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Judge in Uber case expects decision to be appealed
By Vanessa LuBusiness reporter
Tue., June 2, 2015timer3 min. read
The judge hearing the City of Toronto's request for a permanent injunction to shut down all of Uber's operations says he fully expects the case will land in the appeal courts.
"I have no illusions that the buck will stop here," said Mr. Justice Sean Dunphy of Ontario Superior Court of Justice as the case wrapped up Tuesday after two days of hearings. "The parties have real and substantive issues."
Dunphy acknowledged the request of Uber lawyer John Keefe, who asked if the judge were to grant the city's injunction, would he consider issuing a stay to allow Uber to continue to operate, pending an outcome at the Ontario Court of Appeal.
The judge promised to grant a stay of some sort to ensure there wasn't immediate chaos, adding he would deliver a decision as quickly as possible, so the case could get to "the next level in the city."
But Ian Black, Uber Canada's general manager, told reporters later that the company has not decided yet whether it would appeal if it loses.
"We'll have to see what the decision is. We'll wait for that to come out," he said. "In the meantime, it's probably an opportunity for us to continue to work with Mayor Tory and the city councillors."
Black argued that regardless of the court's ruling, the long-term answer is still a regulated solution hammered out with the city.
While Tory has openly said he believes new rules are needed to accommodate Uber, which operates a smartphone app, it won't be easy to win agreement at city council.
Debate over taxis or regulating licences always gets mired in complicated and heated battles. Just last month, city council was set to tackle taxi industry rules, yet again, when politicians, led by Tory, moved to defer any changes until after the court process was complete.
During the court hearing, Dunphy repeatedly suggested to city lawyer Michele Wright that it might be better for politicians to set the rules and regulations, instead of asking the courts to do the job of shutting down Uber.
"You could draft a regulation," he said, noting the city has such powers but hasn't exercised it or modernized its bylaws in the Internet age. "You could regulate the entire business for anyone going anywhere in the City of Toronto for money."
That way the city could set out clear rules to take into account all of Uber's businesses – especially its UberX application, which allows ordinary people to drive passengers around in their own private vehicles for about 20 per cent less than taxis. Right now, there are no licences for UberX.
The city has charged that Uber is operating illegally, risking public safety especially since unlicensed drivers are using unlicensed vehicles, amid questions over whether there is adequate insurance coverage.
As a gesture of goodwill, Uber recently applied for a taxi brokerage licence, which is being reviewed by the city. However, it refused to apply for a limousine brokerage licence, saying conditions for dispatching those vehicles and minimum fare rates don't meet with Uber's business model.
During court, Uber lawyer Julie Rosenthal argued that Uber doesn't need to be licensed as a taxi brokerage because it doesn't actually dispatch taxis. Much of her argument hinged on the definition of the word, "accept," as in accept a ride.
Rosenthal noted that none of Uber's entities or employees actually accept a passenger's request for a ride – which is done through the smartphone app. She said it's entirely up to the driver to accept or decline.
"The contracts entered into with passengers make it clear that Uber is not agreeing to provide transportation services," she said. "The transportation provider has sole discretion to accept the request."
But Wright, the city's lawyer, disputed the argument, noting Uber continues to find a driver if the first one rejects it, so it is in the business of dispatching drivers. Uber collects payments and has the power to suspend or boot passengers or drivers off the platform, she added.
Uber's lawyers also put forward a backup argument, suggesting if the judge finds it is a taxi brokerage, subject to licensing, then it believes the city's requirement for a taxi brokerage licence to be a violation of the right to freedom of expression, guaranteed under the Canadian Charter of Rights and Freedoms.


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Add this amazing denim cap to your young boy's fashion accessories collection and make him look stylish. This cap comes with beautiful tropical print and elasticised band. Reversible pattern enhances the utility of the piece.


Mojacette Shirt From Toad & Co.
Toad & Co. is celebrating its 20th anniversary with the launch of its Telluride Heritage Collection, a beautiful line of clothing that perfectly encapsulates the brand's "Trail to Tavern" ethos in which its clothing works equally well in the outdoors as in the bar post-hike or ski.
One of the standouts of the collection is the women's Mojacette shirt, which has an inner lining that makes it cozy and warm, more so than your average flannel shirt. The item is made from 100 percent organic cotton and includes snaps running up the front so it can easily be worn open or closed.
The shirt runs fairly long, which adds a relaxed look, but the feminine cut makes it flattering rather than bulky. The shirt is durable after several washes and lots of wear, both outside and inside. This is one you'll buy and be hard-pressed to take off throughout the cooler months. The shirt comes in a red plaid and a gray/teal, both are flattering colors.
Further, this is a company you can feel good about patronizing as they are committed to working with adults with disabilities.
Boxcan Sherpa Overshirt From Toad & Co.


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Sharing is caring! Having problems with IRS? Use ScamPulse to make a complaint
IRS Reports & Reviews (5041)
Received a call from Washington saying they were from the IRS investigative team and they found discrepancies on taxes from 2008-2012. They said they mailed me a statement in July 2015 and asked me if I wanted this to go to court. I told them I never received anything in the mail and they said we just verified your address. I told them I was calling the state of Ohio irs and the bbb and they hung up on me
You are being sued by the IRS
Received a voice mail from the IRS claiming I am being sued for owing back taxes. They asked to call them back at 202-407-9986. I just wanted to inform the ScamPulse.com of this.
I received two voicemails on 3/17/16 that I am being sued by the IRS and asked for an urgent return phone call. My husband called back and they asked him for his home address. When he did not give it the lady said the address and asked if it was correct, saying that they needed it for identification purposes before proceeding. When he agreed they told him I was being sued by the IRS for a tax collection. He told her to not call back and threatened to call the police if she did.
My husband received a call, saying they were the IRS; from phone number 305-407-1377, the contact name was Nikki Johnson; she told him he owed over $4,000 in back taxes from the last two years. He phoned me, gave me the number and the contact name. When I phoned, a man answered, "Thank you for calling the IRS, how may I help you?". I explained that I was returning a call and he asked me if this was [my son's name], I asked, "Why do you want to speak to my son?", he responded, "This is your son?", I said yes. He replied, "Then he is a minor?", I said yes...then repeated my question why did he want to speak to him; "I am calling about the phone call my husband received." He asked me for the phone number in reference, and I repeated the same number I already provided. He asked what his name was, I gave it to him and he asked me to hold a moment. When he came back, he said the case worker was not available, could I call back. I told him no, that she was welcome to call me back when she was available; but before you go, what is the case number for my husband? He asked, "The case number?" I said yes, "...you asked me for a case number earlier when asking about my son...what is the number for the case on my husband?" He replied, "I do not have that information because it is not my case." I told him, "NO, if you are the IRS, then you have access to the information; let me speak to a supervisor!" He said he was the supervisor and I told him to let me speak with a supervisor over him. He replied, "If you want to speak to a supervisor over me, you will have to wait one to two years for a response." I replied, "NO, IF YOU ARE REALLY THE IRS, YOU WILL LET ME SPEAK WITH A SUPERVISOR RIGHT THIS MINUTE, OR I AM REPORTING THIS NUMBER AS A SCAM!" I was disconnected.
Called saying that I owe taxes from 2009-2014 and that I would have my local sheriff's Dept here to arrest me and I have 4 counts of fraud and I was going to go to jail
Type of a scam Debt Collections
Have gotten over 12 calls in the last 10 days from phone number 470-36-5082 saying they are the IRS and I need to settle this debt and it goes on and on. Calls start before 7am and go until 10:30pm at night
Something needs to be done
I have a voicemail from some stating they are with the IRS. He claims to be Agent Bryan Snyder and he says there is an arrest warrant for me. Hey says I am under Federal Investigation and to call him back at 562-667-2515. I also have a 202-407-9848 that they called from.
received phone call stating that the IRS was trying to contact me, and I may be involved in a lawsuit for non- payment(automatic message). I was to call number below. I did not respond- just reporting it to you.
I have received multiple phone calls from this number (704)530-6940 with an automated recording telling me that the IRS is filing a lawsuit against me and to contact this number immediately. I spoke with the IRS a year ago about a similar incident and they said it was a scam. Please help me.
This is the content of an voice mail that I received today:
Suit which has been filed against your name with the legal arrest warrant. So if you need any information about your case just kindly call us back on my call back number
205202013682052020136. Again this is James Anderson. All the Internal Revenue Service.
I called the number and a person with Indian accent answered the phone with Internal Revenue Service. I was able to hear people talking in the back ground. I told this person, which I barely understood, that I had received a phone call regarding an outstanding warrant. He then tried to connect me and after a few seconds the phone hung up on me.
I received a voicemail from someone claiming that the sheriff would be out with a warrant for my arrest. I called the number back and they asked for my phone number. Unfortunately I gave it to them. The person had a heavy accent and was hard to understand. He claimed I owed back taxes and that the sheriff would arrest me. They called from 954-906-7277. I realized it was probably a scam so I called you (BBB).
I had a voice mail that said it was urgent to call. He didn't use the word urgent, but it was something to that affect, because the voice was deep and low and the first part didn't come in clear. It left a number to call. 6465132919. I started not to call but thought it might have something to do with another matter I've been waiting to hear from. So I called and immediately recognized a foreign voice and was suspicious. So I ask what company they were with. He said, IRS and I immediately hung up. I had my phone carrier to block this number. In the details of the number, it said New York. After blocking this number from my phone, I had another call that I did not answer. I didn't get it wrote down, but it started with 202. When I went back to look, that call has disappeared. I am registered with the National Do Not Call Registry and have registered a complaint with them as I've been registered since January of 2016. However, I though it needed to be reported and investigated. I've heard about such calls and that's why I hung up. But I fear for the elderly and those like my mom who do not hear well. These scammers need to be stopped just like terrorist groups. It is not right for them to continue to prey upon innocent people. I'm not sure how or if you need to contact me, but I hope you will take this serious. It is the time of year that many people are either paying or getting refunds and they are using that to their advantage. Thank you.
Told me I was being recorded for IRS purposes, for my local authorities. Said I owed over 6 grand in fraudulent taxes and gave them reason to believe was not negligent about it. He (daniel brown, batch ID 635027, with foreign accent). He then told me that he was going to transfer me to his supervisor to figure out a payment plan. I told him I wanted this in a form of letter sent to my address that he said I lived at. He said that I only have 1 hour to figure out a plan. I hung up. He tried to call back. I did not answer. The number is coming from Vancouver, WA (360)9491624
Received a phone call from 802-349-7046 at about 11am, Mar 23rd, 2016 from an automated female voice stating: "Internal Revenue Services- The reason of this call is to inform you that the IRS is filing lawsuit against you. To give you more information about this case file please call immediately on our department number 803-349-7046, i repeat 803-349-7046, thank you."
NOTE: the areas codes from the phone call that came into my phone and the number to call to inquire change from (802) to (803).
caller said from IRS and that we were going to be sued for fraudulent tax returns 2009-2014. Very "commanding" "don't talk just listen". We use an accountant, hadn't received any notices of problems so were sure almost from the beginning that it was a scam. We did not get to the point of money demands as scammer knew we were on to him and hung up. Accent sounded East Indian.
Claimed I had been audited by IRS and I was being sued by IRS for fraud. Said I had made some calculation errors on my forms and that I owed them 4600. They also said a warrant for my arrest had been issued. The first guy sounded foreign and I couldn't understand him clearly. When he said his name was Frank Winston I knew it was fake. He transferred me to someone else I could understand more clearly. He also had an accent and he said his name was officer Danny Green, badge number 678106. I knew it was a scam by them using names that did not fit their accent. Plus they said I could not pay by check, debit or credit card. I would have to go get cash. That is when I hung up on them. They called me back and the number appeared as 911. The first number they used was 202-297-6946 and it showed as coming from DC USA. They used scare tactics.
My boss received numerous calls from people claiming to be an officer of the IRS. They say this is her final warning and they are going to bring a lawsuit against her. She knows there is no problem with the IRS and just wanted to let people know.
Received a phone call, they stated they were the IRS and I needed to call back about owed taxes.
I received a call from +1(315)951-5020 and the message said that the IRS is filling a law suit against me, and that I needed to call back ASAP. The call first came in as a call from Finland, so I didn't answer it.
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22 Laminate Bathroom Floor Tiles – If you're transferring the things in your shower room, it's far more complicated to locate the job done. If there is just one bathroom in your house, they fret regarding it not being useful throughout the upgrades. In the same way, a terrific shower in an otherwise little home may look odd.
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Home Film Dubble Film announces name changes and new producer
Dubble Film announces name changes and new producer
The new Dubblefilm range (Pic: Dubblefilm)
Dubble Film has announced it is revamping its range of films – and announced it has entered into a new partnership to produce its films.
The films will now be known as Apollo, Bubblegum, Jelly, Pacific and Solar.
Pacific is the new name for the Monsoon film, Apollo is the new name for Apollo and Solar replaces Sunstroke.
At the same time, Dubble Film has announced it has ended its partnership with German pre-exposed film producer Kono! and will now make film with Revelog, and will increase the number of frames in each roll from 24 to 36.
In a statement, Dubblefilm's founder Adam Scott said: "Dubblefilm and Revolog are clearly the biggest players in the now growing speciality film niche of film photography. The collaboration will bring a range of benefits to the end-user.
"Firstly, the quality. It was clear that the tinting process from Revolog is of a very high quality as they have been producing films for a decade. Secondly, we are now able to offer 36 exposure film as opposed to 24 while keeping the retail price the same. Thirdly, as we combine our ideas, connections and styles we are able to work on a new range of films together and there will be another big announcement in a few weeks!"
The films will now be available in 36-frame rolls instead of 24, with a slightly higher price than the current range.
Scott told Kosmo Foto: "People were confusing Moonstruck and Monsoon (true) so we changed both and took the advantage to change Sunstroke as it evoked negative feelings of getting an actual sunstroke (false).
As for working for Revelog, he said: "They have been doing this since 2009 so the tints are better, we get to have more frames on the film and a potential for bigger things in the future."
See examples from the renamed range in the galleries below.
Previous articleFujifilm's films to rise in price 'by at least 30%'
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Absolut Craft — Herbaceous LemonI do a lot of work for Absolut Vodka, Absolut Elyx and Absolut Craft. I was lucky enought to be given a bottle of Absolut Craft, Herbaceous Lemon, for my troubles. Not opened it as I want to keep it safe and use it as my pension one day!


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Dr. Polishchuk's training included multiple approaches to the hip, including the popular anterior approach to the hip as well as hip resurfacing surgery (Birmingham). He uses the latest minimally invasive techniques in both hip and knee replacement as well as latest pain control methods to make post-operative recovery faster. This allows his patients to safely tailor their hospital stay to be as short as 1 day up to the standard 3-day stay. Most of his patients are able to go home after surgery with home visiting nurses and physical therapists.
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You couldn't be faulted for missing it. The modest three-story, cream white house looks virtually identical to when it was built more than 100 years ago. Nestled on a block of student rentals at 119 North Barnard Street, Lincoln Hall stands as a paramount monument to the Penn State Spirit, but also one of its least appreciated.
Today, you're likely to find the residents of Lincoln Hall, which is located less than two blocks from campus, listening to music and cracking open cheap beer on the porch, as they were when I stopped by on an unseasonably warm February Happy Valley day. They didn't realize when they signed their lease that they were about to live in one of the most important lasting structures in State College—one that housed an Olympic gold medalist and the first black player drafted into the NFL. Those students only found out about the significance of their current residence after they moved in; its story is memorialized on a plaque installed on the right side of the porch in 2012 by the Penn State Alumni Association and the State College Downtown Improvement District.
The house, its name taken from the former President of the United States, was once a rooming house for male African-American students at the Pennsylvania State College—one of only a few places in town where they could live at the time. Penn State was, in many ways, ahead of its time when it came to racial inclusion in America —Jesse Arnelle, the African-American basketball star and eventual longtime Penn State trustee, was elected student body president in 1955, well before many universities were even fully integrated.
Its most famous resident was the 19-year-old Wallace Triplett. The Cheltenham High School football captain arrived from his home in the Philadelphia suburb of La Mott, Pennsylvania in August 1945 with no place to stay. Penn State coach Bob Higgins referred Wally to the Giffords, and he moved in soon after.
The legend of Wally Triplett almost didn't happen. The still-segregated University of Miami offered him an athletic scholarship, sight unseen, only to revoke it after they found out he was black.
Triplett has kept that letter to this very day.
In a pinch, Triplett was able to secure a state-funded senatorial academic scholarship to attend Penn State. His story, forged here in the Nittany Valley, would change the state of racial equity in college athletics and personify our University's cultural values, the spirit of which still lingers to this day.
But what is the story of Wally Triplett?
The story is told in two-parts. Triplett saw limited playing time in 1945—becoming, along with Dennie Hoggard, the first African-American to take the field for Penn State—and earned a varsity letter in 1946, also the first black player to do so for the Nittany Lions. Triplett made the switch from tailback to wingback early in the 1946 season and was the team's most adept kick returner.
But Wally Triplett is defined more by the game he didn't play than the ones that he did.
Triplett first felt trouble when he noticed that familiar name on the team schedule after he returned to campus in the fall of 1946. The University of Miami, the same school that revoked his scholarship less than two years prior because of the color of his skin, was scheduled for a home game against Penn State on November 29.
Not only did Miami not let black players on its team but, like many southern schools, did not even allow black players on its fields with visiting teams. Miami officials alerted Penn State that traveling with Triplett and Hoggard might prove problematic. The situation gnawed at Triplett -- Penn State had a solid squad that year, with only one 3-point loss to Michigan State mid-way through the season and were poised to make a run at a postseason bowl.
The team discussed the situation and held a vote. It wasn't close. A revote was held, however, so that the few holdouts could make it unanimous. "There was no second thought," voter Joe Sarabok recalled to the Penn Stater. Penn State would bring all of its players, or it would not play at all.
There would be no game. It would not be rescheduled.
To add to the mythology, it is said that All-American captain Steve Suhey, the coach's future son-in-law whose family line would produce generations of great Nittany Lions, stood up after the discussion and declared that the team would never have a vote of this sort again. It would never be spoken of; they already knew the answer. It was decided forever.
After the 6-2 1946 season, Penn State knew it had a squad that could compete on the national stage. With most of its starters returning, Penn State's defense allowed its opponents to score in only three of its nine regular season games, racking up a perfect record and a 319-25 scoring differential and a No. 4 ranking in the AP poll.
Most media predicted the Nittany Lions would receive a bid to play Southern Methodist in the Cotton Bowl on New Year's Day in Dallas. There was just one problem. Most of the major southern bowls didn't explicitly ban black players at that time, but they would only be allowed to play if the other team agreed to it.
While Southern Methodist was ultimately willing to waive its policy against playing teams with black players, the Cotton Bowl still had never invited a team with non-white players on its roster. And besides, Dallas remained a segregated city, and there would be no accommodations for Triplett and Hoggard. Penn State received an invitation to play nonetheless. The Cotton Bowl it would need to be.
The team set out on Dec. 21 from the Pullmans bus station in Altoona. After a quick stop for a practice at Washington University in St. Louis, where Higgins had coached from 1925 to 1927, the team arrived just before Christmas at the Dallas Naval Air Station, the only place the team could find that would accept the two black players (separate accommodations were out of the question, as Suhey had declared a year earlier).
Game day came, plagued by an unseasonably frigid Texas wind. Led by future Heisman Trophy winner (and Triplett's future NFL teammate) Doak Walker, SMU went up early with a 13-0 lead at the half. Penn State scored quickly in the second half bringing the score to 13-7.
History would strike late in the third quarter. Penn State quarterback Elwood Petchel took the snap at the six-yard line and immediately scrambled out of the pocket, indicating a run. The Southern Methodist defense took the bait. By the time they realized the play, Triplett was already in the back left corner of the endzone, frantically motioning for the ball.
Petchel let it go with a flick of his wrist. There were no defenders in sight. As the ball settled softly in his outstretched arms, Wally Triplett became the first African-American to score a touchdown in the Cotton Bowl—and collegiately, in the entire state of Texas.
Future Penn State athletic director Ed Czekaj came in to kick the extra point. The ball sailed high above the uprights making it difficult to judge its exact trajectory, and although many of the players swore for years after that the ball actually made it through the uprights, the refs determined that the kick was no good. The Nittany Lions would have to settle for a 13-13 tie.
But the score hardly mattered. College football—and Penn State—had changed forever, thanks to the courage of Wally Triplett and "The Men of '47" who refused to succumb to the racial pressures of the time.
Journalist and Penn State Alumnus Michael Weinreb wrote that the Penn State players during this period had "such an inextricable bond that they rose about the tensions and preconceptions and prejudices of the era, a group who stood up for civil rights out of loyalty to the bonds they forged on a football field."
Triplett wasn't finished breaking barriers. He went on to have a stellar senior season in 1948 and was selected by the Detroit Lions in the 1949 NFL draft.
Although he was the third African-American player taken in the draft, he was the first to take the field in a regular season game, giving Triplett the distinction of being the first African-American draftee to play in the NFL. After being drafted into military service for the Korean—of course, another first among NFL players—Triplett played a couple more quiet seasons with the Chicago Cardinals before retiring from football in 1953.
Wally Triplett's story has seen renewed attention in recent years. ESPN covered it in a 30:30 mini documentary, narrated by Penn State alumnus Keegan Michael-Key. Penn State student government leaders voted in 2016 to use the student facilities fee to erect a monument to Triplett near the location of Old Beaver Field, and though the project went in another direction once it reached the administrative level, it is a testament to the enduring appeal of his inspirational story that today's students were willing to honor him in that way—nearly 70 years after Triplett and "The Men of '47" stood in their place.
But what compels such devotion? What is the Spirit of Penn State? Answers can be found through experiencing the ways in which the echoes of our shared past still reverberate through the places that we love. It is revering Mount Nittany. It is tipping your cap to Old Willow and admiring the remaining Elms on the Henderson Mall. It is celebrating the unique vision and singular determination of people like Evan Pugh, George Atherton, and Joe Paterno. And it is remembering places that never should have needed to exist at all, like Lincoln Hall, and the quiet dignity of the pioneers who lived there. It is learning and cherishing – and thereby keeping alive – the story of noble Lions like Wally Triplett, Steve Suhey, and a band of teammates who were ahead of their time.
The Spirit is still there if you want to experience it. Try it. Walk down North Barnard Street and stop in front of the second house on the right. Close your eyes. If you try hard enough, it's not difficult to imagine Wally Triplett, the African-American son of a Pennsylvania postal worker, his smile reaching ear to ear, bounding down the wood-covered concrete steps of Lincoln Hall, a duffel bag slung over his shoulder, on his way to catch the team bus to the Cotton Bowl, ready to change the course of history.
This article, "Legacy of Lincoln Hall, Wally Triplett and the Men of '47", was written by Kevin Horne and was the cover story for the fall 2018 edition of TOGA (The Obligatory Gridiron Annual) magazine. Wally Triplett passed away on November 8 at age 92.


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Acquitted: Pender found not guilty of killing son
Defense expert says infant died from non-traumatic death, medical examiner says blunt force injury
Acquitted: Pender found not guilty of killing son Defense expert says infant died from non-traumatic death, medical examiner says blunt force injury Check out this story on theleafchronicle.com: http://leafne.ws/1wDJAwM
Tavia D. Green, The Leaf-Chronicle Published 12:34 p.m. CT Oct. 29, 2014 | Updated 8:59 p.m. CT Oct. 29, 2014
Jacobi Pender cries and smiles as the verdict is read acquitting him of the first-degree murder and aggravated child abuse of his infant son, Isaiah Pender. (Photo: The Leaf-Chronicle/ Tavia D. Green )Buy Photo
CLARKSVILLE, Tenn. After deliberating for an hour and a half, a Montgomery County jury acquitted Jacobi Pender of murder.
Pender, 31, was charged with two counts of first-degree felony murder, aggravated child abuse and aggravated child neglect in the death of 5-month-old Isaiah Treyvon Pender, who was found dead in his crib on Nov. 11, 2012.
Pender testified he laid the child down to sleep around 6 a.m and the baby was dead when he went to check on him four hours later. He later told police he'd bumped the child's head on a door frame, but medical experts have said a bump on a door frame could not have caused the bleeding on the brain that occurred.
Jacobi Pender embraces his attorney Stephanie Ritchie after being acquitted of murder. (Photo: The Leaf-Chronicle/ Tavia D. Green)
An autopsy revealed Isaiah had a subdural hemorrhage on his brain, bleeding on his spine and a bruise underneath his scalp. There were no external bruises on Isaiah's body.
The jury heard the final evidence in the case and had to decide which medical expert to believe and if Pender was truthful when he testified Tuesday that he would never abuse his son.
As the verdict was read, Pender slowly shook his head and became overcome with emotion. He looked at his family and smiled, giving his father a thumbs up sign.
Vanessa Pender, the wife of Jacobi Pender hugs Stephanie Ritchie, Pender's defense attorney after her husband is acquitted of their infant son's murder. (Photo: The Leaf-Chronicle)
After the jury left, he embraced his attorney, Stephanie Ritchie, and wept. His wife, Vanessa Pender, mother, Chanelle Pender, and father all hugged Ritchie, thanking her and Dr. Thomas Young.
Gasaway told Pender he will be released from jail since he was acquitted.
Sudden Infant Death
The trial concluded Wednesday with Ritchie calling Dr. Thomas William Young, a forensic pathologist, to testify as an expert about his analysis of Isaiah's autopsy report.
Young ruled Isaiah's cause of death was Sudden Unexpected Infant Death-undetermined and said he died of natural causes.
After reviewing the autopsy, he concluded Isaiah died from a non-traumatic episode and ischemia and hypoxia.
Young said based on several studies and medical literature, he believed the blood on Isaiah's brain or subdural hemorrhage could be caused when he stopped breathing; there was no oxygen to his brain, his blood pressure rose and vessels in his brain began to leak, which he described as an ooze.
He said the explanations of Pender hitting his son's head on a door frame could have caused the bruise on the scalp, but that was not fatal. The lack of external bruising did not support violent impact, he said.
Al Pender, the father of Jacobi Pender thanks Dr. Thomas Young after the verdict is read. (Photo: The Leaf-Chronicle/ Tavia D. Green)
"It doesn't fit," he said. "This bruise is trivial. Other than this little bruise, there is nothing else. … Trauma isn't subtle. Trauma looks traumatic. This child was not traumatized."
Blunt force injury could cause subdural hematoma but would show trauma such as tearing of the blood vessels, he said.
"This case doesn't make any sense for any trauma. When (someone) is (involved in) horrible trauma, you see evidence of it," he said.
"This child doesn't look like he's been beat up. So to say this child was rammed against a door jam, this child doesn't have a bruise on the outside of his body."
During cross examination, Kimberly Lund asked Young about his resignation as medical examiner in Missouri in 2006 and letters submitted by colleagues calling for that resignation. He later explained it was politically motivated and he resigned because he didn't want to work under the new leadership.
She also asked about his pay, how he runs his business, his previous findings about subdural hemorrhaging, what he reviewed in the Pender case and cases where his findings had been questioned.
During further testimony as a rebuttal witness he said Isaiah did not die from a traumatic blunt force injury.
Blunt force injury
Verdict: Clarksville man acquitted in infant murder trial
Dr. Amy Hawes was the state's rebuttal witness, and after being shown pictures of Isaiah's brain she took at autopsy, she said the subdural bleeding was caused by trauma.
Hawes said there was blood around the spinal cord and blood on the brain, and both were caused by trauma.
Although there was no external bruising, she said it was not necessary to have trauma.
"It is entirely possible to have injuries on the inside of the body not see markings on the outside. That's why we do an autopsy," Hawes said.
She said studies showed there was no relationship between subdural bleeding and lack of oxygen, and there has been no proven fact that lack of oxygen causes brain bleeds.
Hawes disputed all of Young's conclusions.
She said a thorough review of the autopsy should've been conducted by Young and said there were certain materials Young did not request for review.
There was no indication Isaiah had a blood disorder and if he did have a blood disorder all the bumps his father said he experienced would've resulted in bruising. She said she ruled out other disorders he could've possibly had during autopsy and excluded everything but trauma, she said.
Children can have fatal internal injuries without external injuries and she said to a reasonable medical certainty he had a fatal head injury, stopped breathing and died.
"Children's heads are different," she said. "Children can have bleeding of the brain and not have skull fractures. Their skulls are more malleable and what might cause a skull fracture in an adult may not cause a fracture in an infant."
She said Sudden Unexplained Infant Death is sudden death in a child where there are no other studies or autopsy results to explain death.
The definition was not met in this case and this was a non-accidental trauma caused by blunt force injury and was a homicide, she said.
Kimberly Lund, assistant district attorney, asked the jury to use their common sense and look at the evidence to find Pender guilty.
"Isaiah Pender was 5-months-old in the care of one person, the one person he trusted to care for him," Lund said. "... something happened, because Isaiah is dead."
Lund reviewed the autopsy findings and said the jury could not ignore the injuries. She said Pender was not telling the entire truth.
"He knew what happened and did nothing," Lund said. "He put Isaiah in his crib and went back to bed. ... No matter how much we want to know what action killed Isaiah, we won't. There are only two people who know. One person is dead, and the other is not telling the truth. ... Isaiah was a healthy, well nourished, average baby. ... He is dead, and there was only one person in that house."
She compared Pender to the little boy who ate the chocolate cake and said he didn't, but evidence showed otherwise.
"The evidence is all around Jacobi Pender," she said. "There are no winners or losers, there is only justice and justice is to find him guilty as charged."
Ritchie told the jury the state had not proven that Pender committed a crime.
"Mr. Pender didn't abuse, neglect or murder his child," Ritchie said. "Bad things happen to good people. The Penders are a good family, and Jacobi Pender is a good man."
She said there was a cause of death and the state's entire case rested on Hawes' autopsy.
She said Pender bumping the baby's head against the door frame did not cause a fatal injury, there was no trauma, and asked them to consider Dr. Young's testimony.
She said Isaiah was healthy and loved by his parents, siblings and grandparents, and died peacefully in his crib from Sudden Infant Death.
She asked the jury to acquit him and find him not guilty of all charges.
Read or Share this story: http://leafne.ws/1wDJAwM
Durrett: County will have to borrow money under compromise tax rate


text:
Help for the Community
Shed Time
Mothers' Union
Partnering with the Community
The Dell Centre
St George's Christian Centre
St George's Cafe
Volunteering in the Community
Comic Relief gives £1m
The troubled country of Sudan is frequently in the news, usually with tales of conflict and violence. However, Comic Relief has given it a small ray of sunshine by awarding nearly £1 million to support Mothers' Union's Literacy and Financial Education Programme.
Since 2000, MU's Literacy and Development Programme (MULDP) has given people in Burundi, Malawi and Sudan access to literacy and numeracy education. Controlled by MU's trainers, the programme is rolled out through volunteer group facilitators, making it an extremely effective, yet cost efficient, adult literacy programme.
Over the last 10 years 73,721 people have joined a literacy circle with 53,148 going on to pass their exam to achieve a recognised literacy level. Receiving the accreditation certificate can be a momentous occasion for students as often it will be the first certificate they have ever received.
In 2009 MULDP in Burundi added a financial educational element. In Partnership with Five Talents International (a well established microfinance NGO) MU secured funds to train all the Burundian Literacy Trainers and Coordinators in ways to establish savings groups and business skills. This will enable them to set up productive businesses and to generate greater income using their combined literacy and financial skills.
In 2010 Comic Relief awarded MU the £1m grant and we now plan to extend the new combined Literacy and Financial Education Programme to Sudan. In partnership with Five Talents, MU aims to equip 20,000 accredited learners and their communities with an opportunity to expand their businesses. Over the next three years more people will receive vital literacy and financial education enabling them to generate and save income. It is the control through the development groups and the input at grassroots level which most impressed Comic Relief.
Our ongoing partnership with Five Talents provides an amazing opportunity to equip people with the crucial financial knowledge and business skills that are so desperately needed at the community level. However, the programme also provides a safe place to discuss challenges faced in community life. These challenges range from malaria, HIV/AIDS and domestic violence to unemployment, gender and family issues.
Since the economic downturn, MU's financial support to programmes such as this has been severely curtailed, so external grants are a great boost to funding this programme which would otherwise depend entirely on financial support from the UK membership of Mothers' Union.
Sharon Seal
Leader of Pastoral Care
sharon.seal@ashteadparish.org
Welcome to Mothers' Union
A Royal visit to Guildford Cathedral
Update on Bye Buy Childhood
Government review on commercialisation of childhood


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redpajama_set_name: RedPajamaGithub


text:
Q: PSQLException: ERROR: null value in column "person" violates not-null constraint when trying class-based projection I cannot solve my problem, although following a documentation regarding class-based projection.
I always get the following error message:
PSQLException: ERROR: null value in column "person" violates not-null constraint

This is my entity class
@Entity
@Table(name="incomeoutgo", schema = "public")
public class IncomeOutgo extends AbstractPersistable<Long> {
    @NotNull
    @GeneratedValue(strategy = GenerationType.IDENTITY)
    @Column(name ="id")
    private Long id;

    @NotNull
    @Column(name="dayofweek")
    private Date dayofweek;

    @NotNull
    @Size(min= 2, max= 100)
    @Column(name="position")
    private String position;

    @NotNull
    @Size(min = 5, max = 50)
    @Column(name ="person")
    private String person;

    @NotNull
    @Size(min= 1)
    @Column(name="income")
    private double income;

    @NotNull
    @Size(min= 2)
    @Column(name="outgo")
    private double outgo;
}

So does my Repository look like:
@Repository
public interface ChooseMonthRepository extends JpaRepository<IncomeOutgo, Date> {
    @Query(value = "SELECT dayofweek, person, position, income, outgo FROM IncomeOutgo WHERE dayofweek >= :start_dayofmonth AND dayofweek <= :end_dayofmonth", nativeQuery = true)
    List<DateChoiceDTO> findAllByDate(@Param("start_dayofmonth") Date start_dayofmonth, @Param("end_dayofmonth") Date end_dayofmonth);
}

This is my class-based projection
@AllArgsConstructor
@NoArgsConstructor
@Data
public class DateChoiceDTO {
    Date dayofweek;
    String person;
    String position;
    double income;
    double outgo;
}

The Service class
@RequiredArgsConstructor
@Service
@Transactional(readOnly=true)
public class DateChoiceService {

    private final ChooseMonthRepository incomeOutgoDateChoice;

    public List<?> getAllForDateChoice(Date start_dayofmonth) {
        Date lastDayOfMonth=java.util.Calendar.getInstance().getTime();

        return incomeOutgoDateChoice.findAllByDate(start_dayofmonth, lastDayOfMonth);
    }
}

And last but not least my Controller
@RequiredArgsConstructor
@Controller
@Validated
@RequestMapping(value = "/")
public class DateChoiceController {

    private static final String DATE_CHOICE_VIEW = "DateChoice";

    private final DateChoiceService dateChoiceService;

    @GetMapping("/")
    public String homeInit(Model model) {
        return DATE_CHOICE_VIEW;
    }

    @PostMapping(value = "/")
    public String addUser(@ModelAttribute("incomeoutgo") @Valid DateChoiceDTO dateChoice, Model model, @NotNull BindingResult bindingResult) {
        if(bindingResult.hasErrors()) {
            return DATE_CHOICE_VIEW;
        }
        List<?> incomeOutgoList = dateChoiceService.getAllForDateChoice(dateChoice.getDayofweek());
        model.addAttribute(DATE_CHOICE_VIEW, incomeOutgoList);

        return DATE_CHOICE_VIEW;
    }
}

I do not understand why the person column suddenly comes into play?
Maybe someone can tell me what I am doing wrong here?

A: You are getting following exception because the framework is not sure what to do with the tuple.
No converter found capable of converting from type AbstractJpaQuery$TupleConverter$TupleBackedMap to type DateChoiceDTO

You have to use fully qualified name of the class when you are using construction result set mapping in the query like below:
select new a.b.cSomeDto(t.property1, t.property2) from table t

Here is how i have fixed it:
@Query(value = "SELECT new com.example.samplejdbctemplatecall.DateChoiceDTO" +
"(table.dayofweek, table.person, table.position, table.income, table.outgo) " +
"FROM IncomeOutgo table WHERE table.dayofweek >= :start_dayofmonth AND table.dayofweek <= :end_dayofmonth")
List<DateChoiceDTO> findAllByDateSecond(@Param("start_dayofmonth") Date start_dayofmonth, @Param("end_dayofmonth") Date end_dayofmonth);

But as mentioned by Simon, if you have insert query firing from somewhere else you need to fix that first, because this is a complete retrieval operation and the error you are facing is related to data insertion.
Entire working sample(+ interface projection):
@RequestMapping("/test")
@RestController
class IncomeOutgoController {
    private final ChooseMonthRepository chooseMonthRepository;
    private int days = 0;

    @Autowired
    IncomeOutgoController(ChooseMonthRepository chooseMonthRepository) {
        this.chooseMonthRepository = chooseMonthRepository;
    }

    @GetMapping("/interface-projection")
    public Object interfaceProjection() {
        Calendar calendar = Calendar.getInstance();
        calendar.add(Calendar.MONTH, -1);
        Date date = calendar.getTime();
        calendar = Calendar.getInstance();

        return composeResponse("interface-projection", chooseMonthRepository.findAllByDate(date, calendar.getTime()));
    }

    @GetMapping("/constructor-projection")
    public Object constructorProjection() {
        Calendar calendar = Calendar.getInstance();
        calendar.add(Calendar.MONTH, -1);
        Date date = calendar.getTime();
        calendar = Calendar.getInstance();
        return composeResponse("constructor-projection", chooseMonthRepository.findAllByDateSecond(date, calendar.getTime()));
    }

    @GetMapping("/store")
    public Object addRandomData() {
        String randomUuid = UUID.randomUUID().toString();
        chooseMonthRepository.save(new IncomeOutgo(null, Calendar.getInstance().getTime(), "random-position: " + randomUuid,
                randomUuid, new Random(5000).nextDouble(), new Random(500).nextDouble()));
        return "success";
    }

    private Map<String, Object> composeResponse(String key, Object value) {
        final Map<String, Object> response = new HashMap<>();
        response.put(key, value);
        return response;
    }

}

@AllArgsConstructor
@NoArgsConstructor
@Entity
@Table(name = "incomeoutgo", schema = "public")
class IncomeOutgo extends AbstractPersistable<Long> {
    @NotNull
    @GeneratedValue(strategy = GenerationType.IDENTITY)
    @Column(name = "id")
    private Long id;

    @NotNull
    @Column(name = "dayofweek")
    private Date dayofweek;

    @NotNull
    @Size(min = 2, max = 100)
    @Column(name = "position")
    private String position;

    @NotNull
    @Size(min = 5, max = 50)
    @Column(name = "person")
    private String person;

    @NotNull
    @Size(min = 1)
    @Column(name = "income")
    private double income;

    @NotNull
    @Size(min = 2)
    @Column(name = "outgo")
    private double outgo;
}

@Repository
interface ChooseMonthRepository extends JpaRepository<IncomeOutgo, Date> {
    @Query(value = "SELECT dayofweek, person, position, income, outgo FROM IncomeOutgo WHERE dayofweek >= :start_dayofmonth AND dayofweek <= :end_dayofmonth", nativeQuery = true)
    List<DateChoiceDTOInterface> findAllByDate(@Param("start_dayofmonth") Date start_dayofmonth, @Param("end_dayofmonth") Date end_dayofmonth);

    @Query(value = "SELECT new com.example.samplejdbctemplatecall.DateChoiceDTO" +
            "(table.dayofweek, table.person, table.position, table.income, table.outgo) " +
            "FROM IncomeOutgo table WHERE table.dayofweek >= :start_dayofmonth AND table.dayofweek <= :end_dayofmonth")
    List<DateChoiceDTO> findAllByDateSecond(@Param("start_dayofmonth") Date start_dayofmonth, @Param("end_dayofmonth") Date end_dayofmonth);
}

@AllArgsConstructor
@NoArgsConstructor
@Getter
@Setter
class DateChoiceDTO {
    Date dayofweek;
    String person;
    String position;
    Double income;
    Double outgo;
}

interface DateChoiceDTOInterface {
    Date getDayOfWeek();

    String getPerson();

    String getPosition();

    Double getIncome();

    Double getOutgo();
}

application.properties
spring.jpa.hibernate.ddl-auto=update
spring.datasource.url=jdbc:postgresql://172.17.0.2:5432/postgres
spring.datasource.username=postgres
spring.datasource.password=mysecretpassword
spring.jpa.database-platform=org.hibernate.dialect.PostgreSQLDialect
spring.jpa.show-sql=true

redpajama_set_name: RedPajamaStackExchange


text:
Q: In Java, how do you enforce Stack.pop() as a parameter? I have two stacks.
I want to be able to push any element onto one, but only if it was popped off the other.
Instead of My current function looks like this:
public void pushValue(int poppedValue) {
  Stack.push(value)
}

I want the function to look something like this:
public void pushValue(pop() poppedValue) {
  Stack.push(value)
}

How could I set the pop() function as a parameter, instead of an int?
In other words, how can I set the parameter to only accept a value that was popped from somewhere?

A: There is no way in Java to express that constraint.  (Or in any other language, AFAIK)
(IMO) the best you can do is to pass the second Stack as an argument to the first one and make the first one responsible for popping a value; e.g.
public class Stack {
    ...
    public int transferValue(Stack source) {
        int res = source.pop();  // throws exception if source is empty
        this.push(value);
        return res;
    }
}

This leaves you with problems regarding push:

*

*Do you remove it entirely from the Stack API?  If so, how do the elements get onto the source stack?

*Do you split the Stack API into Stack and StackWithoutPush?  If yes, which is the super-class / super-interface?  Neither alternative is perfect.  Either way, the subclass violates the contract of the superclass in some sense.  (C.f. the problem of List versus UnmodifiableList APIs.)

A: Your syntax isn't possible, but you could make the second stack a member field and then push iff the value is present when you peek at the second stack (through the field).
private Stack otherStack = null; // <-- set this somehow (constructor?), or pass it.

public void pushValue(int newValue) {
  if (otherStack != null && otherStack.peek() == newValue) {
    Stack.push(newValue); // <-- please observe naming conventions (stack)
  }
}

Then, pop() the value. Basically, peek, push and then pop.


text:
Tag: Film
RORY: How did you get them [bootleg albums] past customs?
LANE: Well, I strapped them to my body like in Midnight Express.
Midnight Express, previously discussed as a film that Lorelai and Rory had seen; apparently Lane watched it with them at least once. In the film, Billy Hayes is caught while trying to smuggle hashish out of Turkey, with the drugs strapped to his body.
That Billy's plan didn't work and he was sent to prison doesn't seem to have deterred Lane. She's almost certainly joking, as it doesn't seem to be particularly difficult to get bootleg albums through US customs. It seems to be one of those things that are technically illegal, but rarely enforced.
A.O.	S2Ep4: Road Trip to Harvard	1 Comment August 17, 2018 August 12, 2018
EMILY: You know what, I'm not returning the gift. I'm going to put it away in a closet and you won't know what it is until you do get married someday.
LORELAI: Tell me now!
EMILY: Sorry.
LORELAI: Come on! Mom, I may never get married. I may be a free spirit my whole life, or fall in love with a separated Catholic guy like Katharine Hepburn did, and then not get to go to his funeral when he dies.
Katharine Hepburn (1907-2003) was an American actress who was born and grew up in Hartford; like Rory, she attended a private school there. A leading lady in Hollywood for more for 60 years, she received four Academy Awards for Best Actress – a record number for any performer. In 1999 Hepburn was named the greatest female star of Classic Hollywood Cinema by the American Film Institute.
After beginning her career in theatre, success on Broadway brought Katharine Hepburn to Hollywood, and she received her first Academy Award for her third film, Morning Glory (1933). This was followed by a series of failures, but she arranged her own comeback by buying the rights to the film The Philadelphia Story (1940), only selling them on condition of starring in itself. The film was a massive success, and is regarded as one of the best screwball romantic comedies of all time.
In the 1940s Hepburn was contracted by MGM, where she frequently played opposite film star Spencer Tracy (1900-1967); their screen partnership lasted 25 years, and produced nine movies. Hepburn and Tracy maintained a private relationship for 26 years, lasting until his death. Spencer Tracy was married, but had been separated from his wife for several years before beginning his relationship with Katharine Hepburn.
Spencer Tracy was a Catholic, but it is not clear if this was the reason for not divorcing his wife (who was an Episcopalian). From comments he made, it seemed more as if he was going along with the wishes of his wife, while Hepburn didn't interfere and never pushed for marriage. After his death, Katharine Hepburn did not attend his funeral out of consideration for his wife and children.
A.O.	S2Ep4: Road Trip to Harvard	Leave a comment August 17, 2018 August 12, 2018
"Forget it Jake, it's Chinatown"
LORELAI: There has not been one moment over our entire stay when she [Sammy] has not been right there.
LADAWN: On the stairs?
LORELAI: Yes.
LADAWN: Oh, she's hardly ever on the stairs.
RORY: Forget it Jake, it's Chinatown.
Rory is referencing the 1974 mystery film Chinatown, directed by Roman Polanski, with screenplay by Robert Towne, and starring Jack Nicholson as private investigator J.J. "Jake" Gittes. Set in 1937, the film was inspired by the Californian Water Wars, disputes over southern Californian water where Los Angeles interests gained water rights in the Owens Valley (in actuality, these occured at the beginning of the 20th century).
At the end of the film, the antagonists force Jake to drive them to Chinatown, where his love interest Evelyn (Faye Dunaway) has sought temporary refuge at the house of her butler. Police are already waiting to arrest Jake, and during the confrontation, they kill Evelyn. The police free Jake, and his associate Lawrence Walsh (Joe Mantell) advises him, "Forget it, Jake. It's Chinatown".
Chinatown is regarded as a classic film, and Robert Towne won the Academy Award for Best Original Screenplay. The screenplay has a legendary status among film makers, and is often cited as the greatest example of film writing.
In this scene, we discover that Sammy the cat is actually a female, with her name presumably short for Samantha.
LORELAI: Hey, I'm gonna find a ladies room. You know, sneak a smoke, see if anybody slipped an aspirin in my Coke.
RORY: Okay, Rizzo.
Betty Rizzo (played by Stockard Channing), usually known by her surname only, is a character in the 1978 musical film Grease, previously discussed; she is one of the Pink Ladies clique at Rydell High School. Tough, cynical, and sexually experienced, Rizzo is at first antagonistic towards the "good girl" heroine, Sandy (Olivia Newton-John).
In the film, Rizzo, like all the Pink Ladies, smokes cigarettes on the sly. Her friend Marty Maraschino (Dinah Manoff), the best-looking of the Pink Ladies, complained at a teenager's dance that the flirtatious adult host had tried to slip an aspirin into her Coke – according to an urban legend of the era, such a combination could be used as a date-rape drug.
LORELAI: We are not gonna have this fight in a flowery bedroom with dentists singing Gypsys, Tramps and Thieves [sic] in the background. It's too David Lynch!
David Lynch (born 1946) is an American film maker, musician, actor, and artist. His first feature-length work was the surrealist horror film Eraserhead (1977), which became a cult classic, and he gained mainstream success with the biographical film The Elephant Man (1980), previously mentioned. The science-fiction epic Dune (1984) was a failure, while his mystery film Blue Velvet (1987) was controversial upon release, but now regarded as one of the greatest films of its era.
He is well known for his mystery horror television series Twin Peaks (1990-1991), which was a smash hit around the world, quickly gained a cult following, and caused him to be labelled the "first popular Surrealist". He also directed Wild at Heart, earlier mentioned as a film Nicolas Cage starred in.
It becomes apparent during the show that Lorelai is a David Lynch fan.
A.O.	S2Ep4: Road Trip to Harvard	Leave a comment August 14, 2018 August 9, 2018
Nicolas Cage and Captain Corelli's Mandolin
RORY: A cool B&B?
RORY: That's like saying an understated Nicholas Cage movie.
LORELAI: Listen, I myself am not usually a fan of the B&B, but Donald's place is different.
RORY: Captain Corelli's Mandolin.
LORELAI: I'm serious.
RORY: "Bella bambina at two o'clock."
Nicolas Cage, born Nicolas Coppola (born 1964) is an American actor, director, and producer. He is the nephew of director Francis Ford Coppola, and the cousin of director Sofia Coppola. After making his debut in Fast Times at Ridgemont High in 1982, in his early career, Nicolas Cage starred in slightly off-beat films such as Valley Girl (1983), Raising Arizona (1987), and Wild at Heart (1990). In 1995 he won the Academy Award for Best Actor for Leaving Las Vegas, and gained mainstream success in films such as The Rock (1996), Con Air (1997), and City of Angels (1998). His acting style has been described as "operatic", while he himself refers to his method as "Noveau Shamanic" – hence Rory's inference that a Nicolas Cage movie can never be understated.
Captain Corelli's Mandolin is a 2001 war film directed by John Madden, and based on the 1994 novel of the same name by British novelist Louis de Bernières. Nicolas Cage has the title role of Captain Antonio Corelli, and the film is set on the Greek island of Cephalonia during World War II. The film received poor reviews.
In the film, when Captain Corelli first spots his love interest Pelagia (Penelope Cruz) in a crowd, he shouts out to his men: "Bella bambina at two o'clock! Eyes right!", so that they can all witness and acknowledge her beauty.
The film was released in the US on August 17 2001, so Rory mentioning it is slightly anachronistic – according to the show's timeline of events, Rory can't have seen it yet, as it won't come out for a another few days from her perspective.
Lorelai and Rory apparently now hate B&Bs, even though Lorelai and Sookie were talking about opening one a few episodes ago.
[Early the next morning, Lorelai and Rory are in Lorelai's jeep driving through Stars Hollow.]
LORELAI: We're almost there and nowhere near it. All that matters is we're going.
RORY: We're practically gone already.
LORELAI: Look out world.
[They stop at the red light and stare at it, waiting for it to change.]
There have been so many mentions of great American journeys in Gilmore Girls, from On the Road to Huckleberry Finn to Thelma and Louise, that it seems in tune with the show's theme for Lorelai and Rory to hit the road at some point. Their conversation is even vaguely reminiscent of a famous exchange from On the Road:
""Sal, we gotta go and never stop going 'till we get there.'
'Where we going, man?'
'I don't know but we gotta go."
That urge towards the journey and not the destination is the same one that is driving Lorelai away from her home.
As luck would have it, before they even leave town, they get stuck at the new traffic light, which is timed to come on even if there is no other traffic on the road, and will stay on until the oldest and feeblest person in Stars Hollow can safely get across the road. It's symbolic of the way that it will always be difficult for them to leave Stars Hollow, even temporarily. There is something in the town which holds them captive to some extent.
This is the literal "red light on the wedding night" alluded to in the episode's title, although strictly speaking it isn't the wedding night, but several days before the wedding. Symbolically though, it means that Lorelai has put a stop to her wedding going ahead.
A.O.	S2Ep3: Red Light on the Wedding Night	Leave a comment August 12, 2018 June 11, 2018


Buying materials for your stockroom.
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Talking Numbers
Three stocks that teens absolutely adore
Published Thu, Apr 17 20146:47 PM EDT
Lawrence Lewitinn@lvlewitinn
Want an idea of what companies may be big in the future? Take a look at where the kids are spending money now.
And, one of the biggest recipients of teens' (or their parents') money besides clothing retailers are quick-service restaurants, otherwise known as fast food.
Recently, Nicole Miller Regan, senior research analyst at Piper Jaffray, conducted a survey of 7,500 teens and found some surprising results which she shares with "Talking Numbers":
1. Starbucks leads the preference for teens in the limited-service segment
Miller Regan's survey shows that 59 percent of teens prefer the limited-service segment (which includes quick service and fast casual), up from 43 percent just five years ago.
"The big picture element here is, from a decade ago, we see a trend where limited service is taking share from full service," said Miller Regan.
Though 11 percent of average-income teens and 12 percent of upper-income teens prefer Starbucks, it's the leading brand in this segment. Miller Regan's research shows that over the past seven years, Starbucks is the only company to maintain double-digit market share preference in the category.
"Starbucks is benefiting from that trend," said Miller Regan. "But, there's also a Starbuck shift going on. ... They've evolved. There are noncaffeine options [and] there are nondairy options. And, as they go into this hot-food platform … that could continue to drive future preference."
(Read: IPO Roundup: 3 companies go public Friday)
2. Teens favor Noodles by cuisine type
For the first time since the Piper Jaffray survey began, Noodles entered the top five for upper-income teens in American cuisine. The chain just has 380 restaurants, a fraction of some of its largest competitors.
"Noodles showing as a favored cuisine is actually very promising given how small they are in size," said Miller Regan. "They showed up with 7 percent mindshare. That's considered very strong. They're actually the first fast casual as well that we've seen listed by American cuisine … I think that stems from the convenient locations being in lifestyle centers. ... [Teens] can eat in and linger, do Wi-Fi, socialize, or they can take out. And, it's a better value in that they don't have to tip."
3. Chipotle trumps preference among average income teens
"Chipotle continues to rival Starbucks," said Miller Regan. "They're actually the only one to challenge the Starbucks lead."
Miller Regan notes that Chipotle wins out dramatically when the survey is broken out by gender. "They're dominant when we look at the male versus female teen results," she said. "From a male perspective, they actually trump Starbucks nearly 2-to-1."
In areas like the Midwest, where Chipotle has its roots, it trades off with Starbucks for dominance with teens. "The two of them combined," said Miller Regan, "account for one-third of preference when we look at the Midwest region."
(Watch: Markets face more turbulence as earnings ramp up)
Miller Regan says that this survey is part of the overall research process. But, it may have implications for the future.
"Teens take these preferences with them," said Miller Regan. "As they mature into young adults, as they become working adults, as they transfer into having families, they're going to carry these preferences with them. We think that's an important part for all three of these stories."
To see the full interview with Nicole Miller Regan on teen restaurant preferences, watch the video above.
The following companies have been investment banking clients of Piper Jaffray during the past 12 months: NDLS
Other material conflicts of interest for Nicole Miller Regan or Piper Jaffray regarding companies in the universe for which she is aware include: NDLS: underwriting
Piper Jaffray makes a market in the securities of the following companies, and will buy and sell the securities of these companies on a principal basis: NDLS, SBUX
Piper Jaffray usually provides bids and offers for the securities of the following companies and will, from time to time, buy and sell the securities of these companies on a principal basis: CMG]
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Warrior Paint: Horses helping veterans heal psychological wounds at Operation Strides
Jimmie Rawl gets help painting a horse from his 7-year-old daughter, Lara, during one of his recent Warrior Paint sessions through the Operation Strides program.
By Citizen Contributor
Sept. 19, 2013 0
In January 2013, Naples Equestrian Challenge launched Operation Strides, an equine-facilitated psychotherapy (EFP) program designed specifically to meet the needs of combat veterans living with post-traumatic stress disorder (PTSD), traumatic brain injuries and/or amputation.
"Originally, we thought that soldiers returning from Iraq and Afghanistan would be our primary clients. However, we still see a strong need for support for the Vietnam veterans in the area," said Kim Minarich, executive director of Naples Equestrian Challenge.
According to the Department of Veteran Affairs, as many as 20 percent of Iraq and Afghanistan veterans and 30 percent of Vietnam veterans are living with the effects of PTSD. Dealing with the symptoms of stress, irritability, outbursts of rage, avoidance of relationships and a lack of trust can be devastating for the both individual and their families.
Preliminary results on Operation Strides are very positive with participants self-reporting an average 20 percent decrease in anxiety, depression and irritability.
Jimmie Rawl is a retired Army staff sergeant who served in Iraq. He routinely wakes up with the aches and pains of the stress of 20 years in the military and combat duty. Beyond the physical pain, he is working to overcome the emotional toll of living with PTSD.
While there are days that he is anxious and doesn't want to leave his house, Rawl has two reasons to get better — Lara is 7 and Mina was born on July 30.
During an eight-week session of Operation Strides, participants go through a series of activities designed to enhance self-awareness and positively affect negative behaviors, feelings and attitudes.
One of the most expressive equine-related activities is "Warrior Painting," where the veterans receive the tactile and sensory benefit of painting on the horse and reflecting on the most pressing situations in their lives. At the beginning of the session, participants choose their equine partner. Then, with washable paint, the veterans express their thoughts and concerns by painting on their horse. Sometimes the paintings are deeply emotional and sometimes they are light and happy.
"They feel safe after working with the horses for many weeks and know that the horses will not judge the painting or read into it any more than they would like to share," said Lea Haven, a PATH certified equine specialist.
Rawl's family was top of mind during a recent Warrior Paint session. On one side of Ted (the horse), Rawl painted a landscape of his house and on the other side he painted one of the funny faces that he routinely draws for his daughter, Lara.
In a group setting, a clinical psychologist helps the veterans explore their thoughts and emotions as they describe their Warrior Painting. Then, the participants wash the paint off of their equine partners in a symbolic gesture of washing away any negative emotions.
Additionally, participating in the care of the horses helps break down the barriers that have built up around their PTSD. Simple acts such as brushing or washing the horse help the participants learn to read body language and adjust their reaction appropriately.
"Working with the horses breaks down barriers. This huge animal could hurt you if it wanted to, but when you approach it just a little bit differently, it doesn't," said Rawl.
The equine partners are more than a "prop" in the therapeutic process. As therapy horses, the herd at Naples Equestrian Challenge takes on an active supportive role in every session.
During one wrap-up session, Rawl had a break-through in his PTSD. He expressed to the group that he was having difficulty trusting the people around him and felt that "there wasn't anyone who had his back."
Bella, a 15-year-old Belgian mare and Rawl's equine partner for the day, had been playing on the other side of the arena while the participants discussed the day. As soon as she sensed that Rawl was in distress, she walked up and laid her head on his shoulder. On her own, Bella remained at his side for the rest of the wrap-up.
While Rawl knows that living with PTSD will be a day-to-day challenge, he says that Operation Strides has definitely helped him deal with his stress so that he can be a better husband and father.
"Operation Strides has definitely helped me deal with my PTSD. I am a lot calmer after working with the horses," said Rawl.
Operation Strides launched in January 2013 and is offered free of charge to military veterans. Naples Equestrian Challenge is taking applications for future sessions. For more information call (239) 596-2988 or visit www.NaplesEquestrianChallenge.com.
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Everglades Wonder Gardens is celebrating its 80th anniversary
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Record-breaking weekend in NYC for two OAC stars
Eye-catching performances leave Oliver Hoare and Joe Klecker with their eyes set on a trip to Tokyo later this year.
On Athletics Club is celebrating a double success after Oliver Hoare and Joe Klecker both smashed records at the Indoor Grand Prix in New York.
Australian Hoare took gold in the 1500m, crossing the line at Staten Island's Ocean Breeze Athletic Complex in a national record of 3:32.35. Hoare's time was comfortably under the 3:35.00 qualifying time for the Tokyo Olympics.
Meanwhile, Klecker's third-place finish in the 3000m – coming in at 7:44.91 – was a new PR for the Minnesotan. His eventual time of 8:14.20 for the 2 Mile earned him a silver medal, another PR and the sixth fastest American time ever recorded for the indoor event.
"I'm really happy," said Hoare. "I felt great in the race and executed it well. (OAC head coach) Dathan (Ritzenhein) and I had a simple plan of making sure we made a statement for 2021 right out of the gates."
Hoare admitted he was confident ahead of the race. Now the satisfaction of performing in the heat of the battle has left him anticipating a strong 2021.
He said: "Training has been going well with the team and we've been constantly building each week. The race went out fast, and to be able to close well off a fast pace was something I wanted to prove I could handle. I'm excited for the weeks and races ahead."
A post shared by Oliver Hoare (@ollihoare)
For Klecker, it was an important step in his preparation for the Olympic trials this summer. "I wanted to use the race as an opportunity to practice for Championship-style racing," he said.
"Going into the Olympic year, Dathan is putting extra emphasis on being in the top three in every race we run. When the Olympic trials come around in June, I want to be ready for anything. Being second and closing in a 4:00 mile for the second week in a row, with an even faster last 400 than the previous week, has helped my confidence grow."
Dathan Ritzenhein added his congratulations to both athletes. He said: "I'm so proud of the OAC boys. Oliver was incredible. Watching him storm his way to the Australian national record was a thing of beauty… and Joe ran a great 8:14 two-mile. He always shows up. These guys are something else!"
A post shared by Dathan Ritzenhein (@djritzenhein)
Attention now turns to the Trials of Miles Texas Qualifier on February 26-27, where all OAC athletes with the exception of Carlos Villarreal will compete in the 5000m. Hoare, Klecker and George Beamish are all hoping to fare well with potential Olympic qualifying times, while Leah Falland is also strongly tipped to excel.
To follow the progress of the OAC, and all Team On athletes, follow on_running on social and sign up for the On newsletter below.
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OAC Makes History in Boston
On Athletics Club teammates Oliver Hoare and George Beamish smashed even their own pre-race expectations as they both set national indoor 5000m records, for Australia and New Zealand respectively, to clinch first and second place in a historic night in Boston for the OAC.
US track star Joe Klecker is a 7-time All-American, a 2-time NCAA runner-up, and, just like his mom Janis, he's also an Olympian. We speak to her about what her son was like as a youngster and what it means to see him competing on the biggest stage of all – almost 30 years after she did the same.


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William Roger Dean (born 31 August 1944), known as Roger Dean, is an English artist, designer, and publisher. He began painting posters and album covers for musicians in the late 1960s. The groups for whom he did the most art are the English rock bands Yes and Asia.

The covers often feature exotic fantasy landscapes. His work has sold more than 150 million copies worldwide.

Early life
William Roger Dean was born on 31 August 1944 in Ashford, Kent. His mother studied dress design at Canterbury School of Art before her marriage and his father was an engineer in the British Army. He has three siblings, brother Martyn and sisters Penny and Philippa. Much of Dean's childhood was spent in Greece, Cyprus, and, from age 12 to 15, Hong Kong, so his father could carry out army duties. Dean was very keen on natural history as a child, and Chinese landscape art and feng shui became particular influences on him during his time in Hong Kong. He has cited landscape, "and the pathways through it", as his greatest influence and source of inspiration.

In 1959, after the family had returned to England, Dean attended Ashford Grammar School followed by his entry in 1961 to the Canterbury College of Art studying silversmithing and furniture design and graduated with a National Diploma in Design. He was removed from a life drawing class by the principal for being "young and impressionable", and was informed he could not take it due to maths and physics being his other subjects, leading a switch to studying industrial design. As the school was trying to become accredited in the subject, Dean bypassed its foundation level course but disliked the way the subject was taught and questioned the teachers as to why people had to live in "boxes" and their response in that "form follows function".

Towards the end of the course at Canterbury, Dean was faced with the option of pursuing either architecture or industrial design; one of his tutors thought neither were for him, and recommended that Dean study at the Royal College of Art in London. He enrolled at the college in 1965 to study furniture design and became a student of Professor David Pye. Among his research was the "psychology of architecture" and what made people feel comfortable in buildings. He did a thesis about "producing a sense of tranquillity in domestic architecture". He graduated from the college in 1968 with a masters first degree honours, and won a silver medal for "work of special distinction". By this time, Dean was interested in "designing the future [...] boxes for people to live in". He considered Rick Griffin's artwork for Aoxomoxoa (1969) by The Grateful Dead as his "first big visual shock" and bought the album prior to owning a record player.

Career

1960s
Among Dean's first successes was his sea urchin chair design which spawned from his research at the Royal College and completed in 1967. He filed a patent for it in the following year. It has been considered to be a predecessor to the bean bag, whereby the chair compresses and fully adapts to the shape and size of the user. The design was completed when Dean was one of the few students picked from the Royal College to design and make objects in famed designer Cherrill Scheer's factory. The chair remains one of Cherrill's favourite pieces. It is now a part of the permanent collection at the Victoria and Albert Museum.

In 1968, during his third year at the Royal College, Dean was assigned a project which involved the design of a contemporary landscape seating area of the upstairs disco at Ronnie Scott's Jazz Club in Soho. This led to the design of his first album cover, Gun (1968) by rock band Gun, after owner Ronnie Scott asked him to adapt a demonic-themed design that Dean originally made in his sketchbook for his thesis, for the album's cover. Dean agreed, and was paid "around £5,000" for his work. Dean earned more money from the album's cover than he had done with architecture related work, and realised covers took much less effort. He decided to venture into cover design not purely for the money, but its wider audience and its use "as a propaganda tool [...] showing people what might be and what could be". Dean began to pick up work where he could, including covers for various jazz artists for Vertigo Records which he disliked, calling them "austere exercises" and too restrictive for the ideas he wished to convey. The experience led Dean to establish a commission before starting work he wanted to do, leading to a short period of financial hardship. At the same time, he wanted to release a book on architecture but faced rejection from 27 different publishers.

1970s
Dean designed the logo to the independent label Fly Records in 1970. This led to Dean working on a single for their musician Marc Bolan which involved typesetting the liner notes and lyrics, but Dean had not done the technique before and completed them by hand with the assistance of a graphic designer, in order to show the printing staff where the typesets were to be placed. The positive reaction Dean received from his style of writing led to him handwriting the text for further Bolan singles. This was a similar case for Dean's design for Clear Blue Sky (1970) by Clear Blue Sky, where a painting had been completed except the typesetting, "So to bluff my way through the meeting I had to handwrite it all and hope they would never ask about it". The label's staffers were enthusiastic, which gave Dean the confidence to pursue more handwriting, logo, and graphic work.

By 1971, Dean's desire to produce artwork for rock bands had grown though he continued to pursue architecture and headed a small exhibition of his work in Florence. Following discussions with A&R man David Howells, who had assigned Dean the sleeve for The Gun, Dean agreed to work on the cover of Osibisa (1971) by afrobeat band Osibisa. The design is a result of a brief that Dean described as "credible African fairytale imagery" and features "flying elephants and not architecture", which became an early representation of the style he later achieved fame with. Dean considered the job a breakthrough for his career as the design was made into a poster by the Big 'O' poster company which sold a large number of copies. He later said, "From that point on I could do what I wanted".

In mid-1971, during his search for work affiliated with rock bands, Dean sent a portfolio to numerous executives including Phil Carson, the European General Manager of Atlantic Records. Carson took an interest in using Dean for one of his rock acts, Yes, and hired Dean for the cover of Yes's fourth album, Fragile (1971), which marked the beginning of an association with the band to the present day. Dean pitched a story on a creation myth rather than a particular image for it, "about a child who dreamt they were living on a planet that was breaking up, so they had to build a space ark to find another planet to live on. And they towed all the little bits of the planet with them". In 1972, he designed the band's logo while travelling on the Brighton Belle train, which has been used on most of their albums since Close to the Edge (1972). In addition to their covers, Dean and his brother Martyn worked on the stage design for Yes from 1973 to 1976, 1980, 1989, and 2004. The tour for Tales from Topographic Oceans (1973) featured a nationwide merchandising campaign including posters and t-shirts that led to the creation of Brockum.

In 1972, Dean designed the logo for the newly established Virgin Records. While working on the art for Yessongs (1973), Dean and his printers Tinsley Robor secured a patent for "a way of going from gatefold to any number of pages, folded out of one piece of card". In the late 1970s, Dean had an idea for Living in the Third Millennium, a thirteen episode television show about the designs and technological challenges of the future, yet it never made it to production due to budget constraints.

1980s–present
In the 1980s, Dean's output focused on other areas, including stage design, architecture, and video game art. In 1981, he collaborated with his brother Martyn on the Tectonic House, an environmentally-friendly and economic home built to last that was displayed at the annual International Ideal Home Exhibition in Birmingham. The idea spawned from two ideas: Dean's earlier designs for a bed and bedroom intended for the safety of children, and Martyn's "retreat pod" from 1970 that was featured in the Stanley Kubrick film A Clockwork Orange (1971). The project has developed into its current name, Home for Life, and the non-working prototype contains no straight edges or right angles. In the early 2000s, the cost to produce one was estimated to be $72,000–$80,000. Although several local British governments have expressed interest in the project, none have come into fruition. In 2003, a project involving the construction of 264 villas, chalets, and apartments designed by Dean on a 65-acre site near Stourport-on-Severn, Worcestershire had entered the planning stage.

In 1982, readers of Rolling Stone voted Dean's cover for Asia's debut studio album was voted the second greatest album cover of all time, behind Sgt. Pepper's Lonely Hearts Club Band (1967) by The Beatles.

Dean's first design for a video game was The Black Onyx (1984), which was a collaboration with comic artist Michael Kaluta. It marked the beginning of a series of designs Dean produced for Henk Rogers, who designed the game. The project involved Dean and Kaluta producing an estimated 4,000 drawings for the game, including ideas for its animation, story, music, and motion capture. Dean went on to produce the cover artwork for several Psygnosis games, including Obliterator (1988) and Shadow of the Beast (1989). Dean redesigned the Tetris logo which led to the design of the cover art for Tetris Worlds (2001).

Dean received an honorary doctorate from the Academy of Art University in San Francisco in 2002, and an honorary fellowship from the Arts University Bournemouth in 2009.

In 2013, Dean filed a legal action in U.S. District Court New York claiming that film director James Cameron had plagiarized 14 of his original images in the making the 2009 blockbuster film Avatar.  Dean sought damages of $50M. Although the filmmakers admitted in court to being influenced by the artist's work, Dean's case was dismissed in 2014.

In 2013, Dean received a Gold Badge of Merit from the British Academy of Songwriters, Composers and Authors.

In March 2021, Dean released his first artwork on the digital art auction platform Nifty Gateway, featuring non-fungible token art pieces.

Dean has two permanent galleries, his largest at Trading Boundaries, East Sussex in the UK and the other at The San Francisco Art Exchange. Both galleries display original works and limited edition prints, sketches and drawings.

Album covers

Known primarily for the dreamy, other-worldly scenes he has created for Yes, Asia, Budgie, Uriah Heep, Gentle Giant and other bands, Dean has described himself primarily as a landscape painter. Characteristic landscapes show graceful stone arches (as shown in Arches Mist) or floating islands, while many paintings portray organic-seeming habitats, such as on the cover of Anderson Bruford Wakeman Howe. Though he primarily works with watercolour paints, many of his paintings make use of multiple media, including gouache, ink, enamel, crayon and collage. In addition to his cover paintings, Dean is respected for his calligraphic work, designing logos and titles to go with his paintings.

Dean was friends with album cover designer Storm Thorgerson of Hipgnosis and the two lived in the same building after leaving university. He recalled a time when they collaborated on an album cover, but it turned out to be "a complete failure".
The rise of the compact disc in the 1980s led to what Dean described as a decline in combining music with art, with the jewel case looking "tacky" and a way for record companies sacrificing quality to save money. He cites the early CD reissue of Close to the Edge by Yes as one that particularly affected him as his inner sleeve artwork was missing, replaced with black and white text.

Personal life
Dean has a daughter, artist and designer Freyja Dean (b. 1987) who is the inspiration behind the title to Dean's painting Freyja's Castle (1987). Dean lives in Lewes, East Sussex.

Recognition in other media
Dean is mentioned in the 1987 song "Dickie Davies Eyes" by English band Half Man Half Biscuit.

On 19 August 2016, the Isle of Man Post Office issued a series of 6 stamps featuring Dean's artwork:
 "Meeting Place" - produced exclusively for the stamp issue
 "Blind Owl Late Landing" - features the unreleased Blind Owl album artwork
 "Pathways" - cover artwork from Yes triple album Yessongs
 "Green Parrot Island" - derived from The Studio Albums 1969-1987 box set by Yes
 "Tales from Topographic Oceans" - from the Yes album of the same name
 "Sea of Light" comes from the Uriah Heep album of the same name

Dean has had a long relationship with the Isle of Man, and especially with its long-term resident Rick Wakeman, keyboardist of the progressive rock band 'Yes', for which Dean has designed several pieces of album artwork.

The First Day Cover (FDC) was also issued in a limited 750-issue run which were signed by Roger Dean (this cover was issued on 2 September 2016).

On 20 August 2016, an exhibition of Dean's masterpieces went on display at the Manx Museum.

A special FDC was issued on 25 March 2018, to celebrate 50 years of 'Yes' - this was a different cover to the August 2016 one, and was postmarked in Gold to record this historic event and signed personally by Dean who has created a special 50th Anniversary logo. A limited edition of 1000 signed covers were issued.

Covers

Albums

Video games

 The Black Onyx (1984)
 Brataccas (1986)
 Super Black Onyx (1987)
 Barbarian (1987)
 Terrorpods (1987)
 Chrono Quest (1988)
 Obliterator (1988)
 Shadow of the Beast (1989)
 Stryx (1989)
 Shadow of the Beast II (1990)
 Amnios (1991)
 Fatal Rewind (1991)
 Shadow of the Beast III (1992)
 Agony (1992)
 Faceball 2000 (1992; in-game background art only)
 Tetris Worlds (2001)
 Tetris Splash (2007)

Publications

Books of Roger Dean art

Books edited by Roger Dean
 The Flights of Icarus (1977) by Donald Lehmkuhl. Edited by Roger & Martyn Dean. Large format colour book with paintings by Alan Lee, Patrick Woodroffe, Jeffrey Jones, Ian Miller, Bernie Wrightson, Melvyn Grant, Peter Jones, Syd Mead, Barry Windsor-Smith, Michael Kaluta, Roger Dean, Jim Fitzpatrick, Bruce Pennington, Chris Foss, and others

Album Cover Album: The Book of Record Jackets (1977; with Storm Thorgerson, Dominy Hamilton)
Album Cover Album Vol. 2: The Second Volume: The 2nd Book of Record Sleeves (1982; with David Howells)
Album Cover Album Vol. 3: The 3rd Book of Record Sleeves (1986; with David Howells)
Album Cover Album Vol. 4: Ultimate Album Cover Album (1987; with David Howells)
Album Cover Album Vol. 5: The 5th Book of Record Jackets (1989; with Storm Thorgerson)
Album Cover Album Vol. 6: The 6th Book of Record Jackets (1992; with  Vaughn Oliver, Storm Thorgerson)
The Album Cover Album (2008; reissue of 1977 book with additional prefaces, forewords, etc, by Storm Thorgerson, Peter Gabriel, John Wetton)

References

Bibliography

External links
 Roger Dean website

1944 births
Living people
English illustrators
British speculative fiction artists
Fantasy artists
Alumni of the University for the Creative Arts
People from Ashford, Kent
Alumni of the Royal College of Art
Album-cover and concert-poster artists
World Fantasy Award-winning artists
People educated at The Norton Knatchbull School

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