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How Jack Sparrow set Johnny Depp free
Which is more eccentric, Johnny Depp's performances or the influences he claims lie behind each one? It's a close run thing. For his role as Jack Sparrow in the Pirates of the Caribbean franchise Depp famously drew on Rolling Stone Keith Richards, but also Parisian cartoon skunk Pepé Le Pew. "I'm absolutely convinced that he's a great ladies man," he said of the latter. For his turn as the abysmally self-convinced director Ed Wood, Depp channelled some of Ronald Reagan's eternal optimism (ouch). For Willy Wonka, he combined Michael Jackson and Anna Wintour (double ouch). And for Edward Scissorhands, he drew on both Buster Keaton and a favourite childhood pet dog. "Even when he'd done something wrong and you'd reprimanded him, he would cower away" Depp recalled, "but the second you called him back he would be there, bright and full of love."
What do you notice about that lot? First, that there are not many figures in there that Depp really likes. Second, that when he does base a character on someone he admires – as in Pirates and Scissorhands – he comes up with his best performances. As an actor Depp is not always best served by his own instincts, which are essentially those of a parodist: sly, side-winding, self-subverting. There was a time — in between thumping photographers, trashing hotel rooms and turning down roles in Titanic, Speed and Interview With the Vampire — when you wondered if he really wanted to be a movie star. He hated being photographed, didn't watch his own movies, spent most of his early career in flight from the heart-throb status thrust on him by the Eighties teen soap 21 Jump Street, and took a spray can to his image by choosing roles such as a teen rebel in John Waters's Cry-Baby and the lead in Edward Scissorhands, Tim Burton's majestic film about a boy who cannot touch those he loves. Beneath the fright wigs and angora sweaters of his seven Burton collaborations, from Edward Scissorhands to Alice in Wonderland, it's easy to overlook the extent to which the director indulges Depp's desire to curl up and disappear.
His range is narrow but deep. As easy as it is to mock some of his more outré pet projects — he tinkered for years with his directorial debut The Brave, an unreleasable farrago about Indians and snuff movies starring the late Marlon Brando — there's no denying that on a good day off-kilter intensity is precisely what gives those Cherokee cheekbones of his their resonant frequency. He was ineffably gentle playing Leonardo DiCaprio's older brother in What's Eating Gilbert Grape, the first film to uncover a deep protective streak in the actor. When directors manage to ignite his sense of chivalry, they are in luck.
His work in Ed Wood, by contrast, fastened onto the B-movie director's delusion and never let go. It's not his fault that Burton's conception of Wood didn't seem to extend much beyond finding his awful movies funny. Burton's own tend to resemble a collection of colourful cameos in search of a lead, with Depp at his happiest on the sidelines, letting off firecrackers. It is a crowning irony of Depp's career that when one of his kooks finally did hit home with an audience — the props, the beard, the teeth, the accent, the mannerisms all finally coming together into one magnificent package — it was not in a Burton film, but in a Disney theme-park-ride turned summer-franchise, Pirates of the Caribbean, no less.
It's hard to overstate the importance of that film's success, not just financially but creatively. It proved two things: firstly that Depp, like most artists, is best when swimming upstream rather than when surrounded by like-minded collaborators. He had to fight for Sparrow. Disney executives took one look at the character and said: "He's gay, he's drunk. What are you guys doing?!" The actor replied: "Trust me or fire me." And secondly it proved Depp could still connect with the popular audience that had been all but ready to give up on him.
Since Pirates, Depp has almost been a different actor, as if something in that movie freed up something in him, allowing him to finally relax into the role of movie star. He allowed himself to be adored by Marion Cotillard in Michael Mann's Public Enemies — a neat echo of the love affair between Depp (now 46 years old) and the entire female population of France, where he lives with his long-term partner, actress Vanessa Paradis. It's hard to imagine the Depp of old snapping off Dillinger's smooth chat-up lines with such old-school movie-star panache as he does in Mann's film. He is currently in Venice with Angelina Jolie, filming the new thriller from the director of The Lives of Others. There was a time when Jolie would have eaten Depp for lunch. Now, I'm not so sure.
— from my piece for The Daily Telegraph about Depp's career
jfla May 2, 2010 at 10:35 AM
Michael Jackson wasn't apart of Willy Wonka. Depp based his characterization by the way adults spoke to children in kids television shows like Reading Rainbow, etc.
Best creature design of the year: Toothless
Cunning, baffling, powerful
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America's Next Top Model: cycle 14
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Ex-BSP MLA's Company Surrenders ₹100 Cr Of Undeclared Income
HMA Group, a prominent meat exporter, disclosed ₹100 crore of undeclared income after an income-tax raid that lasted several days. The firm is owned by the former BSP MLA from Agra, Zulfiqar Ahmed Bhutto.
Absolutely Atrocious: Congress On I-T Searches On CPR, Oxfam
September 8, 2022 9:29
Congress came down heavily on the Income-Tax Department searches at the Delhi offices of independent think tank Centre for Policy Research (CPR), the Indian branch of global NGO Oxfam along with a media foundation Independent and Public-Spirited Media Foundation (IPSMF) on Wednesday. Reacting to the searches, Congress general secretary Jairam Ramesh said, "It's absolutely atrocious
₹390 Cr Haul: Major IT Dept Raid In Maharashtra's Jalna
NEW DELHI: In a major haul, the Income Tax Department has seized assets to the tune of ₹390 crore, including cash amounting to ₹56 crore, from Maharashtra's Jalna. According to IT Department sources, the tax authorities carried out raids on a steel manufacturer, a cloth merchant, and a land developer in Jalna from August 1
IT Dept Searches Premises Linked To Transporter Rintu Singh
RAIPUR: The Income Tax Department carried out searches at several premises linked to Rintu Singh, who runs a transport company named Jai Ambe transports. According to IT department sources related to development, the searches at premises of Singh started in the morning. The source said that the IT department sleuths took the assistance of the
IT Department Searches Premises Of Ex NSE Boss Chitra Ramkrishnan
Mumbai/New Delhi: In a coordinated action, teams of the Income Tax Department investigators on Thursday carried out searches at the premises of Chitra Ramkrishnan, former managing director (MD) and chief executive officer (CEO) of National Stock Exchange (NSE) and her mother, well placed sources said. According to the sources, eight to nine officials of the
UP Perfume Notes: 7 cupboards, Walking Closet; GST Summons Shikhar Gutkha Owners To Find Money's Beneficiaries?
KANNAUJ/KANPUR: The six-day long investigation spread across Kanpur and Kannauj at two residences of businessman and perfume-maker Peeyush Jain has discovered that a walking closet was used since 2010 by him to stash unaccounted cash, that stands at Rs 197-crore even as directorate general of GST intelligence (DGGI), a law enforcement agency under the Union

redpajama_set_name: RedPajamaCommonCrawl


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Course Objective Using a combination of theory and practical work, the course will enable students to visually express thoughts and ideas as 3D models and animation. Curriculum The modules of study focus on 3D, visual effects and post production. The course enables students to grasp the basics of drawing, sketching, and shading in animal and human anatomy, characters and models. Students gain experience in modeling, textures, composition, and character design and world class animation. Software used: 3ds Max or Maya, Premiere Pro and After Effects.


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Ten stunning Italian libraries
Biblioteca Nazionale Marciana, Venice
The books inside a library probably contain countless libraries as well.
Think about the "very stately and magnificent" library of Saint Victor, described in "Gargantua and Pantagruel" as the novel's protagonist makes a long and hilarious list of absurd book titles.
Or think about the one in "Don Quixote" by Cervantes, where books "guilty" of casting dangerous spells on readers are kept.
Or think of the library in "The Betrothed" that belongs to the erudite Don Ferrante, whom Manzoni makes fun of in the 27th chapter, describing his considerable collection of books, scarcely less than three hundred volumes .
Moving on to 20th-century literature, think of Elias Canetti's library in "Auto-da-Fé" and Umberto Eco's in "The name of the rose"…
Finally, the absolute queen that allows us to really believe that any library contains countless libraries: "The Library of Babel" by Jorge Luis Borges. Here you can find he detailed history of the future, the autobiographies of the archangels, the faithful catalog of the Library, thousands and thousands of false catalogs, the proof of the falsity of those false catalogs […] the translation of every book into every language, the interpolations of every book into all books, the treatise Bede could have written (but did not) on the mythology of the Saxon people…
We'll never be able to visit all of the libraries in literature. But at least we would like to take you on a tour of the ten the most wonderful real libraries in Italy.
We start in Venice, right next to Saint Mark's Campanile (Bell tower), where the Biblioteca Nazionale Marciana (photo above) was built between 1537 and 1588 according to Florentine architect Jacopo Sansovino's designs. Its vast collection includes invaluable Greek and Latin manuscripts, as well as a large number of atlases and maps.
Biblioteca Nazionale Marciana
Piazzetta San Marco, 7
biblioteca@marciana.venezia.sbn.it
marciana.venezia.sbn.it
Milan is home to the Braidense National Library, built in 1770 and opened to the public in 1786. Located inside the 17th-century Palazzo di Brera, its "roommates" are the famous Brera Art Gallery and Brera Botanical Gardens. It became a "national library" (and was officially entrusted with conserving Italy's publishing heritage) in 1880.
Braidense National Library
via Brera, 28
b-brai@beniculturali.it
www.braidense.it
Biblioteca Nazionale Braidense, Milano
One of Bologna's cultural attractions is the Archiginnasio Municipal Library, located since 1838 in the beautiful, 16th-century building of the same name, which used to be the university's main center. Its collection has grown from the original nucleus that dates back to 1801 to approximately one million pieces, including books, pamphlets, incunabula, ancient books and periodicals.
Archiginnasio Municipal Library
Piazza Galvani, 1
archiginnasio@comune.bologna.it
www.archiginnasio.it
Biblioteca comunale dell'Archiginnasio, Bologna
A little further south, we reach Cesena and its Malatestiana Library, the first civic library in Italy and in Europe, as well as the only monastic (Franciscan, to be precise) library structure to have preserved building, furniture and book collection completely intact. It was built between 1447 and 1454, and was added to UNESCO's Memory of the World Programme Register in 2005.
Malatestiana Library
Piazza Bufalini, 1
malatestiana@comune.cesena.fc.it
www.comune.cesena.fc.it/malatestiana
Biblioteca Malatestiana, Cesena
In Florence we suggest visiting at least two libraries. One is the Riccardian Library, founded in 1600 and open to the public since 1715. Among the treasures kept in its collection at Palazzo Medici Ricciardi: a 10th-century manuscript with works by Pliny the Younger, and Machiavelli's autograph manuscript of "Florentine Histories".
Riccardian Library
Via Ginori, 10
Tel.: +39 055 212586/ +39 055 293385
b-ricc@beniculturali.it
www.riccardiana.firenze.sbn.it
Biblioteca Riccardiana, Firenze
The second library we must mention in Florence is the Laurentian Library, which has the largest Egyptian papyri collection in Italy and the richest collection of Virgil's works in the world. It is located inside a splendid 16th-century building designed by Michelangelo, and can be accessed passing through the cloisters of the Basilica of San Lorenzo (hence the name, "Laurenziana" in Italian).
Laurentian Library
Piazza San Lorenzo, 9
b-mela@beniculturali.it
www.bml.firenze.sbn.it
Biblioteca Medicea Laurenziana, Firenze
In Rome we enter the wonderful Angelica Library right next to the Basilica of Sant'Agostino, near Piazza Navona. Inaugurated in 1604, the Angelica is one of the oldest "public" libraries in the world, and flaunts the largest collection of books on Saint Augustine. It also houses the archives of the literary Academy of the Arcadians.
Angelica Library
Piazza di Sant'Agostino, 8
b-ange@beniculturali.it
www.bibliotecaangelica.beniculturali.it
Biblioteca Angelica, Roma
A stone's throw from the Angelica, there is the Biblioteca Vallicelliana. Its original nucleus of books belonged to Saint Phillip Neri, founder of the Congregation of the Oratory – the religious institution that entrusted the great architect Francesco Borromini with building the Oratory of Saint Phillip Neri, where the library is now on the second floor.
Biblioteca Vallicelliana
Piazza della Chiesa Nuova, 18
b-vall@beniculturali.it
www.vallicelliana.it
Biblioteca Vallicelliana, Roma
The Capital is also home to the Casanata Library, which opened in the early 1700s inside the Convent of Santa Maria sopra Minerva in Rome, next to the beautiful church that is Saint Catherine of Siena's final resting place. The Casanatense is named after cardinal Girolamo Casanate, who owned the 25,000 books making up the original nucleus of the library's collection.
Casanata Library
Via Sant'Ignazio, 52
b-casa@beniculturali.it
www.casanatense.it
Biblioteca Casanatense, Roma
Naples is the last stop on our itinerary, with the Biblioteca dei Girolamini, which inaugurated in 1586 and thus is the oldest in the city. Currently located inside a building that belongs to the late-17th-century complex of the Church and Convent of the Girolamini, it preserves a large and prestigious collection – which unfortunately the public cannot consult.
Biblioteca dei Girolamini
Via Duomo, 114
bibliotecadeigirolamini@beniculturali.it
www.facebook.com/bibliotecadeigirolamini
www.bibliotecadeigirolamini.beniculturali.it
Biblioteca dei Girolamini, Napoli
Photos via: ©ivano bastelli, ©European Creative Cities, ©Franck Bohbot
The Biblioteca Planettiana and Jesi's freedom
Biblioteca Salaborsa, the heart of Bologna
Parma's Palatine Library: Verdi against the winter of the spirit
The Malatestiana Library, Cesena
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Therapists at the Dr. Hank Srednicki's program offer an evaluation of the condition and a comprehensive treatment program. We offer this treatment program for adults and children.
Therapy patients will likely receive homework assignments after each session, which typically take one half to two hours to complete. Our treatment program is best delivered in person but we also accommodate clients via phone and video conference. We also encourage all our clients to join our group for adults with OCD. After completing the treatment program, some clients may require periodic booster sessions if new OCD issues are of concern. For those who are suffering from severe cases of OCD, we recommended continuing a weekly or twice-monthly sessions.There is currently no treatment plan that can completely cure OCD but most of our clients can expect moderate to extreme reduction of symptoms and an improved way of life. Attending all sessions and doing the assigned homework consistently will increase your chances of getting better results. Most people with OCD reported better results using this treatment compared to medication but there may also be cases where both medication and treatment program are needed for optimal results.
LEARN THE RIGHT STRATEGIES TO SET YOURSELF FREE.
You have more control, than you think.


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Smuggler's Wife, Book 2
By: Deborah Challinor
Narrated by: Louise Crawford
Series: Smuggler's Wife Series, Book 2
Categories: Fiction, Historical
$14.95/month after 30 days. Cancel anytime.
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The Cloud Leopard's Daughter
Length: 15 hrs and 3 mins
When Kitty and Rian Farrell sail their schooner Katipo III into Dunedin Harbour in 1863, they are on tenterhooks. The new Otago goldfields have attracted all-comers, including their friend Wong Fu from Ballarat, who has sent a message for their help. To their surprise, Wong Fu reveals he is more than a mere fortune seeker - he is in fact a Cloud Leopard tong master, and his daughter, Bao, has been kidnapped and taken to opium-ridden China. Kitty and Rian agree to retrieve the missing Bao, but as they sail closer to their quarry, the stakes jump dramatically.
When the Yarrowee River bursts its banks, Rian Farrell, a dashing Irish sea captain and part-time gunrunner, disappears in the torrential flood. Believing herself a widow, the headstrong and passionate Kitty Farrell's heart is left in tatters after the sudden death of her beloved husband. In her grief, she finally succumbs to the attractions of his longtime shipmate, Daniel, who has loved her from afar for many years. The consequences are disastrous and will challenge Kitty Farrell both physically and mentally.
When 18-year-old Kitty Carlisle's father dies in 1838, her suddenly impoverished mother hopes her beautiful daughter might at least find a good husband. But then Kitty is compromised by an unscrupulous adventurer, and she is banished in disgrace to the colonies. In the infamous whaling port of Kororareka - known as the Hell-Hole of the Pacific - Kitty falls in love with Rian Farrell, a mysterious sea captain with secrets of his own. Shocking events force her to flee the Bay of Islands for Sydney, but her independent heart leads her into a web of illicit sexual liaison, betrayal, and death.
The Desert Midwife
By: Fiona McArthur
Narrated by: Caroline Lee
When outback midwife Ava May meets Zac on a flight to Alice Springs, they tumble into a whirlwind affair. But an exciting adventure leads to a terrible accident, with shattering consequences. The couple who had so much going for them now find themselves with everything to lose. Devastated, Ava retreats to her family cattle station to help salvage what she can of the critical situation. But at home on the drought-ridden farm, her brother is being pushed to his limits, and as his depression intensifies, Ava must step in to prevent another family tragedy.
Strong, resilient characters.
By Michael Verbit on 09-18-19
The Fire Blossom
The Fire Blossom Saga, Book 1
By: Sarah Lark, Kate Northrop - translator
Narrated by: Katherine Littrell
It's 1837, and immigrating to a small New Zealand fishing village is an opportunity for Ida Lange's family to build a better future. Yet for Ida, raised in a strict, religious, tight-knit German community, so much is still forbidden to a woman. Yearning for the poor day laborer she shared books with as a child, Ida is now trapped in a dire marriage to a man of her father's choosing.
Engaging story with love, betrayal and sheep!
By SpinningKat on 09-14-19
By: Lesley Pearse
Narrated by: Lucy Brownhill
When a beautiful blonde girl is found half-drowned on a beach, she has no memory of who she is or what horrors have left her there. But an article about her in a Brighton newspaper rings alarm bells for beautician Dale, who shows the police photographs of Lotte Wainright. The girls met working on a cruise ship, and their friendship blossomed as they sailed the seas of South America, until Lotte fell under the sinister influence of an older American couple.
Not as "Bubble Gum" as it appears to be
By Jenn on 11-13-17
The Tiger Catcher
The End of Forever Saga, Book 1
By: Paullina Simons
Narrated by: Jeremy Arthur
Young and handsome, Julian lives a charmed life in Los Angeles. His world is turned upside down by a love affair with Josephine, a mysterious young woman who takes him by storm. But she is not what she seems, carrying secrets that tear them apart - perhaps forever. So begins Julian and Josephine's extraordinary adventure of love, loss, and the mystical forces that bind people together across time and space. It is a journey that propels Julian toward either love fulfilled...or oblivion.
By Ellen on 06-07-19
Flight of a Maori Goddess
The Sea of Freedom Trilogy, Book 3
By: Sarah Lark, D. W. Lovett - translator
Narrated by: Anne Flosnik
The dawning twentieth century brings change to New Zealand - and new opportunities for any woman bold enough to grasp them. Atamarie Turei, whose mother fought for suffrage, has enrolled as the first female student at the Canterbury College of Engineering. On a surveying trip she meets Richard Pearse, who shares her passion for aviation. Being part Maori, part white, and thoroughly independent, Atamarie is soon vilified by Richard's conservative farm community, forcing her to navigate the next step in a liberating life.
By Jeffrey on 11-07-19
Beneath the Kauri Tree
The Sea of Freedom Trilogy
As the nineteenth century draws to a close, the struggle for women's suffrage has finally reached New Zealand. But when the tide of change rolls in, it threatens to engulf two young women from very different backgrounds, who are coming of age amid the tumult.
By kay grace on 01-26-19
By: Dinah Jefferies
Narrated by: Anna Bentinck
Belle Hatton has embarked upon an exciting new life far from home: a glamorous job as a nightclub singer in 1930s Burma, with a host of sophisticated new friends and admirers. But Belle is haunted by a mystery from her past - an old newspaper clipping found in her parents' belongings after their death, saying that the Hattons were leaving Rangoon after the disappearance of their baby daughter, Elvira.
By: Kate Furnivall
Narrated by: Imogen Church
Germany, 1945. Klara Janowska and her daughter, Alicja, have walked for weeks to get to Graufeld Displaced Persons camp. In the cramped, dirty, dangerous conditions they, along with 3,200 others, are the lucky ones. They have survived and will do anything to find a way back home. But when Klara recognises a man in the camp from her past, a deadly game of cat and mouse begins. He knows exactly what she did during the war to save her daughter. She knows his real identity. What will be the price of silence? And will either make it out of the camp alive?
GREAT STORYLINE!!
By Marisa Conte on 07-30-19
By: Belinda Alexandra
Paris, 1899. Emma Lacasse has been estranged from her older sister for nearly 20 years, since Caroline married a wealthy American and left France. So when Emma receives a request from Caroline to meet her, she is intrigued. Caroline invites Emma to visit her in New York, on one condition: Emma must tutor her shy, young niece, Isadora, and help her prepare for her society debut.
A mixed bag for this reader, this time!
By Suzanne-Marie on 04-08-19
Stone Country
By: Nicole Alexander
Narrated by: Ric Herbert
Ross Grant has always felt like the black sheep of his wealthy Scottish family. An explorer at heart, he dreams of life on Waybell, their remote cattle station in Australia's last remaining wilderness, the Northern Territory. Then his brother Alastair is branded a deserter after going missing during the Great War, and Ross is coerced into marrying Darcey Thomas, a woman he has never met, to save the family name. Disgusted with his manipulative family, he turns his back on his unwanted wife just hours after the ceremony and heads to Waybell with no plans to return.
The Violin Maker's Daughter
By: Sharon Maas
Narrated by: Annie McKenzie
When the Nazis march onto the cobbled streets of Colmar on November 1st 1940, Josef, a Jewish violin maker, gathers his wife and daughters closely to him and tells them everything will be alright. But one year later, three sharp knocks on the door at midnight turn his 17-year-old daughter Sarah's world upside down. As the oldest child, Sarah must be the first to leave her family, to make her escape in a perilous journey across France via Paris to Poitiers. In the mountains she finds herself in terrible danger and meets Ralf, a German deserter, who risks his own life to save her.
Don't give up on the book. It gets real good
By paula wright on 07-26-19
My Name Is Eva
You Can Pay a Terrible Price for Keeping a Promise
By: Suzanne Goldring
Narrated by: Diana Croft
Evelyn Taylor-Clarke sits in her chair at Forest Lawns Care Home in the heart of the English countryside, surrounded by residents with minds not as sharp as hers. It would be easy to dismiss Evelyn as a muddled old woman, but her lipstick is applied perfectly and her buttons done up correctly. Because, Evelyn is a woman with secrets, and Evelyn remembers everything. She can never forget the promise she made to the love of her life to discover the truth about the mission that led to his death, no matter what it cost her.
Disappointing in every way
By Roberta H. de Regt on 11-01-19
Ladies in Black
By: Madeleine St John
Narrated by: Deidre Rubenstein
At the very end of the Ladies' Frocks Departments, past Cocktail Frocks, there was something very special, something quite, quite wonderful; but it wasn't for everybody: that was the point. Because there, at the very end, there was a lovely arch, on which was written in curly letters Model Gowns. Written by a superb novelist of contemporary manners, Ladies in Black is a fairytale which illuminates the extraordinariness of ordinary lives. The women in black are run off their feet, what with the Christmas rush and the summer sales that follow.
Beautifully written, perfectly narrated
By Hilary on 10-04-18
The Secret Letter
By: Debbie Rix
Narrated by: Jacqueline King
Germany, 1939. A tumbledown farmhouse, on the outskirts of a close-knit village in the heart of the rolling hills of Bavaria. A once happy family home torn apart by Nazi rule. And one young girl who refuses to give up on what she believes in...London, 2018: When 94-year-old Imogen receives a letter addressed to her in neat, unfamiliar handwriting, she notices the postmark is stamped from Germany - and it sends shivers down her spine....
Compelling
By Anonymous User on 01-06-20
By: Di Morrissey
Narrated by: Jennifer Vuletic
In the 1930s, in an isolated and beautiful corner of southern Tasmania, a young wife arrives at her husband's secluded property - Arcadia. Stella, an artist, falls in love with Arcadia's wild, ancient forest. But when an unknown predator strikes, she is saved by an unusual protector.... Two generations later, Stella's granddaughter, Sally, and her best friend, Jessica, stumble over Stella's secret life in the forest and find themselves threatened in turn.
Publisher's Summary
She was Maori, aged anywhere between three and five years old. Her dirty, matted hair hung past her shoulders, and her sweet, heart-shaped little face was filthy.
When Kitty Farrell is offered a trinket by a street urchin, her impulsive response will change both of their lives forever. It is 1845, and after four years on the high seas with Rian, her wild Irish husband, she returns to the lawless Bay of Islands and a country at war.
Kitty and Rian must battle to be reunited as they fight for their lives and watch friends and enemies alike succumb to the madness of war and the fatal seduction of hatred.
"Rich with historical facts...an immensely enjoyable read." (Australian Women's Weekly)
©2018 Deborah Challinor (P)2019 HarperCollins Publishers
From the Ashes
The Last Paradise
The Lost Flowers of Alice Hart


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Golf Membership
Curling Membership
Curling Application
Guest Info-AODA
Brantford Golf And Country Club
"Brantford is a course that has everything"
Historic, Breathtaking and Smart
All of those words could be used to describe Brantford Golf and Country Club, one of Canada's most venerated golf courses.
With a stately modern clubhouse and a timeless golf course designed by Nicol Thompson and his brother Stanley, Canada's greatest golf architect, Brantford has aged to near perfection. The mix of holes offers variety and nuance not regularly seen on other classics. That's probably why, nearly a century after the firm of Thompson, Cumming and Thompson laid out the initial holes, it remains one of Canada's golfing jewels.
"I think Brantford is spectacular—certainly among the twenty best courses in the province," writes golf course critic Marc Saltzman.
"In my opinion Brantford has the best set of par threes in Ontario," says Ian Andrew, a member of the American Society of Golf Architects.
In the words of Alena Sharp, an LPGA player who learned the game at Brantford, the course "has everything."
Become a Golfing Member
In June of 2002, our newest clubhouse opened to the members. The new clubhouse has been built with an east-west orientation.
Whether you are planning a wedding reception or business meeting,
From its early beginnings in 1879, golf has endured and thrived as a sport at the Club
Reputed to have some of the finest ice available, Brantford's six-sheet rink allows for several active divisions
Sophisticated and Fun
"It is fun and I enjoy playing it," says PGA Tour star David Hearn, who has played the course since he was a teenager and continues to return to it every summer. "It still challenges." With its stately clubhouse, which was rebuilt in 2002, curling in the winter, a sophisticated short game facility and a stunning location above the Grand River, as history has proven, there are few courses that rival Brantford Golf & Country Club.
"Brantford feels like classic, country golf . . . as if you've been transplanted to years long lost—everything about the course is understated and underrated," says Canadian Golf Magazine. And once you've played Brantford, you'll find it impossible to disagree.
"The course is a great test and uses your whole bag.
It's fun and I still enjoy playing it."
David Hearn, PGA Tour veteran
Club: 519-752-3731 ProShop: 519-756-6880
PO Box 874 60 Ava RoadBrantfordOntarioN3T 5R7,
abanting@brantfordgolf-cc.com
© 2023 Brantford Golf & Country Club. All Rights Reserved.


Long palm lined driveway to this impressive home. Upgraded gourmet KIT w/European cabinetry, SS appliances; double wall ovens & gas cook top. Caesarstone quartz counters, Hickory engineered wood flooring & built in desk. MBR is located on the first level & has French doors, vaulted ceilings, walk in closet & updated BA w/corner tub/shower & dual sinks. Parklike yd w/lg patio for entertaining or relaxing, natural boulders, fire pit & mtn views. Newer windows & doors & custom garage doors.


THE death of a former managing director of News International Scotland – and brother of broadcaster, Andrew Neil – has been announced.
Jim Neil died last week, after a short illness, aged 70.
He was also a former news editor at the Sunday Times Scotland. Before, he was editor of the Paisley Daily Express.


Here on this page, you can See A Collection of Vangaveeti radha Videos. The list contains Important Videos and Video News related to Vangaveeti radha. You can watch the videos of Vangaveeti radha with a brief description written in English. Here all the Videos related to Vangaveeti radha are quality checked and listed date wise.
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Jazmine Sullivan, Da Brat, Le'Andria Johnson, Avery Sunshine & More to Perform at Urban One Honors on May 16 @ 9PM/8C
Posted On April 6, 2021	 Ayana Rashed 0
Image Credit: Publicist
Urban One announced today its annual awards show, URBAN ONE HONORS, will pay special homage to the International Sweethearts of Rhythm. The critically acclaimed, all-female jazz band of the 1930s included Helen Jones Woods, a founding member and mother of Urban One Founder and Chairwoman, Cathy Hughes. The Sweethearts band, comprised of 17 ethnically diverse members who achieved international accolades despite discrimination, sexism and Jim Crow – to become symbols of success against adversity. URBAN ONE HONORS will air on Sunday, May 16, 2021 at 9 p.m. ET/8C on TV One and will be simulcast for the first time on TV One's sister network, CLEO TV.
The annual awards program will feature three performances dedicated to 'The Sweethearts.' Each musical selection will commemorate electrifying performances of the jazz and soul ensemble's hit singles with a modern twist. The ceremony will also feature with talented, contemporary, female performers including Jazmine Sullivan, Da Brat, Le'Andria Johnson, Avery Sunshine, and the all-female house band Kim Burse and the KB Players.
"I am thrilled to pay homage to the sheroes whose lives depict black excellence, leadership and service. It is also quite humbling to recognize my mother, Helen Jones Woods, and the young musicians who were a part of the International Sweethearts of Rhythm, among this year's honorees," said Cathy Hughes, Chairwoman, Urban One Inc. "Urban One Honors was created as an extension of our 40-year mission of service. We remain committed to creating programming that fulfills that mission and presents the best of who we are."
Grammy-Award-winning gospel artist Erica Campbell and award-winning journalist, author, and syndicated columnist Roland Martin will host the event. This year's theme is 'Women Leading the Change' and will highlight the extraordinary contributions of women in business, media, health, politics, and community outreach, who are leading impactful change within the Black community. Now in its third year, Urban One Honors was created to acknowledge and pay homage to individuals and organizations whose work significantly impacts culture and society- at large.
This year's URBAN ONE HONORS will commemorate the myriad achievements of women leaders who are blazing trails and creating new pathways for others in their respective areas of expertise. Categories of recognition reflect the tireless effort and triumphant accomplishments achieved by the honorees and include:
Voting Rights Champion dedicated to a fearless leader whose efforts help to build political infrastructure by turning out voters and protecting their votes.
Business Alchemist presented to a leader tapped for successfully breaking the glass ceiling to blaze new trails in corporate America.
Investigative Journalism Crusader bestowed upon a media maven who is reframing the national conversation by covering the impediments and contributions made by Black Americans.
Health Equality Advocate awarded to a champion of health who answered the call to eliminate institutional barriers preventing healthcare to those in her community.
Reparations Ambassador who is working to break down systemic racism and barriers that have held African Americans back.
Family Needs Ambassador presented to a resilient provider of direct service and resources to individuals in crisis within the community she serves.
The inspiring night of excellence will also feature exciting musical performances, unprecedented collaborations, and surprise appearances to be announced in the coming months.
Image Credit: Urban One Honors
URBAN ONE HONORS is executive produced for TV One by Eric Tomosunas and Robert Boyd of Swirl Films and produced by Jazz Smollett. Susan Henry serves as Executive Producer for TV One. Kashon Powell, Vice President of Programming for Radio One, and Donyell Kennedy-McCullough is Senior Director of Talent and Casting. Robyn Greene Arrington is Vice President of Original Programming and Production.
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The meaning of the name Jade is Green Gemstone. The origin of the name Jade is English. This is the culture in which the name originated, or in the case of a word, the language.
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Q: Whole-pixel alignment of font character (glyphicon) Twitter Bootstrap uses icons from a font file. If the icon is displayed in an element which is positioned off-pixel (caused eg. by setting the parent to percentage width like 51% and floating the icon right), it is blurred.
Here is code which has manually set position as 40.3px to demonstrate the effect:

https://jsfiddle.net/s24howr2/
You will notice that the second icon is a little bit blurred. Many people do not even see it, but it's a problem. If you align an image this way, it renders properly.
Is there any CSS rule I could use to force the glyphicon (or a font in general) to always align on rounded pixel?

A: Seems like you should try using some font-smoothing.
-webkit-font-smoothing: [ auto | initial | none | antialiased | subpixel-antialiased ]
This property only works with webkit browsers, like Safari and Chrome. See http://maxvoltar.com/archive/-webkit-font-smoothing for more on this.
font-smooth: [ auto | never | always |  |  ]
This is part of the W3C's CSS Font module specification. You can view the whole thing at http://www.w3.org/TR/WD-font/#font-smooth-prop .

redpajama_set_name: RedPajamaStackExchange


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Road to FIU '22: Alex Anacki
By Angela Nicoletti
Leading up to the start of the fall semester, FIU News will be highlighting standout members of the Class of 2022, the best class in FIU history.
When Alex Anacki was 9-years-old, he was flipping through his local newspaper and saw an article that made his heart sink.
His home state of Massachusetts was considering cutting public library funding by 30 percent. A voracious reader on a first-name basis with the local librarians, Anacki knew he needed to take action. He wrote to his local legislators – and then penned a letter to the editor that was published in the local newspaper.
"Libraries are critical parts of our society, and I knew I had to do something," said Anacki. "I ended up getting a response from all of the legislators – and even from Governor Deval Patrick's office. I learned then that if I spoke up, I could make a tangible difference in my community."
Anacki – a National Merit Scholar and member of FIU's best freshman class in university history – said this experience was a turning point that encouraged him to become more involved in the political process.
In high school, Anacki interned for the Florida Democratic Party. Later, he landed an internship working for Florida State Representative Margaret Good's campaign, which had the highest voter turnout for a special election in state history. Today, he works as a paid staffer with Rep. Good, overseeing her social media accounts and facilitating her campaign's operations.
Anacki and Florida State Representative Margaret Good
"Working with Rep. Good has been a really transformative experience for me," said Anacki. "I've gained a much greater appreciation for state politics and I'm trying my best to make others aware of the issues in Tallahassee."
Anacki found another way to share his passion for policy by serving as president of his high school's Model United Nation's team. He helped it grow from 17 members to more than 100 – and also organized his school's own Model UN conference.
It was this love of Model UN that led him to FIU.
In February, Anacki attended FIU's Model United Nation's High School Conference and wasn't on campus for very long before he realized FIU was the perfect fit. In the fall, he'll begin studying political science at FIU's Honor College. He's also applied to be a part of FIU's nationally recognized Model UN team, which is currently ranked third in the country above Harvard and Georgetown.
"Alex is driven, passionate and enthusiastic about learning," said Dillon Montes de Oca, admissions coordinator in the Office of Undergraduate Admissions. "I have no doubt that Alex will accomplish great things here at FIU, and I look forward to see what he accomplishes here in his academic journey."
The fourth grader that once took on his local legislators has his sights on running for office. "I don't know what path will take me there, but I'm very passionate about service and improving the lives of others," said Anacki.
While he works toward this future, Anacki often reminds himself of something a former teacher and mentor once said to him: "Go take the world by storm!"
That's exactly what Anacki intends to do.
Steven J. Green School of International and Public AffairsHonors CollegeFIU Model UNPolitics and International Relations


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Jay Boy Adams with Zenobia
TWO ARTISTS WITH STELLAR MUSICAL CAREERS EMBARK ON A NEW MUSICAL ADVENTURE
Texas legend Jay Boy Adams is a Top-Five Americana Chart artist who has toured with ZZ Top, the Allman Brothers Band, Joe Cocker and Stephen Stills. In 2014, Jay Boy was inducted into the West Texas Walk of Fame (previous inductees include Buddy Holly, Waylon Jennings, Mac Davis and Joe Ely). Zenobia, who performed in the original Broadway production of Hair, is a singer/songwriter who has worked as a studio backup singer with notables including Luther Vandross. In the spring of 2015, she performed in the Kansas City Repertory Theatre's critically acclaimed re-imagining of Hair.
Jay Boy and Zenobia met in Santa Fe, N. M., beneath the clear desert skies. Inspired by this soaring horizon, they set out to make musical magic together. Along with the powerhouse rhythm section of Mister Sister (Josh English on drums and Trixie Merkin on bass), they've combined the best of blues, soul and Americana into a unexpected and irresistible mix.
Since embarking on this latest musical adventure, Jay Boy Adams & Zenobia have been rocking audiences in Santa Fe, Texas and beyond, drawing rave reviews for their unique blend of slide guitar, keyboards and harmonies. Audiences love the Santa Fe magic that the band conveys, and their compelling roots rhythms inevitably get everyone up and dancing. With a future as broad as the southwestern horizon, you'll realize what J.B.A. and Lady Z. have known from the beginning—the sky's the limit for this band!
Arena Rock: A Tribute to Foreigner and Journey
Sammy Kershaw in Concert


Why Is Bacon Considered A Breakfast Food?
Sure, everyone knows that bacon and eggs are a traditional breakfast - but why? Listen in to learn how Freud's nephew invented PR and changed the way America eats breakfast.


This web page is intended for students who are following GCSE syllabuses (a UK exam) in English Language and English literature. It may also be of general interest to students of Shakespeare's plays. If you have the text of the play as an electronic document (an e-text), you can use your text editor (such as WordPad) or word processor (such as Word, WordPro or WordPerfect) to search for items of interest, and help you in other ways.
This study guide is designed to help you respond to this play, which you should have seen in performance on stage or on film. Perhaps the most accessible treatment is Franco Zeffirelli's 1991 feature film version, with Mel Gibson in the title role. This uses an edited and shortened form of the text, with some scenes and details omitted. The film is shot on location, mainly in Denmark at the real castle of Elsinore, and does not attempt to show the play as it would be on stage. The cast includes many well-known "star" actors. You may compare this version with Laurence Olivier's 1948 film or Kenneth Branagh's 1996 version, which makes no cuts to the text.
To get a copy of the play as a text file, go to the e-text library of Project Gutenberg.
If you want to buy Hamlet, as a VHS tape or DVD, click on the relevant link below.
Hamlet is a play: it was not written to be read in schools, but to be seen and heard in live performance. It is possible, and can be enjoyable, to act out Shakespeare's plays, but you should not expect to enjoy or understand everything. Why not? Because Shakespeare uses a form of English which often differs from how we speak. Even in his own day, he used a far wider vocabulary (range of words) than almost anyone in his audience. He refers to ideas, people or objects with which the audience in his day would be familiar because these things were part of their education or current events. But modern audiences will not always know about them in detail. Also, the plays require great skill in the actors: it is easy to perform them incompetently. Shakespeare makes great demands of his actors, because he knows how good they are at what they do.
Although there are many beautiful and interesting speeches, Shakespeare was just as interested in narrative, that is telling a story in words and actions. Modern editions of the plays, for use in schools, have extensive notes to explain the meaning of odd terms or unfamiliar ideas. If you use these for your own reading and acting, you may begin to enjoy the plays. You should also try to see video or feature film versions, or listen to radio productions, but a good performance in the theatre should be better than all of these.
This guide is intended to support study of the play by an examination class. A range of activities will be described, from which students should make their own choice, or a selection negotiated with the teacher.
To perform the whole play requires a large, very competent, cast and takes weeks, but a short episode can be performed by a small group or pair; a very short part can even be done as a monologue. You could read the episode, learn the lines and then direct yourself in performance. A simpler approach is to split readers and actors. Each part is read by one person, while another does the actions in mime.There are many striking and beautiful speeches which you could learn, perform or recite. Your teacher will help you make a suitable choice.
UK exam boards may allow you to present some of your work for assessment in reading, as a spoken activity - rather than submit a written essay, you may present a spoken essay, or record a radio or TV type "broadcast" on audio or video tape.
In Shakespeare's day there were no novels, films or television drama. If you wanted to tell a story, you either wrote a long poem (a very few highly-educated people would read it) or made it into a play. Until the 16th century most plays in England were rather crude acted versions of Bible stories. These were performed by tradesmen who might be very good at their craft, but were not professional actors. When Shakespeare started acting (first) and (later) directing and writing, the English theatre was as new a medium as television is today, and just as fashionable. In London, theatres were built where people could see the plays. Occasionally travelling companies, as today, would take plays to other towns, or to the houses of rich noblemen for private performances.
All of Shakespeare's plays tell stories, and tell them in entertaining ways, with conflict, humour, love, violence, a mixture of language and very good plotting. Most of these stories had to be told in a single performance, so the story would be fitted into a two to four hour telling. Only with stories from history did Shakespeare split the drama into parts (though each of these made a perfectly good play in its own right).
A good approach to Hamlet is to take a part (not all) of the narrative and tell it in other ways. To practise your writing you could do any of the following: a character might keep a diary or journal in which he or she would record a day's events, with comments on his or her view of these. In this way you could tell one character's part of the story with suitable comment. This would work for Ophelia, Gertrude, or Rosencrantz and Guildernstern. A more sympathetic view could come from Horatio.
You could also try to modernize and or shorten the play to produce a script which tells the story in a simplified form.
This play is among the longest and most complex of all of Shakespeare's works. You will notice that some details of the narrative as summarized here do not appear in Zeffirelli's interpretation, or other film versions. This enables the director to make the plot clearer, and keep the film to a manageable length.
Old Hamlet, the King of Denmark has died, and has been succeeded by his brother, Claudius who has married Hamlet's widow, Gertrude. The heir to the throne is Prince Hamlet who has been recalled from university in Wittenberg (Germany) for his father's funeral. Hamlet is told by his friend Horatio of a ghost, resembling his father, which walks on the battlements of the royal castle, at Elsinore. Hamlet meets the ghost: it is that of his father, who tells him that he was murdered - Claudius has told people that Old Hamlet died of a snakebite, but in reality Claudius poured poison into his ear as he slept in his orchard.
Hamlet intends revenge, but is fearful of discovery, so feigns madness. He behaves strangely towards Ophelia whom he courted previously. Her father, Polonius a foolish old counsellor, believes she is the cause of Hamlet's madness. Claudius, already wary of Hamlet, employs the prince's old schoolfellows, Rosencrantz and Guildenstern, to spy on him.
A troupe of travelling players comes to Elsinore, and, on Hamlet's instructions, perform a version of an old play, The Murder of Gonzago, adapted so that the victim is killed as described by the ghost: Claudius's reaction confirms his guilt. He plans at once to have Hamlet sent to England, and to his death, then kneels in prayer; Hamlet sees him praying, but declines the opportunity (he is alone) of revenge, as he wishes to ensure Claudius's damnation. He confronts his mother with her treachery to his father, her first husband. She has been speaking to Polonius, who hides behind an arras (a curtain or wall-hanging) at Hamlet's approach, to eavesdrop. As Hamlet threatens his mother violently, Polonius cries out, and is stabbed, fatally, through the arras by the prince, who now sees and hears again the ghost, which is invisible to and unheard by his mother.
Supposedly to protect Hamlet from the consequences of killing Polonius, Claudius sends away the prince, who tells Horatio much later of what happens on the voyage (to England): not being able to sleep, he steals into his companions' cabin and takes away the letter they carry from Claudius to the English king. This he finds to be an order for his own immediate death; he alters it so that it commands the death of the bearers (Rosencrantz and Guildenstern) and returns it. The next day, a pirate vessel attacks the ship: trying to repel the attack, Hamlet boards the ship, which then moves away. While he negotiates his release with the pirates, his old friends sail on to their deaths.
Ophelia has a brother, Laertes, who returns to France, having come home for Claudius's coronation and wedding, at the start of the play. Learning of his father's death he now returns, to find that Ophelia has gone mad, his grief completed when he hears, a little later, from Gertrude, that his beloved sister has drowned. Claudius persuades him that Hamlet is to blame for all his troubles, and agrees to a plot to kill him. The two men meet at Ophelia's funeral, where they quarrel. Claudius arranges a fencing match, having bet on Hamlet's superior skill. But he gives Laertes a sword with a poisoned tip. As a precaution, Claudius also has poisoned the wine provided to refresh Hamlet during the contest.
When Hamlet evades his enemy's sword repeatedly, while scoring various hits, Claudius forces the issue, putting a pearl into the cup, which Hamlet can secure by drinking its contents. Gertrude takes the cup and drinks from it before Claudius can stop her. At last Laertes wounds Hamlet, in a scuffle, at the end of which they change swords, and Laertes is also wounded. As Gertrude falls dying, Laertes confesses his treachery to Hamlet, who kills Claudius, makes his peace with the dying Laertes, and bids farewell to Horatio, before he, too, dies.
There are two odd sequels to Hamlet's death.
Old Hamlet had a rival, Fortinbras of Norway, whom he killed in battle, the Norwegian throne passing to Fortinbras's brother. The son and nephew, respectively, of these two is Young Fortinbras. He has mobilized the Norwegian forces, and gained permission to pass over Danish territory to fight a Polish army. Fortinbras now returns to pay his respects, just as the dying Hamlet has foretold and approved his accession to the Danish throne. This sub-plot is entirely omitted from the Zeffirelli version.
The other sequel is the arrival of the English ambassador with news that Rosencrantz and Guildenstern are dead. Of those on stage, only Horatio shares the audience's understanding of the significance of this information.
Zeffirelli's is one of several notable versions of Hamlet. Perhaps the best known is Sir Laurence Olivier's 1948 film, in which he plays the prince. Kenneth Branagh has directed a 1996 feature film version, and a full-length broadcast radio production for BBC Radio 4, in the early 1990s. In order to discuss it as a film, you should look at a number of different things.
What parts of it seem to you to work best?
How has the director chosen to play particular episodes?
Shakespeare sets the action at Elsinore and goes out of his way to create a sense of atmosphere, especially when the ghost appears at the start of the play.
What is your opinion of the way the director presents the ghost? Is this something which works well on film?
The final scene of the play is one in which action is very important: what do you think of the way this is handled?
This play is dominated by Hamlet, and to a less degree by his arch-enemy, Claudius: we see each scheming against the other, who is more or less aware of what is going on.
How is this brought out in the film version?
What is your opinion of the way in which the actors play these parts? (Most critics reviewed Mel Gibson's performance very favourably, if with some surprise).
how does she appear in the versions you have seen?
Consider how other characters (Ophelia, Laertes, Polonius, Rosencrantz and Guildenstern) position themselves, or are manipulated, in relation to this power struggle.
You may wish to consider technical details such as costume, props or lighting. In Zeffirelli's version, although the costume is very basic, black or white garments are often used symbolically to indicate good or evil: this is most obvious in the play's last scene. In order to contrast Hamlet's virtue with Claudius's corruption Zeffirelli uses effects of colour: the camera moves from the drunken revellers in the hall below, in brightly coloured garments (red or orange) and lighted by flaring torches, to the cold grey stones of the castle, and the drab clothes of Hamlet and his friends.
In conclusion, you are asked to say how far you liked the versions of the play you have seen, and why.
Is film a good way to enjoy Shakespeare today? In what ways?
Give any other honest personal opinion you wish to express.
One way of looking at the play is to study the theme of revenge. This will mean concentrating on Hamlet's battle of wits with Claudius. Tragedies about revenge were fairly popular in Shakespeare's time, although it is a central theme only in one other of Shakespeare's plays, his earliest tragedy, Titus Andronicus. Its contemporary equivalent is found in some western films, notably the "spaghetti" westerns of Sergio Leone and Clint Eastwood.
We are helped to understand his actions and motivation by his soliloquies (speeches made when he is alone on stage) and some things which he tells Horatio. What follows is some explanation of each of these. You can gain fuller information by studying the text or the play in performance, or both. It is quite acceptable to refer to differences between the play as written and how it is performed in stage or film versions.
At the start of the play, Hamlet's father has died, and his mother has married Claudius, brother to the late king, and uncle to Prince Hamlet.
What has Claudius given as the "official" cause of old Hamlet's death?
How does the prince feel about what has happened, especially his mother's remarriage?
Why does Hamlet say: "Frailty, thy name is woman"?
In revenge tragedies, it is customary for secret information to be revealed by a ghost.
What do you think of the introduction of the ghost in this play?
Why does Hamlet question the guards about the ghost's dress and appearance?
When Hamlet follows the ghost, what story does it tell him, and what does it instruct him to do?
How much does Hamlet tell Horatio about this, and why?
Hamlet seems convinced that the ghost is honest. Is he ready to act on what it has told him?
The arrival, at Elsinore, of a group of travelling players (actors), enables Hamlet to verify (check) what the ghost has told him.
How does he do this, by adapting The Murder of Gonzago (a well-known story)?
As the play is acted, what does Hamlet watch?
How are his suspicions confirmed?
Almost at once, Hamlet has a chance of revenge, finding Claudius (praying) alone and vulnerable.
Why does he not take this opportunity?
As he is not ready to kill Claudius yet, Hamlet goes to his mother, to urge her to keep from sexual relations with Claudius.
How does this lead to the death of the meddling Polonius?
How does Polonius's death help Claudius in his attempts to kill Hamlet?
Hamlet is also in some danger, as Claudius sees that Hamlet knows of his crime. Of course, Claudius cannot say anything without admitting to his evil deed.
Why does this place Hamlet in some danger?
Claudius employs Hamlet's old friends to spy on him.
Why is Hamlet not likely to be taken in by Rosencrantz and Guildernstern, as they make a show of renewed friendship towards him?
The death of Polonius means that Claudius can persuade Hamlet, apparently for his own good, to leave Denmark temporarily.
How does this help Claudius devise a plot to kill the prince?
Hamlet tells Horatio, partly in a letter, mainly in conversation, how he survives this plot through a mixture of luck and his own wits.
Explain the way in which he does so.
Ophelia is an innocent victim of others' schemes. Hamlet likes her, but is too troubled by his father's death to think of her as a lover would.
Why are her father and Gertrude (for different reasons) eager for Hamlet to fall in love with her?
Why does Hamlet pretend to be driven to madness by love for her?
Why is his pretended madness not convincing to the audience?
When her father is killed and Hamlet, for whom she cares, goes away, Ophelia really goes mad, and later drowns herself.
How does this help Claudius?
Laertes, Polonius's son, returns to Denmark for his father's funeral, only to attend that of his sister.
Explain what happens when he confronts Claudius.
Does Claudius defend Hamlet, or encourage Laertes to seek revenge on the prince?
Why is Hamlet so ready to accept Laertes' challenge to a fencing-match?
Why, having been so cautious in relation to Claudius, is Hamlet so trusting of Laertes?
In the last act of the play, things seem to be going the way of Claudius.
How has he tried to ensure that Hamlet will be killed in the fencing-match?
In case this fails (if Laertes does not score any hits) Claudius has a back-up plan: what is this?
When it looks as if Laertes cannot strike Hamlet, what does Claudius do?
How does he try to tempt Hamlet to drink, even though he feels no need to do so?
What is the result of his request, and why is he unable to intervene?
Because Laertes, angry with Hamlet, strikes him during a pause in the match (very unsporting) there is a scuffle, in which both men drop their swords. When they pick them up, the weapons are swapped, so Laertes is also fatally wounded.
How does Laertes' awareness that he is dying alter his attitude to Hamlet?
Can you explain his refusal, before the fight, to be reconciled to Hamlet, and his now asking for pardon?
How does Hamlet respond to his request?
Why is it more appropriate, in a revenge-tragedy, for Claudius to be killed now, rather than when Hamlet has his earlier opportunity?
As Hamlet dies, he makes a last request of Horatio.
What does he ask of him, and why, in your opinion does he ask for this?
The play does not quite end with the prince's death.
the news that Rosencrantz and Guildernstern are dead?
This is a brief overview - below you will find a detailed account of all Hamlet's soliloquies. Where most revengers would use soliloquies (solo speeches; thinking aloud) to tell the audience of their plans, Hamlet uses these opportunities to give reasons for uncertainty and delay, or to comment on the meaning or meaninglessness of life in general, and his life, in particular. He wishes he were dead at one point, and appears to contemplate suicide at another. In conversation and, once, in a letter, he tells Horatio some things, but not others. At the end of the play he asks Horatio to tell his story to the world, but unless he has (off-stage) filled in the gaps, Horatio will not be able to tell the full story, as we know it. For example, would he be able to guess, from The Murder of Gonzago, the truth about old Hamlet's death?
By studying, closely, the soliloquies and Hamlet's conversation with Horatio, you may be able to explain better his own ideas about himself and his motives. Some of this, of course, may distract you from the simpler idea of revenge. If you do this, you should quote short passages of dialogue with explanation and comment, as you feel appropriate.
This section contains detailed comments on Hamlet's soliloquies.
In Act 1, scene 1 we learn much of the political background; of Hamlet only that Horatio will alert him to the appearance of the ghost.
In Act 1, scene 2 Claudius at first dominates the dialogue: he deals eloquently, and with appropriate ceremony and dignity, with affairs of state. We have no reason to dislike him though we note, as he justifies it, the haste of Gertrude's re-marriage, and the apparent strain between him and Hamlet, which he seeks to remove by courting Hamlet's favour. Save to remark on the distinction between the common outward display of grief and the inward reality, Hamlet has said nothing of substance.
Thus, Hamlet first reveals certain things to the audience, making it clear that even his friends will not, necessarily, be privy to these.
Note also that Hamlet denounces Claudius before his father's ghost has told the prince of the murder. Hamlet's comments refer to Claudius's general ignobility. Hamlet may suspect foul play though he does not speak of it here - his comment to the ghost (Act 1, scene 5, lines 40-41: "0 my prophetic soul! My uncle") shows this. The disclosure of the murder bears out Hamlet's general aversion: the action, though extreme, is suited to the actor, Claudius.
A condemnation of Gertrude's behaviour.
Why does Hamlet seek death? Why can he not kill himself?
Comment on the comparison of the two kings, as like that of "Hyperion to a satyr"? Is Hamlet merely saying in an eloquent way that his father was much better than Claudius?
What attitude is revealed to Gertrude and her behaviour?
Is "It is not nor it cannot come to good" a description, a prophecy or a wish? Why?
The ghost has told Hamlet of the murder. He inclines to believe this, but must be sure. He thinks of the play, prompted by the arrival of the itinerant actors, as a device to confirm Claudius's treachery - as he later explains to Horatio (Act 3, scene 2, lines 71-83). Hamlet has studied at the Protestant University of Wittenberg, which explains his suspicion that the apparent ghost may be a lying demon, sent to undo him. Protestant theology teaches that the souls of the dead go straight to heaven or hell - so what appears to be a ghost must be an evil and deceitful spirit.
Explanation of the trap for Claudius and his fears about the ghost.
What is the substance of Hamlet's unfavourable comparison of himself to the player? Is it reasonable?
Hamlet reproaches himself for inaction: is the self-accusation justified?
Is the play (within the play) a device to confirm Claudius's guilt or an excuse for more delay or both?
One could argue that this is not a soliloquy as Ophelia, Claudius and Polonius are all on-stage. But, clearly, it is, as Hamlet is unaware of this and speaks as if to himself (soliloquy means "speaking alone").
The context is similar to that of the previous speech: Claudius and Polonius, alarmed by the prince's distraction decide to plant Ophelia in his way and spy on his reaction. The first part of what follows is unexpected, as Hamlet takes some time to notice Ophelia, at which point his soliloquy gives way to the expected conversation (of unexpected character). There is irony in the position of this episode: Hamlet has just devised a ruse, which involves spying (and he, too, will have a confidant, Horatio) on Claudius; now Claudius and Polonius attempt to gain the advantage of him by spying: their device leads to less satisfactory results.
The content is close to that of the opening of the first soliloquy but more fully expressed. Because there is no certainty that death will bring relief from oppression, we fear to exchange the known evil for a possibly greater torment - thus Hamlet appears to believe that there is, or can be, no escape. Out of context the universality and beauty of the speech explain its celebrity.
How would one answer a critic who said this in just a very pompous and long-winded way of saying that death is to be avoided because we fear what may come after it?
Does this soliloquy move the play forward in any way (e.g. give us a new insight into the prince's thinking)?
What problems are created for the actor/director by the extreme familiarity of these lines?
How can these be overcome, if at all?
A short speech. For once Hamlet believes he can act but he moves for Gertrude, to confront her and, perhaps, correct her.
The "Mouse Trap" has succeeded beyond Hamlet's expectations. Claudius considers how, with the aid of his compliant henchmen, he can eliminate the danger to himself: he knows that Hamlet knows - knows too much for the safety of both. Hamlet declines the opportunity to kill Claudius at prayer, reproaches his mother, kills Polonius and is sent to England where he will be safe, but not in the sense usually intended by this word. (The safety Claudius seeks is his own.) Before embarkation (presumably on the way to his vessel) Hamlet watches the Norwegian army crossing Danish territory en route to do battle with the Polish forces.
A comparison of Fortinbras's capacity for action and sense of honour with Hamlet's deficiency in these respects.
What argument does Hamlet produce to show that man should make decisions and act on them?
How does Hamlet view Fortinbras? Is he wholly fair to himself in the comparison he makes here?
How is action affected by questions of honour, in Hamlet's opinion?
Why, after so much stalling by Hamlet, should the audience believe that the final couplet will lead to corresponding deeds?
How does Shakespeare exploit the repeated use and cumulative effect of these speeches to sway the audience's sympathy?
There is one other long soliloquy in the play ? Claudius's at Act 3, scene 3, lines 36?72 (and 97 and 98). What does Shakespeare achieve by this device?


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text:
Place of birth Llanelly, Wales
Religion Baptist
Occupation Electrician
Address 129 Doncaster Street, Ascot Vale, Victoria
Height 5' 6.75"
Next of kin Mother, Mrs Maggie Griffiths, 4 Vie Street, Krugersdorp, Transvaal, South Africa
Previous military service Served in the Junior Cadets
Enlistment date 19 August 1914
Place of enlistment Essendon, Victoria
Unit name 7th Battalion, D Company
Embarkation details Unit embarked from Melbourne, Victoria, on board Transport A20 Hororata on 19 October 1914
Unit from Nominal Roll 7th Battalion
Fate Killed in Action 25 April 1915
Commemoration details The Lone Pine Memorial (Panel 28), Gallipoli, Turkey
The Lone Pine Memorial, situated in the Lone Pine Cemetery at Anzac, is the main Australian Memorial on Gallipoli, and one of four memorials to men of the New Zealand Expeditionary Force. Designed by Sir John Burnet, the principal architect of the Gallipoli cemeteries, it is a thick tapering pylon 14.3 metres high on a square base 12.98 metres wide. It is constructed from limestone mined at Ilgardere in Turkey.
The Memorial commemorates the 3268 Australians and 456 New Zealanders who have no known grave and the 960 Australians and 252 New Zealanders who were buried at sea after evacuation through wounds or disease. The names of New Zealanders commemorated are inscribed on stone panels mounted on the south and north sides of the pylon, while those of the Australians are listed on a long wall of panels in front of the pylon and to either side. Names are arranged by unit and rank.
The Memorial stands over the centre of the Turkish trenches and tunnels which were the scene of heavy fighting during the August offensive. Most cemeteries on Gallipoli contain relatively few marked graves, and the majority of Australians killed on Gallipoli are commemorated here.
Australian War Memorial 50
War service: Egypt, Gallipoli
Embarked Alexandria to join the Mediterranean Expeditionary Force, Gallipoli, 5 April 1915.
Reported wounded and missing, Gallipoli, 25 April 1915.
Court of Inquiry held in the field, 5 June 1916, pronounced fate as 'killed in action, Gallipoli, 25 April 1915'.
Medals: 1914-15 Star, British War Medal, Victory Medal
Sources NAA: B2455, GRIFFITHS Rhys Emlyn


text:
To: hix@egroups.com
From: Glenn Kennedy
Subject: [hix] Boston Show Report
Hello Hixters,
I was lucky enough to be able to attend the House Of Blues show in Cambridge MA last night. All I can say is Dan Hicks And The Hot Licks are back !! (I know, I know...Dan never went away, but the Hot Licks did.) What a show. Amazing, amazing amazing !!!
The House Of Blues is just that, an old house, it's situated just on the edge of Harvard square. It has tree levels, levels one and two are restaurant/bar areas and the top floor is where the bands play. Curious that there are no chairs or tables for the audience...just standing room only.
It was a warm/humid evening so the southern/bayou motif on the walls seemed to fit perfectly...A very funky place. I want to call it a "joint". The "crowd" was about 80 or so ? I expected lots more, maybe next time through.... it was an interesting mix of folks...r anging in age from, oh I'de say early 20's to mid 60's.
Jeremy Kay opened right on schedule and was pretty darn good....he's one to watch in the future.
Then came the big moment..... Dan and the Hot Licks took the stage...what an eye full. By now you all know the names of the current Hot Licks, so I won't list them all here again. But I cannot begin to tell you how much character the Licketts add to the band....
The play list is as follows:
Four or Five ? (A Bob Wills tune)
Wild About My Love (Jim Kweskin tune)
Caravan/4 Brothers
He Don't Care
Crazy Cause He Is
End Of A Long After ? (Dan on snare drum)
Don't Want Love
Payday Blues (group singalong :)
Milk Shakin Momma
The place was swinging.... Dan is better than ever..very sharp witted, great mood, great voice and very happy to be up there. The Licketts added so much to the group visually and vocally... they were much tighter than I expected, (even though they could never keep up with Maryann and Naomi on classics like Long Comes A Viper, Buzzard Was His Friend). Just watching the fun they were having was a hoot !!!
The rest of the band floored me as well. All songs were performed with near perfection. Everyone certainly has their shit together. I'm hoping for a live CD after the tour ends ? Surfdog ??? Yes ?
It's so good to see Dan Hicks And The Hot Licks alive and kicking again !!!! Cant wait to do it again....until then, I'll be humming them to myself....
Glenn Kennedy
Fellow Dave Kantor was also there (in the front line) perhaps he throw his 2 cents in ? Dave ?
PS: I'm curious... Are the Hot Licks and Jeromy traveling this tour on a bus ? Does any one know ?


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Northern Michigan (+1) @ North Dakota – Sioux!!!
Shirtless Bob was the big winner last night, going 5-0 with his picks. Nobody else did better than 3-2, with the average being just over 2-3.
Both bonus questions are now halfway (at least day-wise) complete. There were 26 non-conference goals last night, putting most of our group in position to gain at least some points tonight with 9 games on tap (if the average from last night continues, we'll wind up with 71-72 goals scored). In WCHA play, there were 9 "special teams" goals scored, including 2 extra attacker goals.
Good luck to everyone tonight, and good luck to Shirtless Bob, as he looks to become only the third "perfect" predictor this season (and the first since Week 2).
I just thought I'd post a quick update. I'm finishing my finals tomorrow and Tuesday, so I will not have scores tabulated and the next round of games up until Wednesday morning. Of course, those games won't take place until late December, so everyone will have a little over a week to get their picks in.
** Best Winning Percentage amongst posters who have picked every game.
We're essentially halfway through the season. Our average correct pick % is 54.78%. That has improved since Week 8 when we were 52.54%. Generally, that number improves in the second half of the season as we become more familiar with teams and the like. I believe last year as a group we finished right around 60% before tournament time, when we collectively **** the bed.
Keep in mind as well that points go up in the second half of the season (from 2 points per correct pick to 4 points...bonus generally remains the same), so anyone can still walk away the winner!
I'll have the Holiday Pick'em posted here shortly, and good luck to everyone in the 2nd half!
1) All picks must be in by the drop of the puck of the FIRST game in the bunch. This week, that is FRIDAY, DECEMBER 27 at 1:30pm Eastern!
2) No late picks will be allowed. No exceptions. This means that if you post your picks on that Friday at 1:40pm Eastern, you will not receive credit for your picks.
Huzzah! After a couple terrible weeks for my picks!
For Holiday Pick'em see below.


If God is the ultimate cause of all that comes to pass, including evil and sinful things, can he be rightly charged with unrighteousness? This article considers the discussion on how to reconcile the problem of evil with a good God. It explains with some biblical illustrations that though God is the ultimate cause of all things, he is never the efficient cause of evil, and thus is not blameworthy for it. The author also explains that the good for which God ordains evil is his own glory, concluding that God is not less, but more glorious, because he ordains evil.
Source: The Cripplegate. 7 pages.


text:
Payment services: making safeguarding work
[fa icon="calendar"] 10-Apr-2019 11:15:00 / by Alison Donnelly
Safeguarding is both a simple and important concept. Every payment and e-money institution that I have ever worked with wants to protect their customers' funds and make sure that, if the worst came to the worst and they became insolvent, either their customers' payment instruction would be fulfilled or they would have their funds returned to them.
Yet safeguarding in practice is hugely problematical. One of the first major barriers to entry into the non-bank payments sector is getting a bank account for the purposes of safeguarding. Without this partnership with an EEA-authorised credit institution (or, following a hard Brexit, certain foreign banks), an applicant for authorisation as a payment institution or e-money institution won't get across the line. Such a partnership is difficult to secure because of the inherent risk of the sector: there are not many banks that have well-enough defined and embedded systems and controls to onboard partners who are very attractive to criminals precisely because they are very good at being able to move money smoothly and efficiently.
For those that do secure the banking partnership and become authorised (or registered in the case of the small e-money institution), the practical implementation of the safeguarding rules is complex. The rules in the Payment Services Regulations 2017 and the Electronic Money Regulations 2011 are, in themselves, relatively straightforward. The complexity arises from what is omitted. For example, a clear statement of what is meant by the term 'relevant funds', when funds become relevant and when they are no longer relevant.
Two years ago, the FCA published for consultation their new, combined approach document, updated for the second Payment Services Directive (PSD2). They took the opportunity to provide further guidance on safeguarding, even though the safeguarding provisions were not altered by PSD2. At the time I wrote a blog that urged readers to respond to the consultation because the FCA had included guidance that effectively meant that:
payment institutions that pull funds through an acquirer would have to safeguard an equivalent sum during any delayed-settlement period agreed with their acquirer;
payment and e-money institutions would have to safeguard until the payee's payment service provider has received the funds, which is problematical because there is rarely any confirmation of receipt and they will have to both safeguard the funds in an account while, at the same time, equivalent funds are being sent to the payee, which is duplication of the funds; and
in cases where payment and e-money institutions that use another non-bank provider to move money, both institutions will have to safeguard the funds and send equivalent funds to meet their own, separate safeguarding obligations.
I also pointed out that the expectation that there should be no comingling of relevant and non-relevant funds over night is almost impossible to meet because funds can come into the account and e-money can be spent at any time, including during non-business hours.
Unfortunately, the finalised guidance, while somewhat different to the consultation version, still creates the issues above. So, we have been working with the leading international law firm, fieldfisher, to put a paper to the FCA that makes the case for the following.
That the safeguarding obligations should be understood in the light of the policy intention of protecting consumers' funds and not the strict interpretation of the wording.
That push payments made through designated payment systems no longer have to be safeguarded when the transaction is committed because it is irreversible.
That the safeguarding obligation ends when the payment or e-money institution no longer holds the relevant funds directly or through its agent.
That holding too much funds in the safeguarding account does not put at risk the statutory protection over those funds.
That the FCA should join with us to press the government to make the changes necessary to insolvency legislation so that where a chain of payment or e-money institutions are involved, one institution can safeguard the funds for the benefit of the underlying client and that this satisfies the regulatory obligation.
If you would like to read more, please click on the link below to access our report.
Please do not hesitate to get in touch to let us know your thoughts on safeguarding or if you would like our guidance on the sufficiency of your current safeguarding arrangement.
Topics: Regulatory compliance, Payments sector, safeguarding
Written by Alison Donnelly
Alison Donnelly
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SUMMARY: Things really start to change for 16-year old Daisy when popular cheerleader shows up to school dead. Determined to discover who is stalking the cheerleading squad, Daisy joins the cheerleaders and investigates their attacks with Ryan, the son of the chief of police and Daisy's best friend/secret crush.
WHAT I LIKED: Dead Is the New Black will appeal to middle school girls who love paranormal mysteries. I've heard this series compared to Nancy Drew, and I suppose I can see that comparison. There are clues, multiple suspects, a who-done-it mystery to solve.
I love Daisy's family dynamic! Daisy's father has been missing for years, so Daisy and her two older sisters are being raised by their psychic mother. I am the oldest of three girls, and we were also mainly raised by our single mother. I am speaking from experience when I say that the girls' interactions with each other is realistic. They argue over clothes and pick at each other constantly, but there is clearly a deep underlying love among them. The older two sisters also enjoy hanging out with their youngest sister and helping her prepare for a first date. They are protective of her and try to keep her life as uncomplicated as possible. Daisy privately feels left out of a bond her older sisters have with each other, and that is also a realistic perspective. The three-sisters dynamic is done so well that it makes me wonder if author Marlene Perez is one of a sister trio herself.
Dead is the New Black is popular among the girls at my middle school, and I know several who have read the entire series. At around 200 pages each, the books are short, action-packed, and easy to get into. The simple, brightly-colored help keep these books popular among my paranormal-loving middle schoolers.
WHAT I DIDN'T LIKE: While it has a great start, Dead is the New Black slows in the middle. Daisy's romantic relationship with Ryan is a little too easy; I would have loved to see more romantic tension there. Daisy also seems beyond clueless at times; she has all the clues but takes forever to put the pieces together. Many readers will see the conclusion long before the vampire is revealed.
I never really understood why Samantha started dressing in goth. I thought maybe she was really undead, a zombie walking the halls of the school. There is no good explanation for that, so I guess it was just a trend.
Predictable fun in a cute little package.
STATUS IN MY LIBRARY: We have it, and it is quite popular. I included it on our school's Lone Star Plus list this year.


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It is essential to fully grasp the fact that pain is a product of the brain - not of the body part in which the pain is perceived. Here's why ... let's use your thumb as the example.
Of major importance are the memory centers of your brain. These help you recall what a 'thumb' is and what it means to you.
Of course, your somatosensory cortex gets the message too.
If, and it's a big IF, your brain decides that there is sufficient risk or threat, then it will unleash a pain experience for you to consciously perceive.
This conscious perception is the final result of the original stimulus, modified, mixed, diluted and associated with memory and emotion.
Before you are consciously aware of it, we call this information 'nociception'. Only when you become consciously aware of it does it get called 'pain'.
Gives a new meaning to the phrase, "My thumb hurts", doesn't it? Does your thumb 'really' hurt now that you know pain is an output from your brain, and not your thumb?
The stimulus, or message, that we receive in the brain from our thumb is not linear or constant. I liken it to an alarm system that has a sensitivity switch.
Imagine for a moment that your car keeps getting broken into, and by the time the alarm has gone off, the burglar has escaped. So, you change the settings of your alarm system so that even if the neighbours cat takes a look at your car, the alarm will go off.
Now, this idea sounded like a good idea at the time ... turn up the sensitivity of the alarm to detect burglars before they get anywhere near the car. The problem is that now your car alarm is going off all day and night ... because it's being set off by the smallest of things.
And so this is how our nerves work. They don't just report the basic facts. They can turn their sensitivity up so that even minor, non-injurious messages will trigger the alarm. Or, vice versa, they can turn down their sensitivity.
IMPORTANT: The same stimulus, or message, could be reported differently by the same person ... depending on the state of their nervous system.
The ramifications of these first two 'insights' are massive.
Even the way your brain creates the pain experience for you will vary based on many factors. For example, if you are stressed or worried about the pain, then it will feel worse. Or, if you are too busy with another urgent matter you might not even notice the pain.
Pain is not a problem, pain is a warning. It's quite a lot like thirst, or hunger. Most people aren't scared of thirst or hunger ... if either of those things happen, they people understand what to do. The either drink or eat something.
When it comes to pain, however, people can get scared of the message ... of the warning itself. And then, instead of listening to it or seeking to understand it, they just want to get 'rid' of it without understanding it. This is what can happen when people seek habitual pain relief with medication, or even treatment.
By understanding that your brain produces pain as an early warning signal when sufficient threat is felt, and that the input (signal) and the output (pain experience) can be vastly modified based on many factors ... you stop looking at pain as the 'problem' and start looking at it as the messenger.
When patients consult practitioners about a pain problem, it's because they are worried or concerned about it. So, the practitioner is dealing with the early warning signal AND the anxiety the patient has about the early warning signal.
This provides the smart practitioner with opportunity, because they know that they can help improve the situation by reducing anxiety. They can do this by remaining calm themselves. By being self-assured. By listening to the patient and validating what they are experiencing.
The best way to achieve this is with the patient history. Not only does this provide an opportunity for the patient to express themselves, but it provides the opportunity for the practitioner to ask key questions and listen intently to the answers. This is when they will most likely discover what the person is doing to trigger this pain signal.
So, rather than moving straight into treatment to reduce or silence the message ... this insight is all about listening to the pain message to better understand it. Again, what is this person doing to trigger this message? How are they using their body to trigger this message?
Hone up on your history taking skills. And just when you think you've dug deep enough, dig a little more ... even if it means delaying treatment in the first consultation.
Whatever it is that you find out through the history, take this with you into your physical examination. The amazing thing about the standard and sophisticated physical examination tests for pain are just how unreliable most of them are.
So, what should a practitioner do?
Insight 6 is all about having the patient show you how they really move in the wild. It's not about how they move awkwardly from an anatomic position that they rarely ever use in real life. Physical examination is about functional assessment. Get the person to show you exactly what they do in their life that either brings on the pain or relieves it.
If you stop at just doing the standard tests you will miss much valuable information.
For example, if a surfer complains of ankle pain that they get when surfing ... and all you do is perform standard orthopedic tests on their ankle and come up with nothing ... then that doesn't really mean anything. You need to understand what happens to them when they're surfing, not when they're standing in a treatment room following standard movements.
Have them show you ... at the very least get them to try and replicate the moves they make when they surf.
Make it real. Use the physical examination as a functional assessment, not just a standard physical assessment.
The last insight in this series is to empower the patient. By helping them understand their pain, why it is warning them and how they can respond ... you empower them to help themselves. They will still rely on you for advice and guidance, and at the same time they will feel less anxious and this will reduce their pain experience.
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