and offering advice. Shipley is delicious in the role. Meanwhile, Adam Green, who has made a name playing antic roles in "The Figaro Plays" and "Baskerville," is fine at being ordinary and serious as the easily irritated co-owner (with Bedford, his wife) of the guest home. Green, like Phelan and Thom Sesma as the mysterious and somewhat oily Paravicini, draw a lot of suspicion in their direction, and it's wonderful to see how they are all drop clues and respond to the idea someone might believe they are guilty. Sesma makes Paravicini unreserved in every sense of the word. He delights as he teases Richard Gallagher's skiing detective by practically laughing in his face every time he tries a new gambit for foiling the murderer. Gallagher is superb. In keeping with 1950s behavior and 21st century coolness, he never loses his calm, businesslike demeanor. He is witty as he goes about his police business, countering anything any suspect, i.e. all of the guests, can say and warning the Monkswell residents to take him and the possibility of being murdered seriously. Christie gives her detective , Sgt. Trotter, who bristles when one calls him "Inspector," a gift for logic and for cutting through excuses and potential alibis. She also makes him direct about his pursuit. Gallagher gives a shrewd performance that doesn't waste any of the gifts Christie, or Immerwahr, gives him and adds to the bounty with his own cunning. Graeme Malcolm, McCarter's sturdy Scrooge for the past several seasons of "A Christmas Carol," is solid and, once again, natural as a retired military officer who plans to settle at Monkswell, where he can find lodging 30 miles by train from London at seven pounds a week. Immerwahr excitingly satisfies all requirements in terms of mystery, suspense, comedy, entertainment, and plain old theater with this production. It defines what theater is about and how marvelous, amusing, and worthy is can be. He is abetted cleverly by Alexander Dodge whose drawing room walls converge towards upstage on both side so the parlor looks trapezoidal, whose ceiling with set with what looks like plaster, or cement, dreidels suspended without purpose from the ceiling and a marvelous window that is used so handily, and not only to witness Gallagher's Trotter skiing to duty. Jess Goldstein's costumes are equally appropriate, boyish flamboyant clothes for Wren, boyish tailored clothes for Young's Miss Casewell, and perfect suits for the other men. Philip S. Rosenberg's lighting can show the brightness of the home Bedford and Green are trying to advance as a guest residence while becoming ominous and threatening when necessary. Blackouts are particularly effective. Nick Kourtidas sound design also goes between the mundane and the portentous. Immerwahr's production is a gem. Like Act II's "Driving Miss Daisy," it shows how a play that seems familiar and perhaps old-hat, can be vibrant, immediate, and oh so exhilarating. Grade: A+
NUREYEV'S EYES, Delaware Theatre Company, 200 Water Street (by the Christina River), Wilmington, Del., through Sunday, March 20 — Michael Mastro's production invigorates David Rush's play so effectively, you almost don't notice that each of Rush's scenes have the same paradigm and general outcome. Part of the luster, and avoidance of tedium, comes from hearing artist Jamie Wyeth and danceur noble, Rudolf Nureyev, talk about their individual arts and the training that led each to greatness, Wyeth's being loving and painstaking while Nureyev's was strict, harsh, and mechanical. Part comes from the byplay between two deft and versatile performers, William Connell and Bill Dawes, each of whom makes a strong impression, and the imaginative way Mastro combines the crafts of set designer Alexis Distler and lighting designer Christopher J. Bailey to make some of Wyeth's studies of Nureyev visible to the Delaware Theatre Company audience. (Eight or so actual paintings of Nureyev by Wyeth are hanging in the third floor gallery of the Wyeth-oriented Brandywine River Museum and worth the visit.) Rush contrasts artistic temperament with artistic patience, and the method of performing artist with that of a plastic artist, in a series of scenes in which Nureyev comes to sit for portraits Wyeth has been commissioned to paint, Nureyev always becoming peckish, taunting, and difficult while Wyeth delays his painting until he can capture the brilliant dancer in a way that will reflect what an audience sees when he performs. (Several of Wyeth's works were completed after Nureyev's death in 1993.) Both men reveal personal details of their lives but dwell more on the professional than on the personal side. Nureyev, for instance, brushingly refers to his famous defection from the Soviet Union in 1961 but talks a lot about wanting to be the ballet master of the New York City Ballet. Famous names are dropped, like Nureyev's on-stage partner, Margot Fonteyn, off-stage partner and predecessor as the world's most lauded dancer, Erik Bruhn, George Balanchine, Lincoln Kirstein, Jerome Robbins, Peter Martins, and of course, N.C. and Andrew Wyeth, and all Jamie's aunts and uncles, primarily Carolyn Wyeth, who taught him to paint. The conversation remains interesting from several points of view, but it never soars, so Rush's play engages and mildly enlightens more than it impresses. It nowhere near touches the nuance and texture of "Red," John Logan's play featuring Mark Rothko, recently at the Walnut Independence Studio. It's too regular in its habits and takes it for granted the audience will be content with facts that don't graduate into feelings or deep insights about anything. Rudi's impulsiveness and daring is compared to Jamie's care and reticence, but each shows the way art and artists are made. "Nureyev's Eyes's" best moments, the few when it leaves the diverting but pedestrian behind to do something special, are the instances when Dawes dances as Nureyev. It's then, more than in any talking, parrying, or bonding, that excitement is found. Distler's set in a fine representation of an artist's studio with a moveable's draftsman's table, an easel, and loads of the cardboard on which Wyeth painted. (You can see the ribs in the board in one of the paintings at the Brandywine.) Esther Arroyo has fun dressing Rudi in the chic of the day while being smart enough to keep Wyeth in a plain blue work shirt and jeans. Grade: B-
THE SOUND OF MUSIC, National Tour at the Academy of Music, Broad and Locust Streets, Philadelphia, through Sunday, March 20 — Another in the "Mousetrap"-"Miss Daisy" category, a warhorse that has been brushed and festooned in ways that belie its age, familiarity, and expectation. The fear is always "The Sound of Music" will be sappy and forgo all of the elements that might give it texture to become a songfest featuring children. Jack O'Brien does not fall into that trap, no surprise to anyone who has seen his sterling work over the past 40 years, from the Houston Opera "Porgy and Bess" to Kevin Kline's "Henry IV," to "Hairspray." O'Brien weaves the children neatly into a total show that gives proper attention to the 1938 Anschluss that is about to turn neutral Austria into a Third Reich annex, a move that involves the resistant, repulsed Captain von Trapp, and propels his family of seven children into world politics. Rather than go with the 1965 movie script so beloved to so many, O'Brien illuminates Howard Lindsay and Russell Crouse's original Broadway text, leaving songs where Rodgers, Hammerstein, Lindsay, and Crouse intended them and keeping "No Way to Stop It" and "How Can Love Survive"" in place to vary and sophisticate the score. (O'Brien does choose "Something Good" in lieu of "An Ordinary Couple," a good choice among two unusually mediocre compositions.) Because O'Brien has been all inclusive and careful about presenting all that is "The Sound of Music," the Nazi threat informs the production from the beginning when Herr Zeller comes to inquire why the von Trapp home is not flying the red Swastika flag. O'Brien supplies entertainment with texture. The children become more important when they are integral participants in an entirely established world instead of being the center of it. They are welcome when they appear and unmissed when they are absent because significant matter, whether concerning politics or life lessons, is being shown on stage. O'Brien's tone is serious while offering the sweep and diversion of musical theater. This is a marvelous "Sound of Music" because it provides all that has made this Rodgers and Hammerstein piece a favorite while endowing it with weight and texture. The touring cast helps markedly in this, especially Ben Davis, who is a pillar of rectitude as von Trapp but also a man who can relax in his home among his guests, learn to accept his children without resenting the death of their mother, respond with both surprise and good nature at his feelings for Maria, and deal with the Reich powers in a a forthright and resigned manner. Davis's rich baritone voice enlivens and gives texture to every number in which he's included, but the Captain's is not primarily a singing role. It is the variety and excellence Davis displays as an actor that gives O'Brien's ideas their core. This is a man of the world, an able commander and a person of principle. Also a person of charm. Davis is wonderful at showing how disciplined, poised, and gracious von Trapp is in all company, except for when he is initially with his children. He is a man of purpose who lets you see he is confronted with difficult times and difficult decisions. He is also a man on human scale who can become confused by his affections, for the two women who are part of his life and for his children who he, with Maria's help, begins to see more and more as individuals throughout the production. The laendler Davis's Georg does with Maria not only shows the perceptive, candid Brigitta is right about whom the Captain is in love but his attention to Kurt, who he cuts in on but is there to instruct before he, like Brigitta, realizes the result his tutelage will have. Davis is what the theater needs right now, a strong leading man who can brighten and give facets to musical after musical. He hearkens back to the Alfred Drakes and John Raitts and Richard Kileys that established musical theater as an American favorite. Of course, the focal character is "The Sound of Music," is Maria. Hers is the star role that will forever be associated with the actress who played it so beautifully in the movie, Julie Andrews. Kerstin Anderson is a different kind of Maria. Her take on the role in just as legitimate and accurate, but Anderson emphasizes more of Maria's youth and greenness. She is a competent yet awkward Maria who has common sense and a knack for diverting children but who obviously has not grown fully into her adult self. She is the "girl" Sister Margaretta sings about to her peers and the Reverend Mother. There's a lack of assurance and absence of proper etiquette Anderson gives Maria that freshens the part. Anderson particularly comes alive when she sings. She has a thrilling, expressive voice that lets you know a lot about Maria every time it's raised in song. While "thrilling voices" are the subject, it's time to mention Melody Betts, who can affect you viscerally and emotionally as she uses her arresting and moving contralto to sing "Climb Every Mountain." Betts's voice more than makes us for her flat, unconvincing line readings as an actress. Just when I was wishing someone else had been cast in the role, someone who could sing and act with equal aplomb, such as Audra McDonald or Victoria Clark, Betts exploded any complaint I had by filling the Academy of Music with the sound Maria sings about in Hammerstein's poetic title lyric and inspires one to follow that rainbow and get on with that dream. She truly blesses our hearts with her gripping sonority. It's enough to make you religious. In supporting roles, reliable Merwin Foard comes through blazing again as a droll, opportunistic Max Detweiler while Teri Hansen conveys the CEO side of Elsa, a woman whose competence for once outweighs her elegance. Because O'Brien has put equal emphasis on the political side of "The Sound of Music," characters that are barely noticed in most productions have more to do and must give fuller performances. Darren Matthias, as the von Trapp butler, is quite good as doing his job with efficiency and diplomacy while indicating his cooperation with or resignation towards the Reich sympathizers in Nürnberg. Donna Garner enhances the strong impression she made a few seasons back in "Once" by giving Frau Schmidt, the housekeeper, an integral part in the von Trapp household and O'Brien's staging. Garner gives Schmidt an indifference about the Nazis. She does not seem as ardent as Franz and will go along with whatever happens for convenience, or until, as Max says, all blows over, while doing her job for the von Trapps. Garner's is a clever performance with just enough nuance to give Frau Schmidt an interesting character while not impinging farther than the role could stand. All of the children in this touring production have merit. Two stand out, Quinn Erickson as Kurt, who is so intent on being a gentleman and who has a voice that impresses in ensemble, and Svea Elizabeth Johnson, who makes her mark as a pesky and wise Brigitta. Paige Silvester is lovely as Liesl. She and the estimable Dan Tracy make a nice change-of-pace motif of "Sixteen Going on Seventeen" while O'Brien shrewdly has Maria walk past the cavorting Liesl and Rolf in a way that influences the governess's relationship with the senior among the von Trapp children. Liesl's romance with Rolf is played down to make room for other matters in this production. O'Brien's choice on this point strengthens the overall production and impression of "The Sound of Music." Douglas W. Schmidt's set in alternatively gorgeous and utilitarian. The ubiquitous Alp in the background seems simultaneously treacherous and inviting. Jane Greenwood's costumes are as expected, but she chose a particularly outlandish curtain pattern for the children's playclothes. Natasha Katz's lighting presents excellent contrast between the dark convent interior that has one stream of light coming through and the opulent patio with the view of the Alps on the von Trapp estate. Grade: A
This entry was posted on March 20, 2016 by nzoren in Theater Reviews and tagged Academy of Music, Adam Altman, Adam Green, Adam Immerwahr, Agatha Christie, Andy Phelan, As You Like It, Ben Davis, Bill Dawes, Brandywine River Museum, Charles McMahon', Chris Anthony, Darren Matthias, David Rush, Delaware Theatre Company, Donna Garner, Frank X, Graeme Malcolm, Howard Lindsay, J. Hernandez, Jack O'Brien, Jake Blouch, Jamie Wyeth, Jessica Bedford, Kerstin Anderson, Kirk Wendell Brown, Lantern Theater, Liz Filios, McCarter Theatre, Meghan Winch, Merwin Foard, Michael Mastro, National Tour, Nureyev's Eyes, Oscar Hammerstein II, Philadelphia Theater, Princeton N.J., Quinn Erickson, Richard Gallagher, Richard Rodgers, Ruby Wolf, Rudolf Nureyev, Russell Crouse, Sandra Shipley, Svea Elizabeth Johnson, Teri Hansen, The Mousetrap, The Sound of Music, Thom Sesma, Touring Show, William Connell, William Shakespeare, Wilmington Del..
https://wp.me/p3S9A9-KTd


text:
Le parc national de Ķemeri (en letton : Ķemeru nacionālais parks) est un parc national situé en Lettonie, à l'ouest de la ville de Jūrmala. Créé en 1997, Ķemeri est le troisième plus grand parc national du pays, couvrant une superficie de 381,65 km².

Description
Le territoire du parc est principalement occupé par des forêts (57%) et des tourbières (24%), la plus importante d'entre elles étant la grande tourbière de Ķemeri (en letton : Lielais Ķemeru tīrelis). Il y a aussi plusieurs lacs, qui sont d'anciennes lagunes de la mer de Littorina. Le lac Kaņieris est un site Ramsar. De nombreuses espèces de plantes prospèrent dans la tourbière, en particulier les mousses et les orchidées. Les prairies – sèches et humides – occupent 6% du territoire. L'eau sous forme de lacs, de rivières, de sources et de mer occupe 10% du parc. De nombreux cours d'eau ont été modifiés au cours de l'histoire pour drainer les marais à des fins agricoles, mais les eaux abritent encore une grande variété d'espèces rares, telles que les escargots et les moules indigènes, les cigognes et les loutres. La tourbière abrite un certain nombre d'espèces d'oiseaux lettons, telles que la grue commune, le bécasseau des bois et le pluvier doré européen.

Le parc protège également les célèbres sources minérales naturelles et les boues, utilisées depuis des siècles en raison de leur nature thérapeutique. Les sources ont conduit au développement de nombreuses stations balnéaires, spas et sanatoriums au 19ème siècle.

Galerie

Références

Parc national en Lettonie
Parc national créé en 1997
Site Natura 2000 en Lettonie

redpajama_set_name: RedPajamaWikipedia


Opening on Friday, Nottingham Playhouse and York Theatre Royal are delighted to present the first major production of Shakespeare's Richard III since the skeleton of the last English king to die on the battlefield was discovered.
Playing Richard is Ian Bartholomew. Ian last performed here in the critically acclaimed production of Bertolt Brecht's gripping morality tale, The Resistible Rise of Arturo Ui. Arturo Ui achieved four star reviews in The Guardian, The Times and The Independent. The Stage hailed it 'as close to theatrical perfection as anybody has a right to expect'.
Ian's theatre credits include performances at the Royal Shakespeare Company, National Theatre, Almeida Theatre, Donmar Warehouse, Old Vic and many more. His television work includes: Spooks, South Riding, The Accused, Thieves Like Us, New Tricks, Minder and Bergerac.
On playing Richard, Ian comments: "The discovery of the bones of Richard III has made the prospect of playing the Machiavellian king even more exciting as it means the public are more aware of his life now than ever. Richard III is an irresistible challenge to any actor as he was such a fascinating character with his combination of ambition, cruelty and anger and sheer twisted sense of humour".
Find out more about the real Richard III and the Grey Friars Dig which led to the discovery of his remains in this series of pre-show talks which are FREE to ticket holders.
As places are limited please book in advance by calling the Box Office on 0115 941 9419.
On Friday 8 November, our FREE monthly Page to Stage event will focus on Richard III.
This production of Richard III explores the parallels between the devious Richard, who is full of paranoia, humour and irresistible charm, and our modern world of political monsters.
Richard III plays at Nottingham Playhouse 25 Oct – 16 Nov and then at York Theatre Royal 19 – 30 Nov.


text:
Current Members of Parliament
The President of the Storting
Register of Members' Interests
Financial support for MPs
Members' e-mails
Parliamentary Party Groups
Ethical Guidelines for Members of the Storting
Guidelines on Gifts for Members of the Storting
About the Standing Committees
Family and Cultural Affairs
Finance and Economic Affairs
Foreign Affairs and Defence
Labour and Social Affairs
Local Government and Public Administration
Scrutiny and Constitutional Affairs
Transport and Communications
Arctic Cooperation
EFTA and EEA
The European Consultative Committee
Nordic Council
EU IPC
The Storting
Supervisory role
The Storting live
Regulations for Press Access to the Storting
Guided tours of the Parliament building
Guided tours in Parliament - summer 2019
Search all of stortinget.no Search Close
Search all of stortinget.no Search
In English - stortinget.no
Most of the business laid before the Storting is first prepared by a committee. Each Member of the Storting serves on one of the 12 permanent committees.
It is the committees' responsibility to prepare the matters that will be deliberated by the Storting.
The composition of the Standing Committees is decided by an Election Committee of 37 members. The parties are proportionally represented as far as possible on this committee, with geographical distribution also being taken into account. In practice, however, the preparatory work is done in the parliamentary party groups, which determine how their Members are allocated among the various committees, and by contact between the party groups. The matter is then dealt with by the Election Committee, which usually approves the proposals made by the party groups.
The provisions concerning the composition and duties of the committees are laid down in the Storting's Rules of Procedure. It is not always possible to achieve the same party political distribution in all of the committees as is found in the Storting as a whole. This is due to the fact that some party groups do not have enough Members to be represented on all 12 committees.
Once the committees have been appointed, each committee elects a chair, a first vice chair and a second vice chair. The committees vary in size from 8 to 18 Members.
The committees are supported by a secretariat. Each committee has a committee secretary (the Standing Committee on Finance and the Standing Committee on Scrutiny and Constitutional Affairs have two), employed by the Storting to assist Members in carrying out the work of the committee.
Most of the matters deliberated by the Storting are first prepared by one of the Standing Committees. Matters are usually prepared by the committee whose remit most closely reflects that of the Ministry responsible for the matter. For example, the Standing Committee on Transport and Communications deals with matters within the remit of the Ministry of Transport and Communications.
Normally, the committees may only consider matters referred to them by the Storting. The Standing Committee on Scrutiny and Constitutional Affairs is an exception in this respect. This committee has the power to initiate business itself, the Rules of Procedure stating that it is free to "make any further inquiries within the administration deemed necessary for the Storting's scrutiny of the public administration".
Committee spokesperson
For each item of business it deals with, the committee elects a spokesperson. This person is responsible for presenting the matter to the committee, obtaining information and seeing the matter through the procedure in committee until a final recommendation has been adopted. The spokesperson also formulates the recommendation in writing.
In the course of proceedings, a committee may call in representatives from ministries, organizations, or private individuals to hearings for the purpose of obtaining information. Organizations and individuals may also request to appear before a committee to present their views. These hearings must be held in public unless otherwise decided.
The recommendation
The recommendation contains a summary of the matter and the comments of the committee along with a proposed decision. The recommendation is submitted to the Storting, which is responsible for making the final decision.
Many matters are concluded with a unanimous decision by the committee. Disagreement among the Members may give rise to exhaustive discussions, and committees often split into two or more factions over specific issues. Each faction may elect its own spokesperson and, if the committee is unable to reach agreement, the minority viewpoints are included in the recommendation as dissenting remarks.
In particularly difficult or complex matters, it is common for the factions to discuss the issue in question in meetings with the parliamentary party groups or their steering committees. The political standpoints that are clarified in these deliberations form the basis of the negotiations that take place in the subsequent closed committee meetings.
Consideration of the various matters by the committee involves a considerable amount of work. The spokesperson plays a particularly important role in the final drafting of the recommendation. The recommendation is signed by the chair and the spokesperson before being submitted to the Storting.
The recommendation of a committee generally determines the outcome of the measure in the Storting, as Members tend to follow the vote of their party in the committee. A measure which has received a majority vote in a committee will normally receive a majority vote in the Storting as well, though the outcome is less predictable if the proportional representation of the parties in the committee differs from that of the Storting.
P.O. Box 1700 Sentrum
postmottak@stortinget.no
Editor-in-chief: Anita Blomberg
Web Editor: Lars Henie Barstad

redpajama_set_name: RedPajamaCommonCrawl


It can be difficult to make plant id's without growing zones and more details.
The plants to the left of the pot, may be Torch Ginger.
In the 2nd image you have a Split Leaf Philodendron.
Often times neighbors may have similar plantings and can offer some help.
I would also suggest you visit local garden centers and you can often find matches to your own landscape plants. Snip a leaf or two to take with you.


text:
Doris Day: The Untold Story of the Girl Next Door
In 2008, Virgin Books released David Kaufman's biography of the quintessential girl next door, Doris Day. The book is over 500 pages long (tiny print), but given the length of Doris Day's successful career--ranging from singing to acting to advocating and spanning over five decades--any book worth its salt would have to be biblical in proportion to other stars' biographies. Day not only recorded hundreds of hit songs and starred in dozens of films (appearing in 39 total), she was also a cultural icon, representative of the ideal American woman in the '40s, '50s, and early '60s. She retains the distinction of being the number one female box-office star of all time, faltering only when America's social mores evolved and her image did not.
Kaufman's book delivers; it is a comprehensive account of Doris Day's life, which was much more complex than the sunny image she projected on screen. Although the world associated her with the virginal all-American good girl, she had already survived an abusive marriage, given birth, and divorced twice before she ever arrived in Hollywood.
Day singing for Les Brown's band
She was also an established singer, who had found great success performing with Les Brown's band with such hits as "My Dreams Are Getting Better All the Time" (1944), "You Won't Be Satisfied" (1945), and most notably "Sentimental Journey" (1945). She was popular among soldiers--including a then unknown Rock Hudson--"join[ing] the ranks of Betty Grable, Rita Hayworth, and Dorothy Lamour as one of their favorite pin-ups" (39). Here was not the pristine Day that America would come to know. As Oscar Levant once remarked, "I knew Doris Day before she was a virgin" (399).
Publicity photo from
Romance on High Seas
Once in Hollywood, she was a natural in front of the camera. Her first film performance in Romance on the High Seas (1948) scored predominately positive reviews. Marty Melcher, who worked with her agent at Century Artists, took note and soon after became both her manager and third husband. The result was more of a business partnership than marriage. Kaufman quotes many people who observed that Melcher treated Day like a commodity, and several speculated that he wanted to hitch himself to her rising star. To be fair, Kaufman balances this information with Day's own comments which are confirmed with others' accounts that the relationship was mutually beneficial: "'Marty had no desire to be a celebrity, and Doris had no desire to sign the checks'" (283). Out of Melcher's managership emerged Day's carefully coiffed image of the wholesome all-American girl:
Day circa 1955 - Source
Kaufman provides brief descriptions of movie plots; i.e. doesn't go overboard as some biographers do, which allows him to focus on how Melcher created the Doris Day persona and how she, in turn, became a cultural icon. Melcher insisted on final approval of media (no approval = no interview with his famous wife), strategically selected Day's film roles, and arranged promotional activities to keep Day in front of the public. For an example of how specific Kaufman gets, consider this promotional detail: a $3.98 album featuring two songs from Lover Come Back "could be 'yours for only $1 and 2 larger crowns from the fronts of 2 Imperial [butter] packages'" (299).
Doris Day paper dolls - perfect
promotion of her films and fashion
He also includes information on movie budgets (Day's numerous costumes notwithstanding--after all, her beautiful clothes were a big part of her image), behind the scene decisions, and public opinion. By including such information, Kaufman transports the reader to another time when Day reigned.
Day, a workaholic, became all product. She was the sunshine girl at all times. If she didn't like a hairdresser or camera man, Melcher would take care of it and she would smile on. If she didn't like a question or comment, she ignored it as though the words had never been spoken.
Top: Day as Ruth Etting
Bottom: Day as a terrified
wife in Midnight Lace
On occasion, glimpses of the real turmoil beneath the image-- the tip of a large iceberg hidden in the water--came through in the form of a film role. Such was the case in the role Day herself believed to be her greatest performance: Ruth Etting in Love Me or Leave Me (1955). There were several similarities between the real life Etting and Day: both were singers, both had husbands who beat them (Day's first husband), both had husbands who were managers and tirelessly "promoting and exploiting [their wive's] natural talents" (184). If Day was incredible as the made up girl next door, she was ten times as great playing a character who resembled herself. In Midnight Lace (1960), a film that Melcher insisted his wife undertake despite her apprehension, Day again tapped into fears she would have preferred to have kept bottled up. When Day becomes hysterical in the movie, "'[...] that isn't acting. She really means it'" the director, David Miller, observed (273).
But for the most part the real Day remained submerged beneath the publicity, film roles, fancy outfits, and confident smile. She was plagued with insecurities, unable to watch the film rushes or to perform in front of a live audience or orchestra after her initial band days. Everyone wanted something from her, and she had a history of misplacing trust: Day's first husband abused her; her third husband exploited her; her lawyer attempted to abscond with her fortune; and her fourth husband involved her in a pyramid pet food franchise scheme. While Day befriended and maintained superficial relationships with many of her fans and the people with whom she worked, she found it difficult to truly get close to anyone. Her relationship with her son Terry--the one person with whom she should have been close--was in her words, more akin to a "brother and sister" (42). While she played the perfectly devoted and loving mother on her television show, her grown son wept backstage for "the love and attention she never gave him" (411). Day, who brought so much joy to the rest of the world, could not find happiness for herself--at least not by way of people. Instead, she preferred her pets:
"I love people and animals--though not necessarily in that order," Day also told Stu Schreiberg for the article. "I've never met an animal I didn't like and I can't say the same thing about people." (514)
Courtesy of DDAF
After divorcing her fourth husband, she moved to Carmel where, to this day, she happily houses dozens of dogs and cats. She returned to TV in the '80s only to promote pet health and care on Doris Day's Best Friends. She continues to be an advocate for animals through the Doris Day Animal Foundation.
Kaufman is thorough in his research for this biography. He gathers information from a variety of sources, including interviews from a multitude of people who worked with Day over the years. He diligently presents both positive and negative perspectives of Day, her work, her husbands, and her relationships with colleagues and employees. He also includes Day's opinion, pulling from the biography on which she worked with A.R. Hotchner (Doris Day: Her Own Story - 1975) and her interviews with the media through the years. He is meticulous in giving the context of her statements, so one might consider the motivations behind them, and making corrections when her timeline is mistaken.
There is so much more to the book than I can possibly include here. Kaufman sprinkles interesting tidbits throughout, bringing the reader into a bygone era. He includes quotes from fan magazines, gives the reader a glance at early product placements in That Touch of Mink (1962), and chronicles how the Manson murders where connected to Doris Day via her son (her son being a target, not a murderer). Because Day was such a significant figure in American culture, Kaufman's book essentially becomes a time capsule of Hollywood history.
Doris Day in the 1960s - Source
One final thought. Day came to regret and wanted to distance herself from her virginal image. It is humorous that this definitive biography of her life is published by a company with 'virgin' in the title: Virgin Books. She just can't escape the association. But you know what? I kind of enjoy that image--even if it is make believe.
This review has been part of the:
Hosted by Raquel Stecher at
Posted by Bonnie at 5:11:00 PM
Labels: 1940s, 1950s, 1960s, Book Review, Doris Day
Raquel Stecher August 4, 2014 at 7:20 AM
Wonderful review! Doris Day as a personality seems so simple on the surface but so complex underneath. I'd love to read more about her and this book has been on my wishlist for a while. Thanks!
Bonnie August 5, 2014 at 6:03 PM
Thank you for taking the time to organize this book challenge and read our posts. =) It's been fun!
If you could be a TCM Guest Programmer...
Paging Dr. Gillespie - Disability in the Movies
Ava Gardner: The Secret Conversations
Escapism, Movies, and Lydia
World War II Films: Yankee Doodle Dandy


Extended to 21st February, Saturday & new events added as below.
with several pages if more than one category and gender rather than more than one attachment per form. When we open your file we can refer all your entries.


text:
Car Valuator
About CarSwitch
Home » Home » R42: A 175 Mph Supercar That Couldn't Make It
R42: A 175 Mph Supercar That Couldn't Make It
Use Carswitch's #1 rated service to buy or sell used cars in UAE
In 1991, Ray Christopher, co-founder of GT Developments, had a burning desire to make his own supercar. He started sketching out the details in 1991 and planned to have the car on sale by October 1993. Although he succeeded in making a decent 175 mph British supercar, it never got the recognition it deserved.
Inspired By The GT40
It was fueled by a mid-mounted Ford V8 motor and took design inspiration from the GT40 and was updated with honeycomb and folded aluminium composite construction. The name of the car, R42, was actually an ode to the original, and the number 42 referred to the height of the vehicle from the ground to the roof. The R, as you may have guessed, was borrowed from Cristopher's own name.
The Original Maker Had Big Ambitions For The Car
Christopher wanted to take his creation to the La Sarth and see it going down the Mulsanne Straight. But then of course, before this goal could be achieved, he had to make a road car. By the end of 1992, the scale model and prototype chassis were ready and work began on the running car. The goal was to launch it during the London Motor Show in 1992 and although it was met, unfavourable economic conditions and high development costs pushed GTD into receivership in 1994.
Although the company was revived, it paid the price by selling the rights to the R42 for $2.5m to the American company Spectre Motors. It was led by a formed GTD sales agent and he was quick to get it into production. He launched the ALCO-Spectre racing program with the R42 GTR later.
Even A Movie Couldn't Save The R42
The plan was to increase yearly production to 200 vehicles within three years. In 1997, two R42s were also featured in the car theft movie RPM. The movie wasn't very well received which means R42 didn't get the break that was being hoped for.
R42 Was More Of A Junior Supercar
GTD planned to use carbon fiber or aluminium but Spectre went for glass fiber and this gave the car a wobbly finish. The manufacturing process didn't do justice to Christopher's design and it wasn't as detailed as he would have liked. The overall shape didn't look too bad though. The car was also fuel efficient, achieving a Cd of 0.28.
However, the innards were the real undoing of the R42. Instead of a Lincoln MkVIII motor, it featured the Ford Mustang Cobra unit. The cabin featured Dagenham plastic and the sports seats were way too reclined. More headroom would have been better as the car was a little difficult for taller people to sit comfortably in. However, that's not to say that the overall experience was horrible in any manner.
The car offered a pleasant ride and good body control. The steering wheel was said to be a little annoying but the grip was pretty great. In all, it turned out to be more of a junior supercar and like Spectre said, it was as easy to maintain as a family saloon. Later on, the R45 was also unveiled but Spectre went into receivership soon afterwards.
Whether you want to buy a new car or sell your car, CarSwitch.com will make the entire process really easy for you. So log on today and choose from our vast selection of cars while we connect you to a seller! Happy shopping!
Seller Guides
#car on sale
#sell your car
#supercar
#used cars for sale in Dubai
« Get Your Driving License Through the Smart Driving Test System in Abu Dhabi!
BMW X7 Is the Biggest BMW Ever Made! »
These Cars Rock Massive Front Grilles Like No Other!
Mehwish Rana
Audi Unveils the All-Electric E-Tron Sportback!
Audi RS Q8: The Latest Fast and Sporty Hybrid…
© Car Switch Dubai All rights Reserved


text:
New Defence Order. Strategy
Ivan Timofeev, associate professor, MGIMO: Russian sanction history is ahead, we will have to live with sanctions for decades
Indian MoD Signs Contracts to Supply Pinaka MRLS to its Army
India's Ministry of Defence announced on 31 August that it has signed contracts with Indian companies for supplying Pinaka MRLS Regiments to the Indian Army. The Ministry sees in these contracts a boost for the "Make in India" initiative.
Follow New Defence Order. Strategy on Google News.
"Providing further boost to the 'Make in India' initiative of Government of India in the Defence Sector, Acquisition Wing of Ministry of Defence (MoD) has today signed contracts with M/s. Bharat Earth Movers Ltd. (BEML), M/s. Tata Power Company Ltd. (TPCL) and M/s. Larsen & Toubro (L&T) for supply of Six Pinaka Regiments to the Regiment of Artillery of the Indian Army at an approximate cost of Rs. 2580 Crores [$353.5 million]," said the Press Information Bureau of the Ministry.
The press office said that the deliveries of the Six Pinaka Regiments is planned to be completed by 2024 and that it will be operationalised along India's Northern and Eastern Borders so as to further enhance the operation preparedness of the Indian Armed Forces.
"The Pinaka Multiple Launch Rocket System (MLRS) has been indigenously designed and developed by DRDO and produced by the above mentioned defence industries. This is a flagship project showcasing public private partnership under the aegis of Government of India (DRDO & MoD) enabling "Aatmnirbharta" in cutting edge Defence t technologies," added PIB in its release.
DRDO Test-Flies BrahMos Featuring Indigenous Booster
India-France Defence Partnership: A New Chapter
HSTDV Hypersonic Vehicle Successfuly Tested by India
India to Manufacture Spare Parts of Russian Equipment
The Philippines, the First Export Customer of BrahMos
UK MoD Appoints top Defence Official to Head Troubled Ajax Programme
Press Releases, World News
India Receives Russian Engines for HJT-36 Combat Trainer Aircraft
The VII ARMY Forum Focuses on AI
ARMY Forum
Drills & Exercises
Dual-Use
Geospatial Technologies
Land Military Vehicles and Equipment
MAKS Airshow
Military & Technical Cooperation
Military-Industrial Complex
Missile Systems
Security Systems and Equipment
Strategy & Technology
January 23, 2023 / 16:03 No Comments
Russia's biggest trading partners in 2022
China, Turkey and the Netherlands became Russia's main trading partners in 2022, according to the Federal Customs Service (FCS) records. Germany and Belarus were also among the...
IAEA Sends Observers to Ukrainian Nuclear Facilities
Rafael Grossi, Director General of the International Atomic Energy Agency (IAEA) announced an intention of the Agency to maintain a permanent presence of nuclear safety experts at...
box 139, Saint-Petersburg, Russia, 199178 Call us: +7 (812) 309-27-24 avg@dfnc.ru
© 2022 New defence order. Strategy


text:
Q: How to force users to specify a filegroup when creating tables/indexes I will soon be migrating to SQL Server 2017 and hence am working on beautifying some neglected aspects of our databases. One aspect is filegroups: my DBA predecessor has created multiple filegroups however as no one was really told about most objects just go to the default filegroup (PRIMARY).
Now I would like to enforce that people creating tables and indexes actually name the filegroup where their objects should reside. Meaning: A CREATE TABLE or CREATE INDEX without an "ON [Filegroup]" should roll back with an error that the filegroup is missing. Is there any way to do this an would you recommend proceeding with such an approach? I have just come across that policy based management does not work in preventing objects being created on the default filegroup.
Main point of doing this is that someboy should choose the filegroup for the objects in the first place instead of creating them in the default filegroup and afterwards have to move the objects based on rants by the DBA :-).
I thought about two techniques...however can't get started with either of them because of missing knowledge:

*

*Use database triggers to check if there is an on clause and if not roll back --> this seems to be quite fragile as it would depend on text analysis of the command text

*Make the primary filegroup really small in size (100KB?) in order for system tables still being able to fit in but other tables of moderate size would result in an error because there is not enough space left --> probably a bad idea as this could have severe side-effects on database availability and is not precise enough in preventing every user defined table or index to be created within the default filegroup

Thank you very much in advance for your help
Martin

A: You could possible create a new default filegroup with the Read_Only property set.
Add database file:
USE [StackExchange]
GO
ALTER DATABASE [StackExchange] ADD FILE ( NAME = N'StackExchange_DefRO', FILENAME = N'C:\SQL\SQL_DATA\StackExchangeRO.ndf' , SIZE = 5120KB , FILEGROWTH = 1024KB ) TO FILEGROUP [DEFAULTRO]
GO

Modify the new filegroup to READONLY:
USE [master]
GO
declare @readonly bit
SELECT @readonly=convert(bit, (status & 0x08)) FROM sysfilegroups WHERE groupname=N'DEFAULTRO'
if(@readonly=0)
    ALTER DATABASE [StackExchange] MODIFY FILEGROUP [DEFAULTRO] READONLY
GO

Modify new filegroup to be DEFAULT:
GO
USE [StackExchange]
GO
IF NOT EXISTS (SELECT name FROM sys.filegroups WHERE is_default=1 AND name = N'DEFAULTRO') ALTER DATABASE [StackExchange] MODIFY FILEGROUP [DEFAULTRO] DEFAULT
GO

If a user now creates an object without specifying a filegroup:
USE [StackExchange]
GO

/****** Object:  Table [dbo].[NewTable]    Script Date: 21.12.2017 14:12:11 ******/
SET ANSI_NULLS ON
GO

SET QUOTED_IDENTIFIER ON
GO

CREATE TABLE [dbo].[NewTable](
    [ID] [int] NULL,
    [Test] [nchar](10) NULL
)

GO

They will receive the error message:
Msg 1924, Level 16, State 2, Line 11
Filegroup 'DEFAULTRO' is read-only.

redpajama_set_name: RedPajamaStackExchange


It is very easy to hang KNAGEN, even if you are the less handy type. Just follow this simple guide, then you will have beautiful wall hooks on your walls in no time.
When you purchase KNAGEN, two screws and two rawlplugs will be included. Be aware of what kind of wall you intend to hang your wall hook on. The enclosed rawlplugs are for brick- and concrete walls. If you intend to hang your wall hook on other types of walls, like plaster wall, you will need to get special rawlplugs for that. You can purchase rawlplugs at any hardware store.
The hardest thing about hanging the wall hooks is deciding where to hang them. Find inspiration on how to decorate with KNAGEN. Find inspiration on how to decorate with KNAGEN.
When you have decided where you want to hang KNAGEN, you can start hanging it. Hold the wall hook up to the wall, where you want it to hang. Hold a spirit level up against it, to ensure it is leveled.
Using a pencil, mark, in the holes for the screws, where you will be drilling. The different patterns of the wall hooks are designed to ensure easy access of pencil and screwdriver.
Remove the wall hook and drill in the marked spots. Insert rawlplugs. Hold KNAGEN up against the holes and insert screws, using the screwdriver. Make sure to tighten the screws as much as possible.
The wall hook is now ready for use.
Sign up for our newsletter to receive information about our newest blog posts!


text:
Compact and capable workhorse
The HP Z2 Mini Workstation weighs about 2kg.
Oct 31, 2018, 5:00 am SGT
http://str.sg/o74B
Vincent Chang
vinchang@sph.com.sg
A tall monolithic tower comes to mind when the word "workstation" is mentioned.
Such an impression is valid for the majority of workstations, which are high-performance computers built for specialised tasks such as computer-aided design and video editing.
However, in recent years, PC makers have managed to shrink these bulky computers to a form handy enough to be carried even by a child.
Take HP's latest Z2 Mini Workstation, which is into its fourth iteration.
It is compact enough to be mounted on the underside of a desk or the back of a monitor. For those using it in a server environment, HP says 56 Z2 Mini units can fit in a standard server rack.
Small and boxy, with air vents at each corner, the Z2 Mini is largely similar to its previous version. It is powered by a fairly large external power brick.
PROCESSOR: Intel Xeon E-2176G (3.7GHz)
GRAPHICS: Nvidia Quadro P1000 4GB GDDR5
RAM: 32GB DDR4
STORAGE: 256GB PCIe SSD + 1TB 7,200rpm HDD
CONNECTIVITY (SIDE): 2 x USB 3.0, USB 3.1 Gen 2 Type-C, headphone jack
CONNECTIVITY (REAR): 2 x USB 3.0, 1 x USB 3.1 Gen 2 Type-C, 3 x DisplayPort 1.2, Ethernet, Flex I/O
FEATURES: 4/5
DESIGN: 5/5
PERFORMANCE: 4/5
VALUE FOR MONEY: 4/5
Weighing about 2kg, the Z2 Mini has an internal volume of 2.7 litres, which can fit either a consumer-class Intel Core chip or an enterprise-grade Intel Xeon processor.
It can support either integrated graphics or a dedicated workstation-class graphics card.
The new Z2 Mini can support more powerful hardware, such as a six-core Intel Xeon chip. There are also more graphics options, including AMD and Nvidia workstation graphics cards.
For internal storage, it can be configured with a PCIe solid-state drive for the operating system and a secondary hard drive for other data.
Users can access the Z2 Mini's innards simply by popping open the top cover. The sizeable internal fan for the CPU can be moved easily out of the way without having to remove any screws, allowing access to the computer's two memory slots.
Up to 32GB of memory is supported, including for ECC (error-correcting code) memory that checks for data errors.
New to the Z2 Mini is a flexible port that can be customised at the behest of the buyer. This port can be anything from VGA display output to a second Ethernet port to a Thunderbolt 3 port.
The Z2 Mini is equipped with HP software and hardware to protect from malware and hardware failures. A Kensington lock at the rear helps to secure this portable workstation against theft.
There is hardly a peep from the Z2 Mini when it is idling. But when it is running an intensive application, its two fans (it has a second, smaller fan for the graphics card) are loud enough to rival a handheld vacuum cleaner.
In fact, the fans were noisy even during file transfer, while copying files from an attached flashdrive.
To be fair, the fans do seem to keep the Z2 Mini relatively cool even while it was running a benchmark.
In the Cinebench 3D rendering benchmark, the Z2 Mini scored 1,299 points, which is lower than AMD's eight-core Ryzen 7 1800X processor (1,622), but higher than an Intel consumer-grade processor like the Core i7-7700K (998).
The Nvidia Quadro P1000 in my review set is considered entry-level. But it should offer enough processing power for professional applications.
HP says the Z2 Mini, like its other workstation computers, is ISV certified, which means it has been tested by Independent Software Vendors to perform well in specific enterprise applications.
• Verdict: A compact yet capable workstation suitable for enterprise applications.
A version of this article appeared in the print edition of The Straits Times on October 31, 2018, with the headline 'Compact and capable workhorse '. Print Edition | Subscribe


Former NBA star Vincent Askew's stint with the newly formed Kentucky Mavericks lasted all of four days.
Askew and the Bowling Green-based Mavericks, one of the newest additions to the American Basketball Association, officially parted ways Saturday night. So the team, which is roughly two weeks old, is already looking for its third head coach. Mavericks president Jason Smith said Sunday that Russellville's Otis Key — who will now serve as the Mavericks' interim head coach — was originally named head coach before stepping aside for Askew.
Smith suggested finance was the main issue.
"This is a first-year organization and we need to make a name for ourselves, and we can't do that if we don't have reliable or trustworthy employees," Smith said. "Whether it be the front office, the dance team, the players — whatever, we have to be honest with each other.
Askew maintains that he stepped down, saying that he decided it wasn't the best situation for him at this point in his career.
"I have goals in basketball and I want to be somewhere more where I can teach the game," said Askew, who said he will now serve as general manager of the ABA's Los Angeles Push — a hiring the ABA's Web site announced Wednesday, the same day Askew told the Daily News he would coach the Mavericks.
While Askew didn't agree with Smith's description of the parting, Askew also noted that money was involved.
Smith said the Mavericks are working on a strict budget and could not afford to overspend on one part of the organization.
"We started from my finances and a business loan — a nice, nice business loan.
With Askew out of the picture, Key — a former Russellville High School and Austin Peay player and a former player and coach with the Harlem Globetrotters — will serve as the team's head coach on an interim basis. Smith said the team is interviewing several coaching candidates, including Key, and he hopes to make a decision by Friday, when the team also plans to have its roster finalized.


text:
Amadeu Ferreira
Central Falls, Providence County, Rhode Island, USA
17 Aug 2005 (aged 82)
Stuart, Martin County, Florida, USA
Putnam Cemetery
Greenwich, Fairfield County, Connecticut, USA
Amadeu Ferreira - died at Martin Memorial Hospital South. He spent his formative years in Lisbon, Portugal, with his parents, Eugenie and Jaime Ferreira, who pre-deceased him. He served in the Army-OSS during World War II. He graduated from Brown University and began his career with Becton Dickinson and Company as assistant to the Foreign Sales Manager. He was assigned to the company's Mexican and Brazilian subsidiaries and was named Acting Director of the International Division in 1959 and Director in 1960. He retired in 1985 as President of the International Division. Survivors include his wife, Patricia, daughters, Ann F. Kelly and Margaret T. Ferreira; son, Paul J.(Kathleen) Ferreira and grandchildren, Meredith and Tyler Kelly and Megan and Kelly Ferreira. A Memorial service will be held at Peace Presbyterian Church. Arrangements are made by Martin Funeral Home and Crematory, Stuart, Florida. Published in the Stuart, Fl newspaper, Novembver 2, 2005.
Patricia Ann Leddy Ferreira
See more Ferreira memorials in:
Created by: palsg
Added: 8 Dec 2009
Find a Grave, database and images (https://www.findagrave.com/memorial/45239657/amadeu-ferreira : accessed ), memorial page for Amadeu Ferreira (1 Mar 1923–17 Aug 2005), Find a Grave Memorial ID 45239657, citing Putnam Cemetery, Greenwich, Fairfield County, Connecticut, USA ; Maintained by palsg (contributor 46888396) .
Add Photos for Amadeu Ferreira
Fulfill Photo Request for Amadeu Ferreira
your computer for Amadeu Ferreira memorial.
I thought you might like to see a memorial for Amadeu Ferreira I found on Findagrave.com.


text:
Louisiana gunman's rage dates back decades
July 25, 2015 / 9:03 AM / CBS/AP
Investigators are uncovering more information about John Russell Houser, the gunman suspected of killing two people and himself at a movie theater in Lafayette, Louisiana Thursday night
Who was the La. movie theater gunman? 02:47
For decades before he opened fire in a Louisiana movie theater and killed two people, John Russell "Rusty" Houser was known as a man prone to anger, a loudmouth provocateur never afraid to share his opinion.
Gunman in Lafayette shooting had erratic past 01:54
His family said they feared him so much they hid his guns and had him hospitalized. A local TV host frequently invited him as a guest, knowing he'd be a lightning rod who could light up the phone lines with rants against abortion and working women. In one prominent fight with local officials, he unfurled a banner outside his bar in the state of Georgia picturing a swastika.
In the early '90s, he was a regular guest on a call-in television show where he'd be the conservative Republican pitted against a Democrat to debate issues. The host, Calvin Floyd, said Houser had radical opinions that included advocating violence against abortion providers, keeping women out of the workplace and fearing a military takeover of civilian government.
"He made a lot of wild accusations," said Floyd, who hosted the show on WLTZ-TV in Columbus for more than two decades. "He could make the phones ring."
Yet Houser had a dark side that went way beyond talk. In 1989, court records say, he was accused of hiring someone to burn down a lawyer's office. A woman and her father say he virtually destroyed a foreclosed home he was being evicted from in 2014 after they bought it. His wife and other relatives filed papers accusing him of domestic violence in 2008.
Louisiana movie theater shooting 22 photos
In Lafayette, Louisiana, police said Houser stood up during a showing of the movie "Trainwreck" Thursday night and started shooting without a word. Two people were killed and nine were injured; authorities said Houser shot himself to death as officers pursued him in the theater.
"I wasn't a bit shocked that it happened," Floyd said. "As many times as I had him on it was obvious he had a screw loose."
The church-going son of a longtime city tax official, Houser received an accounting degree in 1988. Despite later problems, records do not indicate he was ever suspended or expelled, said a school statement.
Houser posted on an online career website that he was an entrepreneur who owned and operated two nightclubs in Georgia in the 1980s and 1990s. But his stint as a club operator ended when he was accused of selling alcohol to minors at Rusty's Buckhead Pub in LaGrange.
Houser put up the swastika banner in protest, according to an April 28, 2001, story in the LaGrange Daily News.
He told the newspaper he was "completely against" the Nazi philosophy but chose the symbol because it represents a government's ability to do what it wants.
"The people who used it - the Nazis - they did what they damn well pleased," Houser told the newspaper, accusing police officers of lying on the stand during his trial.
But CBS News correspondent Jeff Pegues reported the Southern Poverty Law Center, which tracks extremists, has said it uncovered writings where Houser praised Adolf Hitler for "accomplishing far more than any other" and described America as a "failing filth farm."
In April 2008, Houser's wife Kellie Maddox Houser, daughter and others filed court papers seeking a temporary protective order against Houser, saying he had "perpetrated various acts of family violence" and had a history of bi-polar disorder.
At the time, records show, Houser was vehemently opposed to the upcoming marriage of his daughter. A judge had Houser committed, but the man told his wife he would continue trying to stop the wedding once he got out of the hospital.
A police report included with the request for a protective order said Houser believed his daughter and her fiance, who were 23 and 26 at the time, were far too young to wed and that he was mad at his wife for not stopping the marriage.
His wife Kellie told police "she had removed all of the guns from their house," and that "he should not have one unless he obtained it illegally."
Pegues reported that investigators have revealed Houser legally purchased the handgun used in the movie theater shooting last year in an Alabama pawn shop. In 2006, he was denied a permit in Alabama to carry a concealed weapon.
Last year, Houser was evicted from his Phenix City, Alabama home but later returned and caused some damage, including pouring concrete in plumbing pipes and tampering with a gas line, said Russell County Sheriff Heath Taylor.
Norman Bone, 77, had bought the house out of foreclosure for his daughter, Beth Bone. Houser, angry he was being evicted, left it behind completely uninhabitable, they told the Columbus Ledger-Enquirer newspaper. Blankets were torn, with feathers scattered all over the home; human waste was left in buckets; cut-up goldfish were strewn about the pool and the house. Even the fuse box was cemented shut.
Georgia governor declares state of emergency amid Atlanta protests
Why millions of men have left the workforce
First published on July 25, 2015 / 9:03 AM
© 2015 CBS Interactive Inc. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed. The Associated Press contributed to this report.


Blockchain technology creates a viable, decentralised record of transactions – the distributed ledger – which allows the substitution of a single master database. It keeps an immutable record of all transactions, back to the originating point of a transaction. This is also known as the provenance, which is essential in trade finance, allowing financial institutions to review all transaction steps and reduce the risk of fraud.
These and many more were discussed at "The Economics of Blockchain" on the 8th of January, 2019.
The first Ingressive Ecosystem Hangout of the year, was a one off edition as we hosted industry leaders and experts to engage in a discussion about the state of blockchain and fintech in Nigeria, at Venia Business Hub in Lekki.
Fintech in Nigeria seems to overshadow many other areas of the tech scene for some very convincing reasons. Innovation in fintech could unlock intercontinental trade and introduce a new Africa to the global stage. The introduction blockchain, with its inherent security and transparency, may be the missing piece to a much needed solution.
This closed event hosted experienced members of the Nigerian tech community active in the areas of fintech,blockchain, cryptocurrency, and/or the banking sector.
The application of blockchain also offers a far better means of establishing and proving identity than present day systems. Blockchain technology greatly simplifies the direct transfer of trade assets and increases confidence in their provenance. This is achieved through providing unique, non-forgeable identities for assets, along with an inviolable record of their ownership. The result is an opportunity for additional financing services based on the trade of physical goods.
Who are the major providers (ICT, Fintech, Blockchain, Telco)?
What are the missing pieces and pain points of the African fintech puzzle?
It was identified that there are not many people who know about blockchain yet, in Nigeria. Some of the solutions proposed was that the country and continent needs to invest in building technical talent for blockchain.
What is the status quo and the future of crypto currencies in Nigeria?
Deep made people move out of cryptocurrency.
What are the financial implications of blockchain?
For crypto currency like Bitcoin, it adoption in commerce is hinged on the fact that people feel it is too risky. Merchants feel like it doesn't have an actual value just perceived value so it will be difficult to use it as a standard value for exchange of commodity.
It will help government to track taxes easily.
It ended as an enlightening event at the Venia Hub, the conversation continued over refreshment and networking.
Ingressive aspires to create partnerships, strengthen communities, and build capacity within the tech ecosystem. Join the Ingressive community to be a part of the conversation.
Newer PostFacebook/Instagram ads vs Influencer Marketing: Which is better?


text:
Hackable Apple
Hackable Apple: iOS Under Attack!
Leaked plans for Apple's newest iPhone design have been abuzz in the tech industry. However, many are skeptical about continuing with Apple given the recent news that their iOS products are all vulnerable to being hacked.
With over a billion iOS devices purchased and used internationally, it is certainly a cause for concern that Cellebrite, an Israeli forensics company, claims to be able to hack into any version of iOS on iPads and iPhones, globally.
Cellebrite is a company that has been previously commissioned by our very own government to hack into iOS and Android devices. Millions have been funneled into the company for the purpose of extracting private data using the Cellebrite UFED.
When they are no longer in need of these UFEDs, they are then being sold second-hand on eBay, with one kit going for as little as $100. Although the company discouraged users from buying and purchasing kits without the appropriate background checks, many were still purchased for the purpose of spying on a philandering spouse or untrustworthy business partner.
Despite the terrifying unveiling that all of our phones are vulnerable to access from an external source, Apple is still pushing forward with an updated version of its beloved iPhone product, due for release in 2020.
Tech insider Ming-Chi Kuo has released Apple's plans for its 2020 iPhones which have unveiled Apple's first true 5G capable devices, as well as a completely re-designed and re-sized OLED screen.
Check out more from Apple's upcoming tech releases!
Despite the terrifying news that our private information is privy to surveillance, would you continue to purchase these popular devices?
Let us know in the comment section below!
by Leah Sammak | Jun 20, 2019 | Tech Gadgets, Tech review, Technology
Green Cyc Studio Rentals
Google Achieves Quantum Supremacy
by Dilenia Rodriguez | Oct 29, 2019 | Featured, Quantum Computing, Technology
What is Quantum Supremacy?If you're like me, the headline "Google Has Achieved Quantum Supremacy" raises some fundamental questions. Full disclosure, I am not a computer scientist. However, I did hear the immediate media outcry about what seems to be a monumental step...


text:
The Gravity Well
More than Space
The Mission/
More than Space/
America's Next, Greatest Challenge
An Out of This World Answer to Terror
April 05, 2019 / Steve Sandford
We need to return to the view of space that Kennedy espoused: as an adventure that we lead, with meaning that we share.
April 05, 2019 / Steve Sandford/ Comment
Space policy, International
Terrorism, Gravity Well, Space policy
@THEGRAVITYWELL
from the well
America Is Like a Car. With Air Conditioning
You're driving your old classic car with a partner on your way to work, through a hot, barren desert. The commute is ridiculously long; lately it has stretched to more than an hour each way, in part because the ancient car can go only 40 miles an hour. What's worse, it lacks an air conditioner. You both roll down the windows, but that barely helps. By the time you get to work each day, you're dripping with sweat. Your trip back home is even hotter. You could stand it if the breeze were stronger or the commute weren't as long. "We need air conditioning," your partner says. Here's a classic illustration of the failure to think systematically.
Space Fact #11: The First Space Ticket Cost $20 Million
In April, 2001, Space Adventures made Dennis Tito the first space tourist.
What Are America's Main Functions?
Look at America's most notable characteristics, and you'll find its critical functions. For example, we have a dominant military, the largest economy, we generate the most patents, we invented the iPhone and online shopping, boast the most advanced research universities, and make the most popular music and movies. Given these traits, you might say America's key functions are to be powerful, rich, innovative, and creative.
Human Exploration (2)
Private space (4)
Systems Analysis (4)
Knowledge ore (6)
Lagrangian Points (6)
Spinoffs (10)
Space policy (13)
Gravity Well (15)


Short Hair Mohawks Correspond To Anyone Who Is Bored With The Old Style Uploaded by Reese Heathcote on Tuesday, March 21st, 2017 in category Short Hair.
See also Short Hair Mohawks Best Style For Casual Event from Short Hair Topic.
Here we have another image Short Hair Mohawks Matched Casual Event featured under Short Hair Mohawks Correspond To Anyone Who Is Bored With The Old Style. We hope you enjoyed it and if you want to download the pictures in high quality, simply right click the image and choose "Save As". Thanks for reading Short Hair Mohawks Correspond To Anyone Who Is Bored With The Old Style.


text:
Keith A. Hebeisen
120 North LaSalle Street, 31st Floor Chicago, Illinois 60602
Firm: Clifford Law Offices
Clifford Law Offices
Keith Hebeisen is a partner at Clifford Law Offices. An outstanding Chicago personal injury attorney and one of the most respected medical malpractice attorneys in Chicago, Mr. Hebeisen is experienced in many practice areas, including complex areas of medical negligence, medical liability and transportation liability.
Mr. Hebeisen has been a trial attorney for over 30 years. As part of our team of medical malpractice attorneys in Chicago, he is a highly respected leader in the legal community. He is known for his no-nonsense style and has garnered the respect of both plaintiff and defense attorneys. Mr. Hebeisen is knowledgeable in the law and in command of the facts of each client's case. He is thorough in the investigation, preparation, and trial of each of his cases, which are often highly complex and involve many defendants. Although Mr. Hebeisen concentrates his practice in the area of medical malpractice cases against doctors, hospitals and pharmaceutical companies, he has represented individuals in a wide variety of cases, including transportation, product liability, and toxic tort.
In 2010, he was recognized by U.S. News-Best Lawyers as a top-tier attorney in the areas of medical malpractice and personal injury law. He is recognized as an Illinois Super Lawyer and an Illinois Leading Lawyer. Mr. Hebeisen was inducted into the International Academy of Trial Lawyers in 2010 and the American College of Trial Lawyers in 2011.
Mr. Hebeisen also makes time to give back to the profession in substantial ways. He served as President of the Illinois Trial Lawyers Association from 2005-2006. He serves as the Chair of the American Bar Association Standing Committee on Medical Professional Liability. He is also very active in several other bar associations including the American Bar Association. Mr. Hebeisen has been an active leader in the fight to preserve the right to trial by jury. He has been an outspoken advocate against caps on damages in the legislature and courts of Illinois. He also has written extensively on these subjects, and lawyers from across the state consult him on these very important issues.
Mr. Hebeisen enjoys using his strong writing skills and is the author of many publications. He was the Editor of the Illinois Bar Journal for two years and has edited ITLA's Medical Malpractice Trial Notebook since 1992. Mr. Hebeisen has planned and moderated numerous continuing legal education programs, including the ITLA Medical Malpractice Seminar, a widely attended all-day program held annually in Chicago. Using his background as a medical malpractice attorney, he has presented numerous lectures at seminars for professional associations on a wide range of topics.
Medical Malpractice Law - Plaintiffs
Personal Injury Litigation - Plaintiffs
Medical Malpractice Law - Plaintiffs, Chicago (2015)
Personal Injury Litigation - Plaintiffs, Chicago (2014)
Martindale-Hubbell, A.V. Peer Rated for Highest Level of Professional Excellence, 2019
Best Lawyers In America, 2010, 2013, 2015, 2017-2019
President's Award, Illinois Trial Lawyers Association, 2010-Present
Illinois Leading Lawyer, Advisory Panel, 2009
Illinois Super Lawyer, 2005- Present
Illinois Leading Lawyer, 2005- Present
ATLA Wiedemann Wysocki Award, 1999-2000, 2001-2002, 2003-2004
William J. Harte Amicus Volunteer Award, June, 2003
ITLA Amicus Volunteer Award, June, 2002
Trial Lawyer of the Year Finalist, Trial Lawyers for Public Justice, 1998
University of Illinois - Urbana-Champaign
120 North LaSalle Street, 31st Floor
What is your relation to Keith A. Hebeisen? Consulted Attorney Current Client Former Client Other


text:
Read The Shape of Snakes Online
Authors: Minette Walters
The Shape of Snakes
by Minette Walters
Only pure White Christian people of non-jewish, non-negro, non-asian descent ... can enter the Knights of the Ku Klux Klan
...The name Ku Klux Klan comes from the Greek word
Kuklos
, meaning circle ... Kuklos thought about in this context simply means White Racial Brotherhood...
...The Klan symbol of the Blood Drop denotes: "the blood of Jesus Christ was shed for the White Aryan Race"...
...The Fiery Cross "is used to rally the forces of Christianity against the ever increasing hordes of the anti-Christ and enemies of... the White Race"...
..."The Knights of the Ku Klux Klan does not consider itself the enemy of non-Whites ... (but)... will oppose integration in all its manifestations"...
UNRESTRICTED KKK PROPAGANDA ON THE INTERNET
Tics are categorized as Motor or Vocal, Simple or Complex ... Complex symptoms include: Body jerking, Skipping, Hitting, Walking on toes, Talking to oneself, Yelling, Coprolalia
vocalizing obscene or other socially unacceptable words or phrases ... Tics increase as a result of tension or stress.
Kansas City Chapter of the Tourette Syndrome Association
Unhappiness has a habit of being passed around.
Margaret Atwood, BBC Radio 4
's Book Club,
May 9. 1999
I could never decide whether "Mad Annie" was murdered because she was mad or because she was black. We were living in southwest London at the time and I remember my shock when I came home from work one wet November evening to find her collapsed in the gutter outside our house. It was 1978
the winter of discontent
when the government lost control of the trade unions, strikes were an everyday occurrence, hospitals ceased to cater to the sick and uncollected rubbish lay in heaps along the pavement. If I hadn't recognized her old plaid coat I might have ignored her, thinking the bundle in the gutter was a heap of discarded clothes.
Her real name was Ann Butts and she was the only black person in our road. She was a well-built woman with a closed expression and a strong aversion to social contact, who was known to enjoy a drink, particularly Caribbean rum, and was often to be found sitting on the pavement in the summer singing gospel hymns. She had acquired the "Mad" label because she made strange faces and muttered to herself as she scurried along in a bizarre dot-and-carry trot that suggested a child playing "Ride a cock horse to Banbury Cross."
Little was known about her circumstances except that she had inherited her house and a small independent income upon her mother's death and, apart from a menagerie of stray cats that had taken up residence with her, she lived alone. It was said that her mother had been madder than she was and that her father had abandoned them both because of it. One of the long-term residents of Graham Road swore blind that Mrs. Butts senior used to shout obscenities at passersby and twirl like a dervish when the mood was on her, but as Mrs. Butts had been dead some time the story had undoubtedly grown in the telling.
I didn't believe it any more than I believed the rumors that Annie kept live chickens inside her house, which she killed by boiling, feathers and all, for her own and her cats' supper. It was nonsense
she bought her meat, dead, at the local supermarket like everyone else
but her close neighbors talked about rats in her garden and a terrible smell coming from her kitchen, and the story of live chickens was born. I always said she couldn't have rats
cats, but no one wanted to hear the voice of reason.
The same neighbors made life difficult for her by reporting her regularly to the local council, the RSPCA and the police, but nothing came of their complaints because the council couldn't force her out of her own house, the cats were not ill-treated and she wasn't mad enough to be committed to an institution. Had there been family and friends to support her, she might have taken her harassers to court, but she was a solitary person who guarded her privacy jealously. At various times health visitors and social workers made unsuccessful attempts to persuade her into sheltered accommodations, and once a week the local vicar knocked on her door to make sure she was still alive. He was always cursed loudly for his trouble from an upstairs window, but he took it in stride, despite Annie's refusal to go anywhere near his church.
I knew her only by sight because we lived at the other end of the road but I never understood why the street took against her so strongly. My husband said it had to do with property values, but I couldn't agree with him. When we moved onto Graham Road in 1976 we had no illusions about why we could afford it. It had a Richmond postcode, but it was very definitely "on the wrong side of the tracks." Built for laborers in the 1880s, it was a double row of two-up, two-down terraced housing off the A316 between Richmond and Mortlake, and no one who bought a house there expected to make a fortune overnight, particularly as council-owned properties were seeded among the privately owned ones. They were easily identified by their uniform yellow doors and were looked down on by those of us who'd bought our houses because at least two of them held problem families.
Personally, I thought the way the children treated Annie was a better barometer of the adults' feelings. They teased her mercilessly, calling her names and aping her dot-and-carry trot in a cruel demonstration of their right to feel superior, then ran away with squeals of fear if their pestering irritated her enough to make her raise her head and glare at them. It was a form of bearbaiting. They goaded her because they despised her, but they were also afraid of her.
In retrospect, of course, I wish I'd taken up cudgels on her behalf but, like everyone else who stayed silent, I assumed she could take care of herself. Certainly the children weren't alone in finding her intimidating. On the one occasion when I made an attempt to speak to her, she rounded on me angrily, calling me "honky," and I didn't have the courage to try again. Once in a while afterward I would come out of my front door to find her staring up at our house, but she scampered off the minute she saw me and my husband warned me not to antagonize her any further. I told him I thought she was trying to say "sorry," but he laughed and said I was naive.
On the night she died a freezing rain was falling. The hunched trees that lined the pavements were black and sodden with water and made the street look very grim as I turned onto it from the main road. On the other side, a couple paused briefly under one of the few lampposts, then separated, the man to walk ahead, the woman to cross on a diagonal in front of me. I pulled up my coat collar to shield my face from the stabbing rain before stepping off the curb to run through sheets of water toward my house.
I found Annie lying on the edge of the yellow lamplight in a space between two parked cars and I remember wondering why the couple hadn't noticed her. Or perhaps they had chosen to ignore her, believing, as I did, that she was drunk. I stooped to rock her shoulder but the movement caused her to cry out and I stepped back immediately. She lay with her head cradled in her arms, her knees drawn up tight against her chin and I assumed she was protecting herself from the rain. She smelled powerfully of urine, and I guessed she'd had an accident, but I shrank from the responsibility of cleaning her up and told her instead that I was going home to call for an ambulance.
Did she think I wouldn't come back? Is that what persuaded her to uncradle her poor head and lift her pain-filled eyes to mine? I have no idea if that was the moment she died
they said afterward it probably was, because her skull was so badly fractured that any movement would have been dangerous
but I do know I will never experience such an intense intimacy with another human being again. I felt everything she felt
sorrow, anguish, despair, suffering
most poignantly, her complete bewilderment about why anyone would want to kill her. "Was I unlovable?" she seemed to be asking. "Was I unkind? Was I less deserving because I was different?"
Many hours later, the police questioned my incoherent ramblings. Did Miss Butts actually say these things? No. Did she accuse someone directly? No. Did she speak at all? No. Did you see anyone run away? No. So there's no evidence to support your assertion of murder other than a puzzled look in her eyes? No.
I couldn't blame them for being skeptical. As they pointed out, it was unlikely I could have interpreted Annie's look with any accuracy. Sudden death was always difficult to come to terms with because the emotions surrounding it are complex. They tried to convince me it was heightened imagination following my shock at finding her and offered me post-traumatic stress counseling to get over it. I refused. I was only interested in justice. As far as I was concerned, whatever residual shock I felt would vanish the minute Annie's murderer or murderers were caught and convicted.
They never were.
The coroner's verdict, based on the postmortem results and witness statements taken during a two-week police investigation, was death by misadventure. He painted a picture of a woman whose hold on reality was poor even when she was sober but who, on the night in question, had been drinking heavily. Her blood showed a high level of alcohol and she was seen staggering around the road by passing motorists and several neighbors. One said he had tried to persuade her to go home but gave up when she started swearing at him. Her injuries
in particular the fractures to her skull and broken left arm
were consistent with a glancing blow from a heavy vehicle, probably a truck, which had thrown her between the stationary cars and against the lamppost as it passed. Due to the heavy rainfall that night, it was unsurprising that no blood, hair or tissue traces were discovered on the lamppost. The fact that no driver had come forward to admit liability was not considered significant either. It was dark, pouring with rain, parked vehicles restricted visibility and the street lighting was inadequate. With a critical reference to council officers who allowed badly lit streets in poorer areas to become rat-runs for heavy traffic, the coroner endorsed the police view that Miss Butts had stumbled off the pavement into the side of a passing truck without, in all probability, the driver being aware of the contact. It was impossible to establish when the accident occurred, although due to the seriousness of Miss Butts's injuries it was doubtful she could have survived more than fifteen to thirty minutes.
It was a sad case, the coroner said, which highlighted the need to have an element of compulsion in the treatment of vulnerable people in a modern society. There was clear evidence
the squalid state of her house when the police entered it the day after her death; her alcohol dependency
that she was unable to look after herself properly, and it was his opinion that if social services and health workers had been able to force Miss Butts to accept help, she would still be alive today. The witness who found Miss Butts's body had alleged a racist campaign against Miss Butts by her neighbors, but there was no evidence to support this and the coroner accepted that her neighbors' actions had been prompted only by concern for her welfare. In conclusion and despite the same witness's emotional insistence that Miss Butts had been deliberately pushed in front of an oncoming vehicle, the coroner's verdict was unequivocal. Death by misadventure. Case closed...
I fell ill shortly afterward and took to my bed for several days. I told the doctor who came to see me that I had the flu, but he diagnosed depression and prescribed tranquilizers, which I refused to take. I became frightened of the telephone; every sound from the road had me jumping out of my chair. My husband, Sam, was initially sympathetic but soon lost interest when I began sleeping in the spare room and talking about rats in the downstairs lavatory. Thereafter, I developed mild agoraphobia and found it harder and harder to go to work. I was a teacher at a local comprehensive school and my overburdened colleagues were even less sympathetic than Sam when I said I felt stifled by the way the children crowded around me in the corridor. After a few weeks I ceased going in altogether.
The whole episode
from Annie's death to the loss of my job
caused a rift between me and Sam, who walked delicately around me for weeks, then took to speaking to my mother for hours on the telephone. He was careful to close the door, but I could still hear most of his conversation through the paper-thin walls on the rare occasions when I bothered to listen. The phrases repeated most often were "impossible to live with..." "having a nervous breakdown..." "got a thing about rats..." "stupid fuss over a bloody black woman..." and "divorce..."
In Separate Bedrooms by Carole Mortimer
Landlocked by Doris Lessing
Last Light by M. Pierce
Imago by Celina Grace
Elemental by Brigid Kemmerer
Desire's Golden Dreams by Tish Domenick
Cyborg Doms: Fane by H.C. Brown
Home Run: A Novel by Travis Thrasher
Meet Me in Venice by Elizabeth Adler
Madonna by Andrew Morton
readsbookonline.com Copyright 2016 - 2021


Are you looking to make friends online? Oh! So you want to make friends online, but only those who are living in UK? What? Used many chatting websites but failed to make your intention touch reality so far? Don't panic! Omegle UK is here to help you out.
Well, just as the name goes, Omegle United kingdom is meant to help you find people living in UK. You can chat with people from UK and can be friend with them if things go well in the chat. You just don't need to go to chat room that contains people living in different parts of world. Such general chat rooms won't work for you, but would just consume your time.
There are many reasons to use Omegle UK to chat with random people living in UK. Intuitive user-interface is the first to name here. The user-interface of this random chatting site is just amazing. Even the first-time internet users can use this site without any difficulty whatsoever.
Second thing I like the most is the website's popularity. Hundreds of thousands OF people use this site everyday to make new friends online. Since you come across people of different mindset on this site, so chances are quite high that you will get someone that suits your interest area, and thus will become friend of them.
The website offers two types of chat- Text Chat and Video Chat. Go for whatever you like to. Text chat is good, but video chat is best. Come on, it lets you see the person you are chatting with. Needless to mention that you need to have webcam to become visible to people chatting with you.
Omegle United Kingdom serves you with random people to chat with. You can start chatting with them, or if you may like, may disconnect the chat anytime by clicking on Disconnect button.
The website is simple to use and is free to use. You don't need to fill any registration form at all to become eligible to use this site. Just open it in your browser and you are ready to be part of chatroom; a chatroom where people living in UK come randomly, a chatroom where you chat one-to-one, either via text, or via video plus text.
Omegle UK deserves your try. Do so right away and share your experience with us.
I am from India, I love to chatting with uk girls.
Asslamulekum I from Pakistan and living in uk. Looking for Pakistani girls in uk.
Hi i want to chat with girl from united kingdom.
I don't have one yet for dating.
I'm new here i just found this chat site and I'm looking forward to having some fun.
Awesome chat rooms for both text and video chat.
Hey honey give me your number, I will call you.
i want to chat with any one from USA.
Want to chat with the lovers of humanity.
Hi, i am new to this site, ready to chat girls from UK.
Hi, every one girl and auntie, I am from India ,it is my what's app number 07301582786 ,I am ready to what's app number.
9718525804 ITS MY WHATS APP. I am ready to chatting with any other person.
I am from India . My whats app no 08726873383. I am waiting for you.
hi i am pakistani .my fb id [email protected] 03046564986 is my phone number i want to chat with CANADA girl and UK girl add me.
My whatsapp no.9768600262 Plz add me.
Hi am michael from nigeria, seeking for friends from the uk. Please add me up +2347039507278 on whatsapp lets be friends, love you all.


text:
America: A Tribute to Heroes was a benefit concert created by the heads of the four major American broadcast networks; Fox, ABC, NBC and CBS. Joel Gallen was selected by them to produce and run the show. Actor George Clooney organized celebrities to perform and to man the telephone bank. The marketing and public relations was headed by Warner Bros. EVP Corp Comm with assistance from the marketing and publicity departments of all four broadcast networks. It was broadcast live by the four major American television networks and all of the cable networks in the aftermath of the September 11 attacks on the World Trade Center and the Pentagon in 2001. Done in the style of a telethon, it featured a number of national and international entertainers performing to raise money for the victims and their families, particularly but not limited to the New York City firefighters and New York City police officers. It aired September 21, 2001, uninterrupted and commercial-free, for which it won a Peabody Award. It was released on December 4, 2001, on compact disc and DVD.
On a dark stage illuminated by hundreds of candles, twenty-one artists performed songs of mourning and hope, while various actors and other celebrities delivered short spoken messages. The musical performances took place at three studios in Los Angeles (CBS Television City), New York, and London, while the celebrity messages took place at Los Angeles. Some of the musicians including Neil Young and Eddie Vedder were heard working the phone banks taking pledges. The money raised amounted to over $200 million, and was given to the United Way's September 11 Telethon Fund.
In 2004, "Rolling Stone" magazine selected this concert, along with the later The Concert for New York City, as one of the 50 moments that changed rock and roll.
The show was also simulcast in Canada; Young and another Canadian singer, Celine Dion, performed.
Over 35 network and cable outlets simultaneously broadcast America: A Tribute to Heroes, including: ABC, CBS, Fox, NBC, A&E, BET, Country Music Television, Comedy Central, Court TV, Discovery Channel, E!, ESPN, Fox Family, Fox Sports Net, FX, Galavision, Hallmark Channel, HBO, Lifetime, MTV, Oxygen, PAX, PBS, Sci-Fi, Showtime, Sundance Channel, Telemundo, TLC, TNN, TNT, The WB, Turner South, Univision, UPN, USA Network and VH1.
America: A Tribute to Heroes was simulcast on the Internet at www.tributetoheroes.org and at America Online, as well as on more than 8,000 radio outlets around the country, including Westwood One, Clear Channel Communications and ABC Radio affiliates in major markets.
Internationally, America: A Tribute to Heroes was distributed to broadcasters in more than 210 countries around the world including BBC One in the United Kingdom. Further, the American Forces Network carried the program live on radio and television to American soldiers, sailors, airmen and marines in over 175 countries around the world.
Beth McCarthy-Miller on directing Saturday Night Live in the wake of the 9/11 attacks and directing America: A Tribute to Heroes
Tom Fontana on writing for America: A Tribute to Heroes
Phil Rosenthal on America: A Tribute to Heroes and 9/11