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Process compliance documents for submission to various agencies.
Minimum 3 years' experience as payroll/prevailing wage specialist working in the construction industry.
Knowledge of blending prevailing wages in different California counties.


The partly-thawed Antarctic Peninsula seems like an obvious place to set a novel in a globally-warmed future, but it's never crossed my mind and I can't say I've come across it in any other book before. Paul McAuley describes a wondrous wilderness of retreating glaciers, hardy frontiersmen, burgeoning greenery and blossoming towns that are working their way inward from the tip of the peninsula. It's a magnificent setting for a tale of survival, human intrusion into nature and the fight against repeating history's mistakes.


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>> Sports
>> Raiders
Darren Waller sees plenty to like in evolving Raiders offense
The Raiders' incredibly productive tight end is also taking his leadership role seriously on a younger, potentially better offense.
By Vincent Bonsignore / Las Vegas Review-Journal
Raiders tight end Darren Waller (83) warms up with teammates during NFL football practice at Raiders headquarters in Henderson on Wednesday, June 2, 2021. (Chase Stevens/Las Vegas Review-Journal) @csstevensphoto
Raiders tight end Darren Waller (83) warms up alongside offensive lineman Andre James (68) during NFL football practice at Raiders headquarters in Henderson on Wednesday, June 2, 2021. (Chase Stevens/Las Vegas Review-Journal) @csstevensphoto
Raiders tight end Darren Waller (83) runs through drills during NFL football practice at Raiders headquarters in Henderson on Wednesday, June 2, 2021. (Chase Stevens/Las Vegas Review-Journal) @csstevensphoto
Coming off two straight seasons in which he posted numbers as good as any offensive player in the NFL, no one would blink an eye if Raiders tight end Darren Waller played the "voluntary" card in order to skip OTAs.
Yet there was Waller last week with 80 or so of his Raiders teammates on blistering hot Las Vegas days that made an industrial oven seem like a shady safe haven.
Just as he has been throughout the entire offseason program. And just as he is expected to be over the next few weeks as OTAs wind down and the Raiders wrap up their offseason with a mandatory three-day minicamp.
He'll do all that while fully acknowledging, every step of the way, the mental challenge of not getting too comfortable or satisfied in spite of already claiming his place among the best players in the NFL by producing 197 receptions for 2,341 yards and 12 touchdowns over the past two seasons.
"I feel like it's hard not to coast, you know what I'm saying? That's just human nature," Waller said. "We do things for a while and naturally, we want to be like, 'OK, I got this, I got this figured out.'"
Setting a standard
It is in those conflicted moments that Waller has to get brutally honest with the side of himself that feels he's earned the right to let the foot off the gas.
"Realizing this game isn't going to give me anything, I'm not entitled to anything just because I've put a couple of years together," Waller said. "Like people say, rent is due every day. I still have to show up and work just as hard just to put myself in positions because I still can't control the results at the end of the day … but I can always control my effort, my preparation, my attitude. Those are the things I try to control."
So Waller shows up. For himself, the franchise for which his face is now synonymous and the slew of young players that look to him for guidance
"Me being somebody the team wants to look to as a leader with this franchise, I want to display qualities that are admirable and that young players can look at and see like OK, he's really doing it," Waller said. "He's really walking the walk. He's not just talking it or resting on his laurels."
The Raiders missed out on this experience last year when COVID-19 forced the closure of all team facilities and wiped out traditional offseason programs. While it's impossible to calculate how much of a negative effect that had on their disappointing season, the year-long struggles of an extremely young defense and the failure of their entire rookie class to take off suggests it played a role.
Understanding how important the development of the Raiders' youngest players is to their success this year, Waller is happy to be the pied piper they need to understand the importance of this time of year.
"I'm glad that the rookies don't have to be at home on laptops in rooms by themselves, trying to learn playbooks with great volume," Waller said. "They can be here, be around coaches and really feed off of the environment. I feel like that's much more suited for learning and learning fast.
"So I'm glad that everybody's here. I'm glad that everybody's invested and excited about what the season can be for us. I feel like we're off to a great start."
An encouraging start
That applies to the much younger supporting cast around Waller, including an offensive line that underwent a massive overhaul and a wide receiver room now counting on a pair of second-year players to take big steps forward.
The successful emergence of wide receivers Henry Ruggs and Bryan Edwards could mean a more balanced receiving corps and a shift of defensive attention away from Waller. A younger, more physical offensive line could mean improvement in the run game, which would assist the Raiders' play-action pass game and put Waller in more favorable matchups.
The result could be an even more potent and efficient offense than the one that scored the 10th-most points in the NFL last year.
All of those dynamics will remain "ifs" until further notice. But the up-close look Waller is getting leaves him confident the Raiders can be a more explosive team in 2021.
"Especially just looking first at Henry and Bryan and them taking the steps toward being the players that we know they can be," Waller said. "Two very talented young guys that just need to continue to grind and continue to be on their processes in order to see the success that they want to see."
Waller also likes what he sees on the offensive line, especially from center Andre James and left tackle Kolton Miller.
"I know that a lot of guys have shifted, but just seeing how Andre James is taking control of the room and Kolton, how those guys are setting a high standard. I really believe in the offensive line and what they're building."
Contact Vincent Bonsignore at vbonsignore@reviewjournal.com. Follow @VinnyBonsignore on Twitter.
Posted on: Football, NFL, Raiders, Sports
Tagged: mc-sports
MOST READ: Raiders
Maxx Crosby's dunk has the Internet buzzing
Raiders will have offensive line options in free agency
Raiders could use free agency to solidify defensive line
Raiders mailbag: Tom Brady, Derek Carr on fans' minds
Raiders adding more suites at Allegiant Stadium
Like and follow Vegas Nation
By Adam Hill / RJ
There are several options on the interior and the edge for the Raiders to solidify their defensive line in the free-agent market this offseason.
By Bill Eichenberger / RJ
In a pickup game on an outdoor court, Raiders defensive end Maxx Crosby throws down an impressive dunk.
January 27, 2023 - 3:30 pm January 28, 2023 - 11:13 am
Here's a look at the market for potential free-agent offensive linemen, a unit the Raiders will be looking to solidify in the offseason.
By Vincent Bonsignore / RJ
January 27, 2023 - 12:48 pm January 27, 2023 - 12:48 pm
Raiders fans have questions about where Derek Carr will play next season and if Tom Brady is a realistic option for the team.
Raiders likely to be in market for role players at WR, TE
The Raiders probably will be looking for pass catches to complement Davante Adams, Hunter Renfrow and Darren Waller. Here's some pending free agents who could fit their needs.
By Mick Akers / RJ
The Raiders' plan to add additional suites at Allegiant Stadium is part of the team's commitment to keeping the over two-year-old facility among the best in the world.
What will Raiders do if Josh Jacobs leaves in free agency?
January 25, 2023 - 1:37 pm January 26, 2023 - 9:59 am
The Raiders have prioritized re-signing free agent Josh Jacobs, who led the NFL in rushing yards this season. But if he leaves, here are some options at running back.
Raiders' options at quarterback not limited to Tom Brady
The Raiders are looking for a starting quarterback after making the decision to move on from Derek Carr. Here are some of their options either through free agency or trade.
Allegiant Stadium plans upgrades in 2023
January 24, 2023 - 10:23 am January 24, 2023 - 8:35 pm
Plans call for adding multiple club seating areas to the outside portions of the Modelo and Twitch lounges on the 100 level of the $2 billion facility.
Jon Gruden's NFL lawsuit put on pause
The Nevada State Supreme Court has called a timeout on Jon Gruden's lawsuit against the NFL.
Raiders mailbag: Tom Brady on the mind of Raiders fans
Raiders' pending free agents: Who to keep and who to let go

redpajama_set_name: RedPajamaCommonCrawl


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The Fall/ TV
The Fall: Series 3 Confirmed
The Fall, created, written and directed by Allan Cubitt, and produced by Fables in association with Artist Studio for BBC Two, has been commissioned for a third series by Kim Shillinglaw, Controller BBC Two and Ben Stephenson, Controller BBC Drama Commissioning.
Following the gripping cliff-hanger of series two, stellar and award-winning lead cast Gillian Anderson and Jamie Dornan will return as Detective Superintendent Stella Gibson and serial killer Paul Spector.
The popular psychological thriller will continue the story following the critical and ratings success of season two, which gained a series average of 3.3 million viewers and 12.5 percent share of the audience, making it one of BBC Two's highest performing dramas of 2014. The season finale was watched by 3.6 million consolidated viewers with a 12.7 percent share.
Writer and director Allan Cubitt says: "We'd like to thank the BBC, Kim Shillinglaw, Ben Stephenson and Stephen Wright for showing such confidence in the drama we have created with Artists Studio. The cliffhanger ending of season two was conceived in the hope of further exploring the characters and the themes that are at the heart of The Fall. We're grateful to be given this opportunity by the BBC."
Ben Stephenson, Controller, BBC Drama, says: "The story is far from over. Allan has known the end game from the beginning – the cat and mouse game between Gillian and Jamie has one last act to play out. Who will win?"
The 5×60 series will return to Belfast as the complex relationship between Detective Superintendent Stella Gibson and Paul Spector intensifies and the story of the investigation into the murders becomes more complex and intricate.
Kim Shillinglaw, Controller BBC Two adds: "I want programme makers to come to BBC Two to do their most distinctive and signature work and I'm therefore delighted that Allan Cubitt and the team are bringing The Fall back for a third series, demonstrating once again the continued strength of drama on the channel."
Gub Neal, Producer, Artists Studio, says: "It's thrilling to be continuing the story between Stella Gibson and Paul Spector. A third season gives Allan Cubitt and Artists Studio a chance to pursue the investigation in a way that few crime dramas ever do and complete a cycle of events which will have held audiences for over three years."
The Fall is produced by Gub Neal for Artists Studio, part of Endemol Shine Group. The Executive Producers are Allan Cubitt, Justin Thomson-Glover, Patrick Irwin and Gillian Anderson.
The series was commissioned by Kim Shillinglaw, Controller, BBC Two and Ben Stephenson, Controller of Drama Commissioning, and is executive produced by Stephen Wright through BBC Northern Ireland.
Distributed by Endemol Shine International, The Fall has sold to 200 countries including Netflix in the US, BBC First Australia, Bravo Canada, DirecTV Latin America, Globosat Brazil, RTE Ireland, Fox International Channels across Asia as well as a multi-territory deal with ZDF Enterprises Germany.
The Fall /
The Fall: Series 2 Trailer
The Fall: Colin Morgan Joins Series 2
‹ Marvel's Daredevil: New Trailer	› The Walking Dead: 513 "Forget" Review


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Trzeci okręg wyborczy w Dakocie Południowej - były jednomandatowy okręg wyborczy do Izby Reprezentantów Stanów Zjednoczonych w Dakocie Południowej. Okręg został utworzony po spisie ludności w 1910 roku, gdy Dakota Południowa zyskała trzeciego przedstawiciela w Izbie Reprezentantów i zlikwidowany po spisie ludności w 1930 roku, gdy Dakota Południowa utraciła swojego trzeciego przedstawiciela w Izbie Reprezentantów.

Chronologiczna lista przedstawicieli

Bibliografia
 Biographical Directory of the United States Congress

3

redpajama_set_name: RedPajamaWikipedia


Expressions Orthodontics on Edmonton's northside believes a great smile shows the world know how wonderful you really feel inside. It lets everyone know who you are as a person and most importantly, it allows you to share with them all of your hopes and dreams. Dr. Sunny Leong and his team have one simple orthodontic service goal: to help everyone smile. We offer invisalign, lingual braces and other teeth-straightening options. While we want our patients to come for braces and orthodontic treatment, we really want them to leave embracing our slogan: love your life, love your smile! And they do. We serve those from from all over the Edmonton area — from Sherwood Park, St. Albert, to West Edmonton and beyond.
We are working hard to be Edmonton's premier northside orthodontist with personal attention and unparalleled customer service. We inform, educate and provide viable treatment options. We focus on providing as much value as we can.
Family Loyalty Program (5% off next members)!
Just look at what a difference orthodontic treatment can make for your smile!
We appreciate the opportunity to be considered for your Edmonton orthodontic care and look forward to welcoming you to our practice. We're making it easier to find an appointment that works best with your schedule. Our practice now offers unique extended hours which make the accessibility to our office EASY!
We are open Saturdays 9 am to 3 pm by appointment.
LOVE US? TELL THE WORLD!
If you want to share your experience with Expressions Orthodontics and Dr. Sunny, please feel free to go to Rate MDs and let us know how we did.


The Fellowship was fortunate enough to obtain a copy of BLOODSHOT'S DAY OFF #1 from Valiant Entertainment. Eliot Rahal writes, Khari Evans draws, Andrew Dalhouse colors, and Dave Lanphear letters.
Tank Man and Viet Man have finally been rewarded for their years of unusual service – a day off, free to do whatever they want. Both have been out of circulation for a really long time, so they do what comes naturally. And both have very different stories on how they got involved with Project Rising Spirit. Even so, their stories in this issue are not so different by the end.
I've enjoyed the Bloodshot stories up to this point, so I was curious to see what a new creative team would do with it. And I'm quite happy with the choice to flesh out some new characters. These are characters out of time, very different but united by one thing (no spoilers here). This is very well written, and the art is amazing, just as comfortable in one flashback timeframe as in the next.
This is a much more emotional story than I was expecting, and in all of the best ways. If character development is your thing, go get this book.
BLOODSHOT'S DAY OFF #1 is available now from your local comic shop, or online at valiantentertainment.com.


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Q: Changing a list name variable in a for loop judges = ["judge 1", "judge 2", "judge 3", "judge 4", "judge 5",]
couples = [1, 2, 3, 4, 5]

x=0
j=0
done = False
def judging(j, x, judges, couples,):
  couplescores1 = []
  couplescores2 = []
  couplescores3 = []
  couplescores4 = []
  couplescores5 = []
  print ("scoreing couple",couples[j],)
  for i in couples:
    print("score couples" ,couples[j],judges[x],"out of 30 minimum 1")
    score = int(input( ": "))
    couplescores[j].append(score)

    x=x+1
  j=j+1
  if j == 5:
    done = True
  else:
    x = 0
    judging(j, x, judges, couples,)
judging(j, x, judges, couples,)

so that is my code and what i need help with is the append what i want is for the [j] in it to be counted as its integer so that the first time round it saves score into couplescores1 then without needing extra long code next round couplescores2 and ect i do know i an use if and elif statments for example
    if j == 0:
       couplescores1.append(score)
    elif j == 1:
       couplescores2.append(score)

ect but i want to avoid it if i can
thank you

A: I am not sure what you wanted completely, however I think I know what you are trying to do. I added a list that holds the scores for the couples from 1-5 called couplescores. I then add the score of that couple to the corresponding place in the list, and at then at the end print it.
judges = ["judge 1", "judge 2", "judge 3", "judge 4", "judge 5",]
couples = [1, 2, 3, 4, 5]
couplescores = [0,0,0,0,0] # Holds scores for the couples 1-5

x=0
j=0
done = False
def judging(j, x, judges, couples,):

    print ("Scoring couple",couples[j],)
    for i in couples:
        print("Score couples" ,couples[j],judges[x],"out of 30 minimum 1")
        score = int(input(": "))
        couplescores[j] = couplescores[j] + score # Adds the score to the list

        x=x+1

    j=j+1
    if j == 5:
        done = True
    else:
        x = 0
        judging(j, x, judges, couples)

judging(j, x, judges, couples)
print(couplescores) # Prints scores

redpajama_set_name: RedPajamaStackExchange


text:
Anthony Mezzacappa
For research in the fields of astrophysics and supernova science.
Robert J Harrison
For studies of the electronic structure of molecules, computational chemistry, and high-performance algorithms and computing.
Thomas G Thundat
For developments in biomedical engineering and biotechnology, micromechanical devices, and nanoscale imaging and detection.
James R Beene
For innovative research in nuclear structure physics, particularly in areas leading to a quantitative understanding of the excitation and decay of the elementary collective modes of nuclei, and for vision and scientific and technical leadership in building the Holifield Radioactive Ion Beam Facility into a forefront laboratory for nuclear science.
Stan A David
For significant advancement of welding science and technology through original and definitive research, particularly for contributions to understanding the solidification behavior of the weld pool, phase stability microstructure-property correlations in welds, and continued leadership and outstanding service to the national and international welding research community.
Benjamin A Carreras
For contributions to understanding plasma turbulence and the nonlinear properties of magnetohydrodynamic instabilities, especially their role in explaining the behavior of magnetically confined plasmas, and for development of new magnetic confinement concepts that overcome these limitations.
Thomas A Carlson
For ideas and techniques which have opened new frontiers in chemical research and now play major roles in the study, understanding, and use of photoionization and photoelectron spectroscopy in studies of "hot atom" chemistry and work with multiply charged molecular ions.
Peter Mazur
Mazur, who led the Theoretical and Applied Cryobiology Group in the Biology Division, concentrated his research on fundamental mechanisms responsible for injury to cells during freezing and warming. This research and other basic findings were described in his review paper "Freezing of Living Cells: Mechanisms and Implications."
(-) Former Research Fellow (7)


This years Orange County LDS Singles Conference, For registration options (including the a la carte menu), refer to the Registration Page for details.
Complete your À La Carte record collection. Discover À La Cartes full discography. Shop new and used Vinyl and CDs.
Private Prenatal Classes; postpartum support; A La Carte Services & Fees; à la carte services. Bloom – Prenatal Classes & Postpartum Support.
A La Carte index site for new, rare and collectable A La Carte vinyl records and cds.


The great tradition of the expression is enclosed into the tins proposed by UVABIANCA. Products which are enclosing the goodness of the products made in the manner of grandmother, with recipes handed down from generation to generation, with annual events that respect the seasonality and the production cycles of the raw materials. With these assumptions, we could not but choose great products, with great goodness, 'genuineness and lightness.
In an elegant bottle magnum size Gennaro ESPOSITO presents fillets unpeeled, collected in Sarno, a small town of Nocera, but famous all over the world for the red gold that is produced in its territory.
The sauces URSINI have their own character, frank, decided, because even thought to live alone, to be enjoyed as a main dish.
We like to think of the way of eating like spicy, imaginative and fun. PIKKADILLY have the ability to make any meal, a time to have fun with this unique crunchiness they have.


text:
<!DOCTYPE html>

<meta charset="utf-8">
<meta name="viewport" content="initial-scale=1.0, maximum-scale=1.0, width=device-width">
<title>Crosswalk WebRuntime Sample Page</title>
<link rel="author" title="Intel" href="http://www.intel.com">

This is a sample page for Crosswalk WebRuntime usecase.

Crosswalk WebRuntime

Crosswalk is an HTML application runtime, built on open source foundations, which extends the web platform with new capabilities.

The web platform already has many advantages, from easy cloud services integration to flexible user interface elements. Recently, the platform has become even more attractive, with its increased focus on mobile performance and device APIs.

Sample Image

redpajama_set_name: RedPajamaGithub


Marion Caunter has finally wed! The host of E! News Asia (Astro Channel 712) has finally tied the knot with boyfriend SM Nasarudin SM Nasimuddin! She was told to look "angelic" in an all-white traditional Malay baju kurung during the ceremony dubbed to be the "Wedding of The Year".
The wedding (akad nikah) was held at Bukit Tunku residence of Nasa rudin, Naza's joint group executive chairman last Thursday.
The event was a closed one with family members, relatives and a few celebrities.
She wore a custom-made wedding gown by Vera Wang, of course.
Deputy Prime Minister Tan Sri Muhyiddin Yassin, celebrities like Elaine Daly, Deborah Henry, Tom Abang Saufi and Khoon Hooi. Local artists Ning Baizura and Sean Ghazi performed with the Russell Curtis band. Wow wow wow!
Probably a honeymoon, but it was said that the newlyweds will continue their wedding celebration at the island of Maldives. E!News Asia will air exclusive footage of it from 26 December 2010 to 2 January 2011.
Anyhow, congratulations to Mr and Mrs Nasarudin!
Hi there! Seriously?? I mean, some people keep their christian name or get a whole new muslim name..
Hi! It's actually up to an individual. You can get another muslim's name and keep your surname with and added of Bin/Binti Abdullah at the back. Yeah, converting to Islam is like a new spiritual journey to an individual, you might want to get a good muslim name with good meanings. Like hers, she keeps her full name with added Abdullah at the back. So it's up to individuals to interpret the meaning of his/her conversion itself. Hopefully, this enlightens your thoughts.
Have a great day! Happy new Year!
p/s: "Abdullah" is a 'parent' name you must put when you convert to Islam.
Hey anonymous! xD i see...thanks for explaining! Appreciate it.


text:
Home / Film Interviews / Tom Hughes on Shepherd, The Laureate, and the human condition
Alex Heeney / December 1, 2021
Tom Hughes on Shepherd, The Laureate, and the human condition
Tom Hughes discusses Shepherd, The Laureate, finding the rhythm of his characters, being a Ben Whishaw fan, and his fascination with the human condition.
Tom Hughes stars in The Laureate
At Seventh Row, we pride ourselves on seeking out the best hidden gems that nobody's talking about to ensure that our readers never miss a great film again.
Click here to sign up for streaming recommendations every Friday.
If presented with the IMDb credits of Tom Hughes, chances are, you'll go, "Oh, I loved him in that!" in response to at least one of his roles. Recognizing him from part to part — despite his coverboy good looks — may be a challenge because he's a real character actor who changes his physicality and movements, and his accent, too. This year, Hughes has headlined two films which had their world premiere in the fall: Shepherd (at the London Film Festival, now in UK cinemas), in which he plays a man alone on an eerie Irish island, slowly going mad with grief; and The Laureate (at the Mallorca Film Festival, still seeking distribution), in which he plays WWI poet Robert Graves (friend to Siegfried Sassoon, who appears in the film) in the PTSD-ridden years after the war.
Hughes first burst onto the film scene in 2010 with a supporting turn as Bruce in Cemetery Junction — alongside Ralph Fiennes, Matthew Goode, and Emily Watson — in which he regularly stole the show. As played by Hughes, Bruce is a suave womanizer with a penchant for picking bar fights; he steadfastly avoids dealing with the trauma of being abandoned by his mother as a child, after which he was cared for by his now disabled father. It's a role that lets Hughes do what he does best: find a rhythm for a character, offer enormous charisma, and pepper in moments of great vulnerability and insecurity. After spending the film moving quickly, fluidly, and confidently in his stride, he gets a bit of news that completely transforms his worldview, and we see him physically stumble — his movements are jerky, less smooth, like he has to force himself to keep moving forward. The scene that follows will break your heart.
'Hughes is a shapeshifter and hard to pin down: his abusive boyfriends are never just abusive boyfriends, and his romantic leads are never just swoon-worthy blank slates.'Click To Tweet
Cemetery Junction should have been the role that launched him into stardom; the always prescient British Independent Film Awards nominated him as "Most Promising Performer" that year. It didn't translate into instant stardom, but it did lead to a series of complex supporting roles, mostly on television. I first took notice of his work in 2012 as the Duke of Aumerle — one of the beautiful boys in Richard II's harem — in Rupert Goold's Richard II. It's a part that, most of the time, would go unnoticed, even though he's key to the plot and Richard's character: he goes from Richard's innermost circle to being pushed into betraying him.
At this point, Hughes is probably most famous for playing Prince Albert, husband to England's Queen Victoria, in Victoria (2016–2019). Unlike the forever punchable Prince Phillip on The Crown, Albert is the perpetually supportive husband, who learns to live in his wife's shadow but also to prop her up without throwing a temper tantrum every five minutes. Much like Bruce in Cemetery Junction, Hughes's Albert is charming if somewhat awkward; his movements often seem to mirror the billowing, long blazers of the day. A big part of what Hughes brings to the role are quiet moments of uncertainty, in which he reveals himself to the camera if not yet the other characters. You might assume he's posh based on his famous princely role and RADA education, but he's one of the few British actors who can legitimately claim to not be posh.
Tom Hughes stars as a builder in the BBC series Paula
Hughes is a shapeshifter and hard to pin down: his abusive boyfriends are never just abusive boyfriends, and his romantic leads are never just swoon-worthy blank slates. In About Time (2013), he played the abusive boyfriend that Domnhall Gleeson's character wishes his little sister had never met. A few years later, in Paula (2017), he's another abusive husband (and father), who can be charming, but is prone to anger and sympathetic bouts of insecurity, partly to do with his social class. You get why Paula immediately sleeps with him when he shows up at her home as a builder, and you're genuinely shocked, if not that shocked, to discover how sinister his behaviour can get. In a small part in Dancing on the Edge (2013), he seems like the sweetest, if posh, young man, but he can't control his anger and is easily seduced by the promise of power.
Tom Hughes stars in the "romantic adventure" Dare to Be Wild, wearing many loud necklaces
Likewise, Hughes's more romantic leads have never been easily pinned down. Even the "romantic adventure" Dare to Be Wild (2015), in which he shows up primarily to entice the lead with his beauty, take off his shirt, make a lot of clinking noises with all of the necklaces he wears, and say vague things about gardens. The film is structured like their romance is going to be the centrepiece, but he neither plays a great seducer nor a great lover: he keeps his distance, waiting for her to make the first move. Similarly, Prince Albert is, by nature, a romantic character: his entire role in the British royal family is because he married the Queen, and in a time when all other wives were meant to defer to their husbands, he defers to his wife.
In The Laureate, Hughes stars as WWII poet Robert Graves, a man also in a seemingly modern marriage — for the 1910s, at least — whose marriage opens up to involve a third person because caring for him in his PTSD state (in addition to their child) proves too much for his wife. Much like Vita & Virginia, the film depicts several surprisingly romantic relationships, but at the centre is Graves, a smart and articulate man who is unable to express his own feelings of trauma, which creates fissures in his marriage. Much like in Hughes's previous roles, there are moments when Graves seems to revert to his childhood self: scared, shivering, traumatised, uncertain how to find comfort.
In Shepherd, Hughes's Eric is dealing with a different kind of grief: his pregnant wife has died, and he feels he's to blame. In an act of both self-flagellation and escape, he takes a job on a remote island in Ireland, where he has nobody but his dog — and occasional creepy appearances by Kate Dickie for supplies — for company, and his sanity starts to unwind. It's a physically demanding part, in which Hughes, once again, goes to scary, vulnerable emotional places that many actors never quite reach — this time, in a genre film context.
After the world premiere of The Laureate at the Mallorca Film Festival, I sat down with Hughes to talk about his two recent films, his approach to acting, his Ben Whishaw fandom, and how he's constantly working to learn and improve as an actor.
Tom Hughes stars as WWI Poet Robert Graves in The Laureate
Seventh Row (7R): What got you interested in the part of Robert Graves and the story of The Laureate?
Tom Hughes: I met William Nunes, the writer and director, a long time ago. I was not long starting out in my career, and I went to meet him about another part. I just always remembered the project [The Laureate]. There was a fascinating exploration of what it is to be an artist, but also to meet this man at a point where he's kind of lost himself and is trying to reach for himself.
I was aware of the project for a long time, and then, William reached back out a few years later, and asked, would I maybe think about playing Robert? At that point, I was excited to delve into that character, because he was the thing within the story that I was most drawn to. Robert Graves, as a person, was fascinating. There's no denying the impact that he's had with his literature and its influence on so many people. Spike Milligan, for example, that acerbic wit, the Mercurial geniuses. John Lennon, even, was so inspired by Spike Milligan. I felt like a lot of that spark was in Robert. I was drawn to trying to find that.
But most importantly, [I was drawn to] finding that within him a moment where he's lost that spark. That felt like an interesting challenge as an actor. I was attracted to the idea of playing such an interesting bloke, a conflicted bloke, a guy who not only has this very important place in artistic history, but also is a fascinating walking contradiction of many incredible parts.
7R: What was your process for figuring that out?
Tom Hughes: Initially, to delve into his work, to try and find out who he is, what he is with his wings the most expanded, to try and really draw down on that and see where that came from. I thought it was really important to place him in a very human context outside of the artistry within him. [I wanted to explore] the significance of the impact of the war on him and how that affected the animal that he was.
I spoke to some guys that have struggled with PTSD, which I think Robert most definitely did. I tried to really listen to that, and in turn, understand how that can impact the body, to try to find how that would inform and hinder and reflect and be part of the whole that is him.
Tom Hughes on the set of The Laureate with his director
7R: You were saying that you were thinking about how the PTSD would affect his body. How did you work out how that would be embodied through his physicality?
Tom Hughes: One has to remember that he is a product of his time. The gentlemen that I was looking at, who gave me their time, who have struggled with [PTSD], and who were ex-servicemen themselves — [they now] live in a different time in terms of communication and the ability to talk about what one is going through.
That was quite informative. I took what they saw, and how it would impact them on a daily basis, in [the present day], and how that would manifest itself within them, physically and emotionally. But I also felt that it was also necessary to show that Robert wouldn't have necessarily been able to talk about what he was going through. There was a degree of stiff upper lip around that time.
But also, I'm not sure that he would have had the vocabulary to share that. And that in itself, is a very important thing to note for someone like Robert, who has such freedom of vocabulary. I felt that kind of chain he would have felt, it was like he was locked [up] within. For someone who finds communication so easy, to perhaps not be able to communicate what he's going through is a contradiction.
It was [about] trying to take the things that the guys shared with me, which they were very vulnerable, kind, and trusting to do so, and then put that within the period and the time and the outer constricts and effect of society, at that time.
This guy [Robert Graves], who has a flamboyance within him, a freedom, a wit, fervor, an extreme humour — when we meet him, he is kind of locked up and trapped for a multitude of reasons. I was trying to make that feel like it was rooted in something that would have been honest, on some level, to what someone may have gone through at that time.
Tom Hughes (left) as Prince Albert and Jenna Coleman (right) as Queen Victoria in the TV series Victoria.
7R: You're talking about how we can look at these characters from a modern perspective and then how you translate that into a period performance. That seems of a piece with what you've done as Prince Albert on Victoria. The show has these modern ideas about marriage and his character, but of course, he's also constrained by the time.
Tom Hughes: Exactly, and I actually think that great stories — and please don't for one second think I'm necessarily comparing Victoria or The Laureate to Shakespeare here, because that would be ridiculous. But like Shakespeare, the reason why it's still relevant, and it still resonates, and it still matters to people, is because the human condition doesn't really change. What changes is the surroundings that we find ourselves in and how that is reflected back to us by society and what society allows. Society should constantly be shifting and evolving and trying to get better.
'The human condition doesn't really change. What changes is the surroundings that we find ourselves in and how that is reflected back to us by society and what society allows.'Click To Tweet
Therefore, there are things that are incredibly relevant, incredibly connected, between a nineteen-year-old man's, like Albert's, experience in the 1800s, or Robert's experience post-war as a mid-twenties man, or equally, perhaps, Hamlet's experience or Romeo's experience, or whatever it may be. The human condition is the thing that links them all. I'm often drawn to that element in characters.
When I was growing up, I didn't necessarily watch a ton of movies. I didn't come to acting necessarily wishing to be in movies. I came to acting [through] finding people inherently fascinating, and trying to take the opportunity that films allow to shine a light on those elements of our nature, elements of life, that life kind of dictates that we have to just sweep under the carpet. Those questions, those battles, those wins, those joys, those incredible emotions, they're transient. They're in everything. I don't think they've necessarily shifted.
'When I was growing up, I didn't necessarily watch a ton of movies. I didn't come to acting necessarily wishing to be in movies. I came to acting through finding people inherently fascinating,'Click To Tweet
7R: There's been a lot of stories told recently about World War I (e.g., 1917, Journey's End) and WWI poets (Benediction, The Laureate) . You've done quite a lot of period drama, from Richard II to Victoria to Red Joan to The Laureate. Is there something, to you, that's interesting about looking to the past in order to reflect on it?
Tom Hughes: Definitely, but also to project the future, as well. It's a fine balance, isn't it, between thinking and analysing and questioning and learning from what we've done, as individuals, and trying to improve and get better. But also, as a society, you equally have to keep looking to the future. Otherwise, all you're doing is focusing on the negative things.
I'm interested in human beings, in the animals that we are, in the human condition. And it's just as informative and illuminating to me to look at a nineteen-year-old man, to use the example [of Prince Albert that] you mentioned, where he's the only man in the world that knows what that felt like, at that time. He was nineteen years old when he arrived in England. Victoria herself is going through something that she's the only one who knows what it feels like. Their experiences are very, very singular. And his is very different to hers. And hers is very different to his. And yet they're the only two that have each other.
It's a bit like being in the Beatles: the only people who know what it was like to be in The Beatles are The Beatles. The only one who knows what it was like to be Elvis Presley is Elvis Presley. And I think that's why John Lennon had such a desire to meet Elvis Presley, to tell him how he feels.
You can get enamoured or drawn to the special element of being in The Beatles. But what is fascinating is going, what does that feel like, as a human? It's almost like you take a microscope to the human condition. And yes, that's John Lennon's version of that experience, or whoever it may be — Albert's version, Robert Graves's version. But actually, there's an animal in there, just trying to do their best. In those high stakes, that very extreme circumstance, you learn a lot. If you get it right, if you get the story right, anyone can find something in that.
The thing about the war poets is, I think it was an incredibly unique moment. These were the guys who were perhaps the most equipped — in terms of their personality, who they were, what they were drawn to, what their experiences were — to try and express and vocalise and communicate something that was just beyond anyone's comprehension. Because of the industrial revolution, because of where things were at, there was a direct impact on warfare and weaponry. It was the war to end all wars. It was a war like no other war had been.
I think the war poets were kind of the only guys equipped to try and find a way to express what, broadly, people were feeling at a time when perhaps society wasn't ready to hear that. There's a degree of extreme bravery in actually trying to put pen to paper and express those feelings. Even if it's abstract, it gives a voice to it, which I'm not sure society was actively looking to hear.
Tom Hughes (left) as the Duke of Aumerle and Ben Whishaw (right) as Richard II in Rupert Goold's Richard II film adaptation
7R: Since you did bring up Shakespeare, I wanted to ask you about your experience in Richard II because you played Aumerle in the Hollow Crown film of Richard II, directed by Rupert Goold, very early in your career. I really loved your performance in that. Aumerle is an important character who can get sidelined in so many productions.
Tom Hughes: I do think Shakespeare's got so much to say about life. I think that's why it's lasted the test of time, like, great poetry does, as well. If it's got honesty, it's gonna last; it's still relevant. Like you said, Aumerle is a character that can get overlooked. I think there is a real significance to him. I liked Rupert's take on it. I liked Rupert's take on what Aumerle meant to Richard and vice versa.
'I think if I'm really honest, fundamentally, I'm the biggest Ben Whishaw fan.'Click To Tweet
I think if I'm really honest, fundamentally, I'm the biggest Ben Whishaw fan. So for me, it was like, I get to watch him act. It was early in my career, and just to be in that room… I remember there was a day where we were filming in a church somewhere in South Wales. It was the scene with the crown where the crown gets passed between Bolingbroke and Richard. [It was] Rory Kinnear and Ben Whishaw, with myself, Dave Morrissey, Patrick Stewart, and David Suchet. There's all these actors sitting around watching the scene play out. It was a masterclass between two of the very best stage actors of their generation. They're only a few years older than me, Rory and Ben. As an experience to learn, it was quite incredible. And being the fan of Ben Whishaw that I am, getting to act with him and bounce off him and learn from him was incredible.
I felt that there was a real sensitivity, and Rupert's understanding of Aumerle gave me a freedom to reach out into that. So that job was a gift early on. I feel very fortunate to have gone through that experience.
Tom Hughes as the Duke of Aumerle in Richard II
7R: What did you get from Rupert?
Tom Hughes: It wasn't really an active choice, but I seem to have worked with a lot of writer-directors. That's not something I've necessarily set out to do. One of my very first film roles, which was massive for me, Cemetery Junction, was written and directed by Stephen Merchant and Ricky Gervais. David Hare, not long after that, wrote and directed the first independent film I did [Page Eight].
Rupert being a fantastic theatre director, it was quite incredible to see the forensic detail with which he was able to dissect Shakespeare, with that not being his script. That level of detail was fascinating. If someone's written it, you get this forensic detail, because they've created it. But actually, for him to be able to take Shakespeare and understand it in that way and dissect it in that way and guide the actors in the way that he did… I just got so much from him. He could see layers in the story.
7R: What are your thoughts about costume and how important that is for getting into character?
Tom Hughes: Have you asked many actors that question?
7R: Yes, I have.
Tom Hughes: What do they usually say? I'm genuinely intrigued. It's not going to shape my answer. I know what my answer is.
7R: A lot of people say the shoes are important because it affects entirely how you walk and the body. Most people say the character doesn't totally click with them until they get the costume. Occasionally, some are more like, yes, the costume is important, but I've already figured out the character by then.
Tom Hughes: Yeah, yeah, it's interesting, isn't it? When I was growing up, if I was a fanatical fan of anything, it was music. I've played music since a very young age, and so the rhythm of characters is very important to me. And it's not necessarily something that I actively know — what a character's rhythm is. I wouldn't say that I'm a method [actor]: you don't have to call me 'Robert' when I'm on set playing Robert Graves. I'll be fine.
But there's definitely an element of that moment of shifting. I like to have a line between work and life. I [like] driving to work in the morning, [because] it creates a bit of a distance, and I think it allows you to go to the place that the character is in and then leave that at work, and not take it home with you. That's important, particularly if you're playing the more conflicted characters.
When putting on the costume, there's a degree of stepping into a different kind of rhythm, if nothing else. After that, I'm kind of in the rhythm of the character. I've been lucky that I think everyone I've worked with has never not been good at their job in costumes. A good costume absolutely helps with all of that.
But for me, it's just the whole process: you go into a trailer, and I leave everything in there. I don't want to have loads of things on me — I don't want my keys in my back pocket when I'm playing the character. I try and leave me in the trailer, and take as much of the other person's rhythm with me. So I do walk differently, and the costume definitely plays a part in that.
Tom Hughes with a cigarette dangling out of his mouth as Bruce in Cemetery Junction
7R: How do you figure out the rhythm for a character? What does that mean to you?
Tom Hughes: Usually, it kind of happens without me really knowing. I don't have a technique that is prescribed; I think it can change for different parts. But I'm definitely more of the Michael Chekhov school of acting than the Stanislavski school of acting. I'm not really one that searches for the moment that I felt pain in my life, remember that, and that will inform it. That works for some. Michael Chekhov, who was a contemporary of Stanislavski, spoke about the physical gesture being a gateway to a character, and to me, that definitely exists.
I'm not a smoker. But on Cemetery Junction, for example, the character was a smoker. I don't think I'd realised that that physical gesture was my route into playing that character, to a certain degree. When I came to do the additional dialogue recording for it, I couldn't get my voice there. I was in there for about an hour and a half. It was four months later. The accent was right, but it didn't sound right. It didn't sound like the guy.
It was only then that I realised that I don't have that thing. I went and bought a pack of fags and put one in my mouth, and did it with a cigarette — it's not lit, I'm in a studio. But just that physical thing, that was a part of it. You find those things. Once it feels right, you trust that rhythm. It's not necessarily a case of going, this guy walks in a certain way. It's not necessarily as prescribed as that. But the rhythm of those characters, you find it subconsciously, or find it instinctively.
Tom Hughes stars in Shepherd
7R: What is your relationship like with the cinematographer? Some actors really perform for the camera, and others try and pretend it isn't there. I imagine with something like Shepherd, where it's mostly you alone on an island, the camera is the other actor.
Tom Hughes: Shepherd is a very unique case, because aside from Shuggy, the dog, Baxter in the story, and the few days when Kate Dickie or Greta [Scacchi] or Gaia [Weiss] was on set, there was no one to bounce stuff off of in that respect. There was myself and Russell [Owen[, the director, and Stoddy, Richard Stoddard, the DoP. It was always about finding that relationship between us. And it was tricky. That was a particularly hard shoot. We're on the side of a mountain in February, on an island with the wind bashing against you all day. It was a tough shoot. That shorthand that you need to build, we had to build quickly. And also, I was trying to immerse myself in it.
Stoddy and Stoddy's team were fantastic with me. They trusted me from day one. When you find a way of working where you realize that you know the other person is going to be where you're expecting them, the communication between the actor and the camera becomes kind of a subconscious. You know that those moments of vulnerability are going to be caught, if you can find them. That's really important; that's important in all performances.
But I would say that I think I do my best work if I'm not aware of that. It's not my job to be aware of the camera. I'm not someone who's trying to think too much about how something's been caught. As long as you're working with people you trust, my job is to get us there, and just try to live in my own world. With Stoddy, I was able to get there very quickly. I think that the best cinematographers always make you feel like they're going to catch you. They'll do that for you. You don't have to worry about it.
When I started acting, I didn't know what I was doing. It was all very new, but you get used to a camera being there. For a little period, very early in my career, I kind of over-thought it. You become aware of that camera, and you learn how to do certain things technically, and realise that perhaps that's that's slightly taking your performance down a route that is no longer surprising. It's not always easy to achieve. It's not always possible to get. But for me, the best things that you can capture in a performance and on screen are the things you can't possibly have predicted. They just happen. And that's where the magic is.
Tom Hughes stars in Shepherd, as Eric who is seen here quivering in a corner.
7R: A lot of my favourite moments in your performances are often these quiet moments where either other people don't see how you're reacting, or you're alone, and there's this moment of vulnerability. Do you need to feel safe in the hands of the cinematographer to achieve that? Or is there something else?
Tom Hughes: It's an interesting question. I don't think it's necessarily to feel emotionally safe. Fundamentally, I guess, if one overthought acting, one could see it might be an emotionally vulnerable position to be in. But I don't see it like that because it's not really about me at that moment. I'm fascinated by Eric's situation, but I'm on the Isle of Mull having a great time. After work, it's fine. Mull is lovely. So I leave me at the door and get into Eric's rhythm, Eric's vibe, and try to be honest and portray where I instinctively feel Eric could be.
So therefore, Eric's vulnerability that I'm trying to communicate in that moment is less about feeling safe in that environment with those people. Obviously, that matters. But I've always been lucky to work with people who are just professional and great at their job, and really respectful and so, therefore, it's never really been part of it. I guess it's more to do with knowing that you have a kind of artistic dialogue between you, even if that doesn't need to be vocalised.You know that the instant there's a change of breath, or if there's a thought that happens, or you discover something, then that person's with you, and your communication is shared. There's no point in me realising the key to this character in a corner with the camera facing the other way.
7R: What do you look for in a director, as an actor? What kind of direction do you find helpful?
Tom Hughes: Someone who's gonna challenge me. I've got so much still to learn. I want to get better at this. I want to keep pushing myself. By getting better, you're able to tell stories in a way that can resonate more. You can take audiences down routes that can be more challenging, but also more fulfilling.
I want to improve. The way that you improve and you get better and you learn, is to put yourself alongside people who are going to push you, be that [directors, or] other actors that are going to challenge you. Being in a room looking at Ben Whishaw, or whomever it may be, that's how you learn.
And so for directors, I want people that are going to push me and take me to places I've not been. In order to do that, you need honesty, brutal honesty, from directors. I think that's where great art lies anyway. That's the way to it. We're all mining for that, ultimately, in storytelling.
There's also an element that I've noticed, through working with a lot of writer-directors: they've created this world, this character. So you kind of get given a pen which you can't break out of, because if you break out of it, you can affect the structure of the overall piece. But within that pen, you're free to do whatever you want. There's a freedom to trust that if something goes against the grain, if something is surprising and if something is maladroit, even, as long as it's within the structure of the piece — I find that I've been lucky enough to work with directors where that's often celebrated.
7R: How important is the accent to you for finding the character's rhythm? Is it useful? Or is it just sort of a technical thing?
Tom Hughes: It's no more important than anything else. I know, some people say it's useful for them; and it's not not useful. My accent, naturally, where I'm from, in the UK, is slightly nonspecific. I'm close to Liverpool, but I'm not a Scouser. I'm close to Manchester, but I'm not Mancunian. I'm close to North Wales, but I'm not from North Wales. So it's going to be very, very rare that I get someone who desires that I use my actual accent. There's always been a degree, professionally, as an actor, of necessity to be specific with my accent. It's had to shift. Even if it's an imperceptible shift, it's had to shift for every character I've played. I guess it's a bit like puting the costume on, in a way. It's another part of getting into that rhythm. It's not 100% of it, but it helps with it.
I think the danger of anything more than that, for me, would be that, perhaps then it becomes about the accent. And actually, that would mean I wasn't doing my job. I try to get it as subconscious and as effortless as I can so that it just becomes part of that foundation, part of that structure [of the] character. And then, my job is to just be in the moment. I'm flesh on that skeleton.
7R: What are you looking for in parts going forward?
Tom Hughes: I don't really have a preference in terms of any medium, if I'm honest. I want to work with directors that are going to push me. I want to work alongside actors that are better than me, that are going to challenge me and make me a better actor. And then, I want to choose scripts that resonate, and that I think, hopefully, will resonate with other people. All of those things are obvious.
I was drawn to this [profession] because I'm drawn to humans. I find us eternally fascinating. And the more skill [I possess], the better I can get at expressing that and conveying that, and the more interesting material I get to work on. [I want] to shine a light on the things we don't always get a chance to talk about in normal life. That's what drew me to The Laureate in many ways. It's the same with Shepherd. Yes, it's within that broad genre of horror, but [it's also] delving into the human condition. It's about understanding what it means to be human. I think that's always what draws me to a project.
I just want to keep trying to find stories that resonate with me and then work with people that are going to make me better and challenge me. Got a lot to learn, for sure.
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The Hollow Crown: "Richard II" is a great beginning to a near perfect screen adaptation of Shakespeare's Henriad tetralogy
Olivia Vinall: 'Sensitivity is a strength, not a weakness'
Benediction thoughtfully depicts a community of gay men
Filed Under: Actors on Acting, Film Interviews Tagged With: Performers, Shakespeare
Alex Heeney
Alex is the Editor-in-Chief of The Seventh Row, based in San Francisco and from Toronto, Canada.
Spencer: A visceral but flimsy portrait of Princess Diana


"The success of the intervention depends on the interior condition of the intervenor" is one of the key statements of Theory U. 'So if your inner condition looks and feels like the cockpit of a Dreamliner (Boeing 787) or a Waco plane from 1932 makes a difference…,' was my opening statement today for leaders of Air France/KLM at Nyenrode Business University.
Together with Marianne I designed a completely different workshop than the many we gave before. It's always great to work with her. This time we introduced Social Presencing Theatre. After some interactive introduction into Theory U and a walking dialogue we asked them about the future of the Airline Industry. We found 12 roles (passenger, airline crew, manager, government, climate crisis, competitors, skype, oil, and a few more) that people took on. Then we did a constellation practice: position yourself in the current situation and then let it evolve into the future.
People were shocked how accurately the system showed itself during the practice. It indeed is a very powerful tool to diagnose where the system is stuck. People start to realize how they are part of that system and how they contribute to it. Next to that you learn to empathize with other people in the field. You step in their shoes and feel their emotions and interests.


I wasn't really a fan of David's when I was a kid in the eighties. I still don't like China Girl or Let's Dance and back then I didn't have the eclectic taste in music I have now. I am fascinated with him now...always loved Labyrinth but now I'm watching everything I can on him and he's so interesting...and funny!!!
I'd like to dedicate this song to me.


Fans who were successful in the recent ballot to buy tickets for the Led Zeppelin reunion gig have started selling their ticket-buying access in online auctions today (October 2).
Successful applicants were issued a pass-code, which provided them with access to a web-page where they could buy the £120 tickets.
Some of these pass-codes are now being sold on auction sites like eBay, with auctions closing at figures of around £500 for one pass-code.
However, a spokesman for promoter Harvey Goldsmith, who is organising the reunion concert, has explained to NME.COM they are tackling these touts head on.
Those who registered for tickets must provide a full name and address matching the details that they originally registered for the ballot – meaning that the pass-codes would only work for the original person who registered.
There is also a series of security questions that will have to be answered before pass-code holders can buy tickets.
Furthermore, ticket-holders will have to present valid ID to gain access to the venue in November.
Check out the full story of Led Zeppelin's reunion on NME.COM.
Now find out what made Led Zeppelin reform.


text:
OtherPLANT-MICROBE AND PLANT-INSECT INTERACTIONS
Characterization of a Diffusible Signal Capable of Inducing Defense Gene Expression in Tobacco
J. Chappell, A. Levine, R. Tenhaken, M. Lusso, C. Lamb
J. Chappell
A. Levine
R. Tenhaken
M. Lusso
C. Lamb
Published February 1997. DOI: https://doi.org/10.1104/pp.113.2.621
Treatment of tobacco (Nicotiana tabacum) cell-suspension cultures with cryptogein, an elicitin protein from Phytophthora cryptogea, resulted in the release of a factor(s) that diffused through a 1000-D cutoff dialysis membrane and was capable of inducing sesquiterpene cyclase enzyme activity (a key phytoalexin biosynthetic enzyme in solanaceous plants) when added to fresh cell-suspension cultures. The diffusible factor(s) was released from cells over a 20-h period and induced a more rapid induction of cyclase enzyme activity than did direct treatment of the cultures with pure elicitin protein. The diffusible factor also induced a more rapid accumulation of transcripts encoding for sesquiterpene cyclase, acidic and basic chitinase, and hsr203 (a putative hypersensitive response gene) than did elicitin treatment. The diffusible factor(s) was resistant to protease, pectinase, Dnase, and RNase treatments, was not extractable into organic solvents, and was not immunoprecipitable when challenged with polyclonal antibodies prepared against elicitin protein. The diffusible factor(s) could not induce the release of more factor, suggesting that it was a terminal signal. These results are consistent with the notion that cells directly challenged or stimulated by pathogen-derived elicitors release diffusible secondary signal molecules that orchestrate the induction of complementary defense responses in neighboring cells.
You are going to email the following Characterization of a Diffusible Signal Capable of Inducing Defense Gene Expression in Tobacco
Plant Physiology Feb 1997, 113 (2) 621-629; DOI: 10.1104/pp.113.2.621
Purification, Characterization, and Molecular Cloning of the Gene of a Seed-Specific Antimicrobial Protein from Pokeweed
Salicylic Acid Mediated by the Oxidative Burst Is a Key Molecule in Local and Systemic Responses of Cotton Challenged by an Avirulent Race of Xanthomonas campestris pvmalvacearum
Expression and Localization of Nitrilase during Symptom Development of the Clubroot Disease in Arabidopsis
Show more PLANT-MICROBE AND PLANT-INSECT INTERACTIONS


text:
Q: Xamarin end of support is Nov 2023 for iOS and Android We have an application built using Xamarin, running in production for last few years ( both iOS and andriod). But, recently, We have been hearing and reading that, Microsoft is sunsetting  Xamarin end of support is Nov 2023 for iOS and Android. However Microsoft will not patch/fix bugs after Nov 2022. Is this true?
Adding to this, Maui is not yet open for GA and I still see roughly 2000 open issues.
I would like to understand

*

*Is it true that Microsoft will not patch/fix bugs after Nov 2022

*What is the risk if we continue to stay with Xamarin until Nov 2023,while rewrite using React Native is inprogress)

A: Every Microsoft product has a lifecycle, including Xamarin. Several forums report that Xamarin is no longer being developed after 2 years of MAUI's release.
Microsoft has now provided a clear support policy. However, it is recommended to migrate as soon as possible, as there seem to be few obstacles. The latest versions will be developed until 2024.


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Piracy, Refugees, War Risks and Sanctions: The Impact on Maritime Trade
Time: 9:00am - 7:00pm
Venue: International Maritime Organisation, 4 Albert Embankment, London, SE1 7SR
The 2nd CCLS International Shipping Law Roundtable: 'Piracy, Refugees, War Risks and Sanctions: The Impact on Maritime Trade'
The Centre for Commercial Law Studies at Queen Mary University of London (CCLS) will be holding its second International Shipping Law Roundtable on 2 June 2016. This is a biennial event that has been already firmly established on the maritime law agenda of London. The Roundtable covers issues of strong current interest, of high relevance to business, featuring an in-depth discussion among, both established and young up-and-coming, academics and high-profile practitioners.
The 2016 Roundtable will be on the subject of 'Piracy, Refugees, War Risks and Sanctions: The Impact on Maritime Trade'. On the day, seven research papers will be presented and discussed in relation to the most recent developments over the use of armed security personnel on board merchant vessels; piracy post-incident obligations; seafarers' wages during captivity; limitations on the duty to render assistance at sea; the interception and rescue at sea of asylum seekers in the light of the new EU legal framework; war risks and sanctions in the carriage of goods by sea and by air; as well as bilaterally applied sanctions with a severe commercial effect on third parties.
The Roundtable is intended to serve as an intellectual platform to communicate academic cutting-edge research on issues relevant to the theme, and to facilitate dialogue between experts, including both academics and leading practitioners, from different jurisdictions.
This event is kindly sponsored by Stone Chambers.
09:00-09:30 Registration (Tea and Coffee)
09:30 - 09:40 Welcome remarks: Dr Miriam Goldby, Centre for Commercial Law Studies, QMUL
09:40 - 10:00 Opening speech: Frederick J. Kenney, IMO Director Legal Affairs and External Relations Division
10:00 - 12:15 Panel 1 – Piracy
Chair: Professor Malcolm Forster, British Institute for International and Comparative Law, Freshfields Bruckhaus Deringer, UCL
Dr Alexandros X.M. Ntovas, Lecturer in Shipping Law, QMUL, "Private Armed Guards on Board Ships: Reflections on the Ongoing M/V Enrica Lexie Proceedings"/ Commentator: Stephen Askins, Partner, Tatham Macinnes
Dr Carmino Massarella (University of Hull), "Prosecution for Piracy: Arctic Sunrise, Sea Shepherds, and the risks of misuse of the definition of piracy"/ Commentator: Richard Neylon (Partner, Holman Fenwick Willan LLP)
Professor Hilton Staniland, Professor of Maritime Law, University of Southampton, "Protecting Seafarers' Wages in Hostage Situations"/ Commentator: Deidre Fitzpatrick, Executive Director, Seafarers' Rights International
13:15 - 15:15 Panel 2 – Refugees
Chair: Professor Steven Haines, University of Greenwich
Dr Felicity Attard, Assistant Lecturer, University of Malta, "Limitations on the Duty to Render Assistance at Sea under International Law"/ Commentator: Dr Agustín Blanco-Bazán, International Lawyer/ former Head of the IMO Legal Office, and Brian Williamson, Maritime Arbitrator
Professor Simone Marinai, Italian Naval Academy of Livorno and the University of Pisa, "The Interception and Rescue at Sea of Asylum Seekers in the Light of the new EU Legal Framework"/ Commentator: Jonathan Elvey, Partner, Ince & Co
15:15 - 15:30 Tea and Coffee
15:30 - 17:30 Panel 3 – War Risks and Sanctions
Chair: Professor Jason Chuah, Professor of Commercial and Maritime Law, City University London
Dr George Leloudas, Associate Professor, Swansea University, "The Insurance Implications of Sanctions"/ Commentator: Philip Schock, Associate, Norton Rose Fulbright
Professor Henning Jessen, University of Hamburg, "The Closure of Crimean Ports, the Ukraine Sanctions Regime and Risks for International Shipping"/ Commentator: Professor Sir Bernard Rix, Professor of International Commercial Law, CCLS/ QMUL
17:30 - 17:50 Keynote speech: Professor James Kraska, Howard S. Levie Professor of International Law and Research Director in the Stockton Center for the Study of International Law, United States Naval War College
17:50 - 18:00 Closing Remarks: Professor Malgosia Fitzmaurice, Professor of Public International Law, QMUL
18:00 - 19:00 Drinks Reception
This event has been accredited for 7 CPD hours with the Bar Standards Board.
Please register via the QMUL e-shop.
Standard registration - £100
Members of the The London Maritime Arbitrators Association (LMAA) and The London Shipping Law Centre - £75
Academics, public servants, permanent representatives to the IMO, IMO staff - £50
Students - £25


text:
Dimabi Community gets new school block from Tigo Ghana
Aug. 8, 2015, 10:25 a.m.
By Nana Appiah Acquaye, Dimabi - Northern Region
Tigo Ghana has presented its fourth new classroom school block with Headmaster's office, Staff common room and a KVIP to management of Dimabi Nursery and Primary School in Tolon Kumbumgu of the Northern Region.
This forms part of Tigo Ghana's new Corporate Social Responsibility programme dubbed Shelter 4 Education for 2015 where six deprived communities in the country without good educational infrastructures are given the opportunity to own one.
The poor state of education in the three northern regions of Ghana is mostly attributed to lack of good educational facilities in these areas. A situation that has not only affected the quality of education in these regions but also served as a disincentive for parents to send their wards to school in order to obtain basic education, which every child is entitled to under the constitution of Ghana. Parents in this farming community prefer to have their children assist them in their farms than to allow them to learn under what they described as "horrible structures".
Biztechafrica learnt that because of the poor educational structures in the area most professional teachers assigned to the village by the Ghana Education Service turns down the offer because conditions there are below standard.
This development has impacted negatively on the community and thus contributed to the migration of high number of young ones who should have been in school to some major urban centres in the country for greener pastures.
Tigo a brand that cares and a brand that always want to put smiles on the faces of people everywhere believes that education holds the key to the success of every great nation hence initiating the Shelter 4 Education project in deprived communities as their contribution in shaping the lives of children who will in the future become leaders this great country Ghana.
According to Roshi Motman, Tigo Ghana CEO, helping children get quality basic education is important because that is the foundation to shaping their dreams and ensuring they help build a better Ghana.
"We hope that by providing them with conducive learning environment, they can concentrate on their studies and have a brighter future. We are going to provide them with school uniforms, books and other branded gift item" she said.
With the provision of a new school block by Tigo Ghana for the people of Dimabi , children in this farming community will be able to work towards their dreams and it make it a reality if only they work hard at it.
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Upload a photo of your best carved pumpkin between 24th October 2018 and 31st October 2018 for a chance to win the ultimate Halloween package worth £150.
'You' means the entrant of the competition and a tenant of an iQ Student Accommodation Hall of Residence for the 2018/19 academic year commencing 22nd August 2018.
Entries for this competition must use Facebook, Instagram, Twitter or Weibo websites or apps to share the image and must tag iQ Student Accommodation's account and also use the hashtags #MyiQLife and #CrazyPumpkin.
• The Offer begins the 24th October 2018.
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• In accepting the terms of this offer you will be entered into the draw to win the ultimate Halloween package worth £150 (first prize), or a leisure voucher worth £50 (2nd prize). There will be only two prizes available to win.
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text:
This Weird Google Earth Picture Does Not Show a Crashed UFO
This block of ice in Antarctica, which is visible on Google Earth, is claimed by some as evidence of alien life. (Image credit: DigitalGlobe/Google)
A popular YouTube channel that peddles conspiracy theories is trying to convince viewers that photos of an avalanche on an island near Antarctica depict an alien spaceship crash site.
In a video posted to the channel SecureTeam10, a narrator claims that an image of South Georgia Island taken from Google Earth shows the remains of an extraterrestrial craft that slammed into the side of a mountain and skidded a long distance across the ice.
The photo does show a lot of disturbed ice on the side of a glacier near Mount Paget, a 9,629-foot-tall (2,935 meters) prominence on the British-controlled island far to the south of Argentina. A long trail extends away from the main disturbed area, leading to a white object that appears embedded in the snow on top of the glacier. [25 Strangest Sights on Google Earth]
In a zoomed-out image, it's pretty obvious what's going on here. (Image credit: DigitalGlobe/Google)
Richard Waller, a senior lecturer in physical geography at Keele University in the United Kingdom, told The Daily Mail that the photo actually depicts an avalanche that cast one large block of ice skidding and rolling much farther than the rest of the collapsed snow, and that the white object is that block of ice. This scenario is also, frankly, pretty obvious to even a casual observer.
SecureTeam10's video on the subject has nonetheless been viewed nearly half a million times as of this writing. The channel's conspiratorial videos routinely garner hundreds of thousands of views.
In addition, the channel bears a "verification" check mark from YouTube. Google, on an oblique web page explaining the YouTube verification process (Google owns and operates YouTube), writes that a check mark indicates "that the channel belongs to an established creator or is the official channel of a brand, business or organization."
It's not clear precisely what criteria earned SecureTeam10 its YouTube verification. Live Science wrote to Google, requesting clarification on why SecureTeam10 was given such a check mark, but we did not receive a reply by the time this article was published.
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text:
A brief look at the history of the engagement ring
by : Nikki Linton- Jun 19th, 2006
Antique-ring expert Sandra Hindman of Les Enluminures (www.medieval-rings.com) based in Paris and Chicago gives ELLE a brief background on the history and importance of the wedding band.
The marriage ring is worn on the fourth finger because it is said that the vein in that finger goes directly to the heart.
In the Byzantine and early Christian era, gold rings were sold with bust-length portraits of the couple and the word grace inscribed on the ring — or clasped hands.
Posy rings were given as engagement, marriage or friendship rings. Shakespeare talks about them a lot in his plays. The idea is that you would go to a jeweller, choose a "posy" (for poesie, or poetry) and have it engraved on the inside of the ring, close to the hand so only the lover knew what it said. "Providence Divine hath made thee mine" is a posy ring, but so is "Where hearts agree, there love will bee." I also have rings that say "Mon cuer" (my heart) and "Joie pleine" (or full of joy). And the best inscribed ring I ever had was bought for a 10-year anniversary: on the outside it said in French "I love you" (je t'aime) and on the inside it said in French "And I will always love you") (et j'aimerai).
Women gave friendship rings and love tokens to their fiancés all the time in Elizabethan and Tudor England and probably before. Size is one indication — although rings were worn on joints, over gloves, suspended from gold bands, so size is not the only indicator.
The first example of a diamond engagement ring was the one given to Mary of Burgundy in 1477 by Archduke Maximilian of Austria — one of the greatest love matches of all time.
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text:
Food Justice – a view from Africa
By Chris Boles / 05/10/2021 05/10/2021
Food Sovereignty in times of recovery: Building back better through mainstreaming social justice and leveraging on ecological agriculture in Africa
by Charlie B. Chilufya, S.J.
Fr. Charlie B. Chilufya is the Director of the Justice and Ecology Office of the Jesuit Conference of Africa and Madagascar (JCAM). He is also the coordinator of the Africa Task Force of the Vatican Covid-19 Commission. The JCAM Justice and Ecology Office works to foster and coordinate the Jesuits' work in economic, social, migration, gender and climate justice in Africa. JEO is a vital Jesuit interface between global policies in the economic, social and environmental spheres and local issues confronting populations in Africa. JEO also works to foster collaboration among apostolic sectors in what concerns justice and ecology.
The COVID-19 health crisis has exacerbated the urgency to change the dominant globalized food system and in 2021 there have been opportunities, like the UN Food Systems Summit, for this issue to rise up in the public agenda. Today, enough food is being produced to feed everyone on the planet, yet, a huge number of people do not have access to healthy or adequate food. The dominant market-driven food system is not ensuring food security for all and the COVID-19 pandemic has revealed and strained this broken system even further, revealing its inequalities. The poor and the vulnerable are being disproportionately impacted by the food chain shocks provoked by the global crisis, which hampers their ability to fully thrive, realize their human rights and contribute to a new horizon for humanity. The food crisis has many facets, but at its core are structural inequities and the necessity to reimagine and create new models that leave no one behind.
Food justice is a pressing issue regardless of the current COVID-19 pandemic circumstances. But food justice, sustainable food recovery, and food security remain one of the top concerns as we fight COVID-19. Cracks in the food systems have never been more obvious than now.
It is more and more recognized that climate change is one of the major economic, environmental and social challenges of our times, now exacerbated by COVID-19. Africa is clearly the continent most vulnerable to climate change effects. With around 70% of Africa's population dependent on rain-fed farming, hundreds of millions of people do not have the same safety net accorded to those in wealthier, industrialized nations. Climate change also affects livestock and fish breeding and migratory patterns (OECD) impacting the livelihoods of millions of pastoralists and fishers.
It is acknowledged that climate change poses huge challenges to food production, the environment and human life. Africa suffers the injustice of being the continent hardest hit by climate change, while contributing the least to its cause –accounting for less than 4% of the world's annual greenhouse gas (GHG) emissions. With increasing evidence that climate change impacts food security and other aspects of human life, there is a need for clarity on how to address such impacts. Many of the proposed solutions increase pressure on small-scale food producers to take up new initiatives such as Climate Smart Agriculture, using hybrid and GMO seed, and increasing the use of chemical inputs.
These are false solutions which act largely to the detriment of food sovereignty, environmental conservation and livelihoods, and are ultimately likely to worsen the impact of climate change by further degrading the soil, destroying biodiversity and using chemical fertilizers, generating even more greenhouse gas emissions.
What could be done instead?
Promote climate research towards strengthening the resilience of food producers including small scale farmers, pastoralists and fisher folk to the impacts of climate change. More research towards scaling up of existing proven technologies at the local level.
Advocacy: for a conducive policy environment that supports the recognition of agroecology in climate change policy negotiations and in National Adaptation Plans (NAPs) and Nationally Determined Contributions (NDCs).
Raising public and consumer awareness: Educate people on the challenges around some of the proposed solutions especially pertaining to Climate Smart Agriculture and at the same time on sustainable agriculture practices that we are promoting through agroecology.
Building a movement and people power: There is a need to mobilize African citizens to act in calling their national governments to develop climate change policies and legal frameworks that support sustainable agriculture practices. Mobilization of communities also need to happen to popularize the concepts of agroecology as a solution to climate change.
What are we faith-based organisations doing about this?
The Jesuit Justice and Ecology Network – Africa (JENA) in collaboration with Caritas Africa, is supporting Pope Francis' call to "prepare the future." JENA and Caritas are aiming at seizing the opportunity to address food insecurity today, to listen and answer to the needs of the most vulnerable and raise awareness on how bringing about a sustainable food system for all requires an integral ecology lens, where economic, social and environmental factors and justice are all considered.
JENA and Caritas Africa have formed a collaborative alliance in Africa as part of their efforts for food sovereignty and agroecology in Africa as described in this report. The alliance institutions include: Jesuit social research and development centres, related Jesuit institutions of higher learning, Jesuit researchers, individual Jesuit experts, activists and collaborators whose work focuses on food sovereignty and agroecology. The Alliance represents various groups of Jesuits and their collaborators who work for food sovereignty in Africa. These include smallholder farmers, pastoralists, indigenous peoples; faith-based institutions, and environmentalists from across Africa. The core purpose of alliance is to influence policies and to promote African solutions for food sovereignty. We are a continent-wide platform for consolidation of issues pertaining to food sovereignty and together marshal a single and louder voice on issues and tabling clear workable solutions.
Our efforts will seek to answer the following questions:
What are the systemic, regional and in-country issues surrounding food sovereignty in Africa?
How can Sub-Saharan Africa achieve integral development by balancing attainment of food sovereignty and climate justice amid global trends in industrialization, mechanization and technology?
How can Sub-Saharan Africa with support from JFSP and other development institutions sustainably mainstream social justice with a focus on the poor and vulnerable while leveraging ecological agriculture?
Through our centres like the Kasisi Agricultural Centre (KATC) in Zambia and CERED in Kinshasa in the Democratic Republic of Congo, we champion African Farming/Production Systems based on agroecological and indigenous approaches that sustain food sovereignty and the livelihoods of communities. We resist the corporate industrialization of African agriculture which will result in massive land grabs, destruction of indigenous biodiversity and ecosystems, displacement of indigenous peoples especially the pastoral communities and hunter gatherers and the destruction of their livelihoods and cultures.
We believe in African driven solutions to problems in Africa and a belief in the richness of our diversity. We aim to be a strong voice that shapes policy on the continent in the area of community rights, family farming, promotion of traditional knowledge and knowledge systems, the environment and natural resource management.
Why campaign for agroecology?
We are campaigning to place agroecology as a key policy response to the climate crisis that is negatively impacting the economic, social, and ecological life of Africans.
We are campaigning to drive public opinion and influence decision-makers to shift agriculture and food policy away from destructive industrial farming and adopt agroecological farming as a key climate response, reducing GHG emissions and putting carbon back in the ground.
Climate change is already a reality for millions of African farmers, pastoralists and fishers, as droughts, rangeland degradation, and ocean temperature rises threaten livelihoods and food security. With around 70% of the population dependent on rain-fed farming, Africa does not have the safety net of wealthier, industrialized nations.
The Intergovernmental Panel on Climate Change (IPCC) Special Report on Global Warming of 1.5ºC 2018 is clear: we now have less than 10 years to make radical emission cuts if we are to avert a climate catastrophe. Global food systems generate one-third of all greenhouse gases and account for 75% of global deforestation. Much of this is linked to industrial farming, e.g. fossil fuel use, fertilizer production, burning forests to make way for large-scale monocrops.
Current African policy solutions increase pressure on small scale food producers to take up industrial agriculture initiatives such as climate-smart agriculture, GMO seeds, and fossil fuel-based chemical inputs, releasing the carbon stored in the soil, while increasing the burden of GHGs in the atmosphere, and polluting precious water resources.
Summary from research evidence shows some of the plausible challenges hindering Africa's ability to be food sovereign are: Ecological concerns like drought, floods, locusts and fall armyworms; COVID-19 pandemic; Poor policy formulation and implementation and Lack of policy coherence; Poor governance – In particular, rural-urban migration and lack of political good will; Over reliance on food aid, loans and imports – resulting in a huge debt burden and donor dependency; Weak disaster preparedness and response; and Weak livelihood recovery and social protection mechanisms. Improved food sovereignty could enhance gender equality, prevent conflict, and build and sustain peace among vulnerable food poor households and communities in Africa.
The change begins with development partners and governments collaboratively seeing the situation, judging it and acting now to enhance the farm to fork food chain in an effort to build more resilient food systems in Africa.


text:
Q: Pipe demon output to a function I'm receiving a MQTT message with mosquitto_sub and I want to redirect the output (two strings) to a function.
CLIENT:
mosquitto_pub -d -t hello/world/ -m "Alessio,base64"

On the server I have a bash program
SERVER: (it works)
function pipeTee(){
        tee -a mqtt_broker.log
}
mosquitto_sub -t +/# | pipeTee

but if I try t pipe to another function too, the program doesn't work.
#!/bin/bash
function testPipe(){
        echo "va"
}

function pipeTee(){
        tee -a mqtt_broker.log
}
mosquitto_sub -t +/# | pipeTee | testPipe

mosquitto_pub from client:
mosquitto_pub -d -t hello/world -m "Aless,base64"
Client mosqpub/1841-raspberryp sending CONNECT
Client mosqpub/1841-raspberryp received CONNACK
Client mosqpub/1841-raspberryp sending PUBLISH (d0, q0, r0, m1, 'hello/world', ... (12 bytes))
Client mosqpub/1841-raspberryp sending DISCONNECT

Server when not working:
pi@raspberrypi:~ $ ./mqtt_broker.sh
va
^C

and the file log is empty

A: Consider the following shell script:
function thetee {
    tee data.out
}

function thepipe {
    echo "Hello!"
}

while true; do
    echo "Hi there!"
done | thetee | thepipe

echo "Done."

The while-loop here is a generator of unlimited lines with the text "Hi there!".
Running it:
$ sh script.sh
Hello!
Done.

Then look at the number of lines in data.out:
$ wc -l data.out
     274 data.out

Again:
$ sh script.sh
Hello!
Done.

$ wc -l data.out
     236 data.out

Issues:

*

*The infinite loop isn't infinite.

*The number of lines of output differs between runs.

Reasons:

*

*The thepipe function in my example simply echoes a string, then exits, causing the pipe to fail.  No further input can be processed by the last stage of the pipeline and the loop exits.

*The number of lines actually written to data.out depends on how quickly the shell is able to start up the pipeline and how quickly the thepipe function can do its thing and exit.
In your case, this happens so quickly that no input from the data generator (mosquitto_sub) is able to arrive to the tee function.
Solution:
Make thepipe function actually consume its input:
function thepipe {
    echo "Hello!"
    cat
}

This will make the code in my example output a single "Hello!" followed by infinite "Hi there!" (which are also saved into data.out). The echo at the end will never be executed.
Therefore:
Change the definition of you testPipe function in a similar manner. For example:
function testPipe(){
        echo "va"
        cat
}

This will have the effect of consuming the input, and sending it on to the next stage of the pipeline, or, if it's at the end of a pipeline, to wherever standard output is redirected after it (with a line containing the string va at the start of the stream).


A:	What do you think is the problem between the English and the Americans?
A:	Are we talking about a struggle for superiority?
A:	So in what ways are they superior?
Microsoft and IBM. They enjoy telling us that they're the best.
A:	And are they right?
B:	Yes, if you measure success purely in dollars, but there're two points here.
prefer countries where you don't get mugged in parks and subways.
A:	What's the other point?
they're often very loud and extrovert to go with it.
A:	So you prefer the British character?
A:	We say one thing and mean another?


text:
Stefan Weiße
Stefan Weiße (12 November 1953 – 11 November 2015) was a German rower. He was quad scull world champion for East Germany in 1975.
(1953-11-12)12 November 1953
11 November 2015 (2015-11-12) (aged 61)
Irina (née Müller)
SC Einheit Dresden
Representing East Germany
World Rowing Championships
1975 Nottingham Quad scull
1 Rowing
2 Private life
RowingEdit
Weiße took up rowing aged 14 and was a member of SC Einheit Dresden.[1][2] In 1973, Weiße came second at the East German championships in the quad scull teamed up with Wolfgang Hönig, Günter Berschel, and Bernd Frieberg.[3] At the 1974 East German championships, Weiße competed in the single sculls and came third.[2] He also teamed up with Armin Schulze in the double scull, where they came third.[4]
At the 1975 East German championships, Weiße competed in the quad scull in a team with Christof Kreuziger, Wolfgang Güldenpfennig, and Wolfgang Hönig, and whilst they were the favourites that year, a boat with Joachim Dreifke, Martin Winter, Rüdiger Reiche, and Jürgen Bertow had a clear lead. Winter caught a crab close to the finish line, and Weiße's team won the national championship.[3][5][6] According to the result of the national championships, the successful quad scull team with Weiße was nominated for the 1975 World Rowing Championships in Nottingham,[7] and they were successful at gaining the world championship title.[8]
In 1976, Weiße replaced the 1974 world champion Uli Schmied to team up with Christof Kreuziger for the Moscow regatta in May that opened the rowing season; they were beaten by a Soviet team.[9][10] Neither Kreuziger nor Weiße were included when the nominations for the 1976 Summer Olympics were announced in June.[11] At the 1976 East German championships, Weiße competed in the quad scull in a team that came third.[3]
Having retired from rowing in 1980, Weiße took up the sport again in 2012 after being encouraged by his wife and one of his daughters, both active rowers for SV Energie Berlin. Weiße had entered with a mixed quad scull team at the 2014 World Rowing Masters Regatta in Ballarat, but was stopped by a doctor from competing after having already travelled to Australia.[1]
Private lifeEdit
Weiße lived in Dresden apart from his time as a university student in Halle. He married Irina Müller just after the 1976 Olympic Games, and they had four children.[1] Their daughter Annika is a representative rower for Germany.[12] Returning from his 2014 trip to Australia, he was diagnosed with cancer and died on 11 November 2015.[1]
^ a b c d Laak, D. (2015). "Abschied von Dr. Stefan Weiße" (PDF). RuderEnergie. 3 (79): 7–8. Retrieved 26 December 2017.
^ a b "DDR-Rudermeisterschaften: Einer – Männer (Plätze 1–3)" (in German). Rüsselsheimer Ruder-Klub 08. Retrieved 26 December 2017.
^ a b c "DDR-Rudermeisterschaften: Doppelvierer – Männer (Plätze 1–3)" (in German). Rüsselsheimer Ruder-Klub 08. Retrieved 26 December 2017.
^ "DDR-Rudermeisterschaften: Doppelzweier – Männer (Plätze 1–3)" (in German). Rüsselsheimer Ruder-Klub 08. Retrieved 26 December 2017.
^ Allmert, Hans (21 July 1975). "Achter mit einem neuen 'Weltrekord'". Neues Deutschland (in German). 30 (171). p. 7. Retrieved 26 December 2017. (registration required)
^ Radtke, Bodo (21 July 1975). "Spannung und Klasse bis zum Achter-Finale". Berliner Zeitung (in German). 31 (171). p. 6. Retrieved 26 December 2017. (registration required)
^ "DDR-Nominierungen für die Ruder-WM". Berliner Zeitung (in German). 31 (192). 14 August 1975. p. 11. Retrieved 26 December 2017. (registration required)
^ Radtke, Bodo (1 September 1975). "Nach Silber fünfmal Gold". Berliner Zeitung (in German). 31 (207). p. 6. Retrieved 26 December 2017. (registration required)
^ Hönel, Manfred (31 May 1976). "DDR-Ruderer glänzten auf Moskauer Kurs". Berliner Zeitung (in German). 32 (129). p. 6. Retrieved 26 December 2017. (registration required)
^ "26 Erfolge der DDR-Ruderer". Neue Zeit (in German). 32 (130). 1 June 1976. p. 6. Retrieved 26 December 2017. (registration required)
^ Radtke, Bodo (22 June 1976). "DDR-Olympiamannschaft für Montreal nominiert". Berliner Zeitung (in German). 32 (147). p. 11. Retrieved 26 December 2017. (registration required)
^ "Annika Weisse". International Rowing Federation. Retrieved 26 December 2017.
Stephan WEISE [sic] at FISA WorldRowing.com
Retrieved from "https://en.wikipedia.org/w/index.php?title=Stefan_Weiße&oldid=918266008"