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The saxotromba is a valved brass instrument invented by the Belgian instrument-maker Adolphe Sax around 1844. It was designed for the mounted bands of the French military, probably as a substitute for the French horn. The saxotrombas comprised a family of half-tube instruments of different pitches. By about 1867 the saxotromba was no longer being used by the French military, but specimens of various sizes continued to be manufactured until the early decades of the twentieth century, during which time the instrument made sporadic appearances in the opera house, both in the pit and on stage. The instrument is often confused with the closely related saxhorn.

The technical specifications of the saxotromba and the original constitution of its family are not known with any certainty. Initially, the instrument had the same vertical design as its close relation the saxhorn, with the bell pointing upwards, though later models of both families were designed with bells that faced forwards (pavillon tournant). The mouthpiece was cup-shaped, and the bore was conical, being probably intermediate between the cylindrical bore of the natural trumpet and the conical bore of the natural horn; the taper was slower than that of the saxhorns and cornets.

The name of the instrument combines Sax's surname with the Italian word for "trumpet" (tromba). In Germany the instrument is known by the name Saxtromba; in France the term saxotromba is generally applied to another close relative, the Wagner tuba.

History
The saxotromba was invented by Adolphe Sax at his workshop on the Rue Saint-Georges in Paris in the early 1840s. On 13 October 1845, Sax applied for a patent "for a family of cylinder instruments called saxotrombas, intermediate between the saxhorn and the cylinder trumpet." The cylinders referred to in the patent application were piston valves which allowed the player to lower the pitch of the instrument's natural or open harmonics by one or more semitones. In 1843 Sax had patented his own version of the Berlin piston valve (i.e. the Berliner Pumpenventil, which had been invented independently by Heinrich Stölzel in 1827 and Wilhelm Friedrich Wieprecht in 1833). These were independent valves, which were not designed to be used in combination with one another, though the intonational problems that arose when they were so used could often be corrected by the player's technique. This was especially true in the case of the higher-pitched half-tube instruments, which were usually provided with just three valves, allowing the player to lower the pitch of any open note by one, two or three semitones when the valves were used one at a time, or by four, five or six semitones when the valves were used in combination. Before the invention of compensating valves (which could be used in combination without producing faulty intonation), lower-pitched instruments generally required extra valves in order to lower the pitch of an open note by more than three semitones.

On 22 November 1845 Sax was granted French Patent 2306 for a "Musical instrument, called the saxotromba, whose principles of construction may by means of slight modifications, be applied to saxhorns, cornets, trumpets, and trombones". The saxotromba was also included in another of Sax's patents, Brevet d'invention 8351 of 5 May 1849. This patent was amended on 20 August 1849 and again on 23 April 1852. In these patents, Sax defined the saxotrombas in three different ways. However, the constitution of the saxotromba family was never fixed, as Sax continued to introduce new sizes of instrument in the final two decades of his life, modifying the design of the instrument as he did so. Some of his latest models had as many as six independent valves, thus obviating the need to use them in combination.

There is little agreement as to the actual number of saxotromba models that were ever made, this number varying from source to source from as few as three to as many as nine. The oldest surviving specimen of saxotromba dates from 1849, a three-valved instrument now in the Basel Historical Museum, while the youngest surviving example is a six-valved instrument from 1864 now in the Musée de la Musique in Paris. After Sax's death, his son Adolphe Edouard continued to manufacture saxotrombas into the twentieth century; an undated model at the Museum of Musical Instruments, Theatre and Cinematography in Saint Petersburg is thought to have been manufactured sometime between 1895 and 1907.

Throughout this period the saxotromba made occasional appearances in the opera houses of France, especially in the onstage banda at the Paris Opéra, of which Sax was musical director from 1847 until 1892. It did make at least one notable operatic appearance in the onstage banda of Camille Saint-Saëns' Henry VIII (1883), which includes parts for two tenor saxotrombas in E. The saxotromba was also at this time a regular member of many brass bands throughout Europe, though the instrument disappeared from the inventories of the French military in 1867.

Sources

One of the earliest descriptions of the saxotromba occurs in Jean-Georges Kastner's Manuel général de musique militaire (1848):

The saxo-tromba is a new instrument invented by Ad. Sax. This instrument is made of brass; it is equipped with a system of piston valves and has a cup-shaped mouthpiece. The timbre of the saxo-tromba resembles somewhat that of both the saxhorn and the trumpet; but it is less sombre than the former and less strident than the latter.

In 1855, in a revised version of his Treatise on Instrumentation, the French composer Hector Berlioz described several of Sax's newly invented instruments, including the saxotrombas:

These are brass instruments with mouth-piece, and with three, four, or five cylinders, like the [saxhorns]. Their tube, being more contracted, gives to the sound which it produces, a character more shrill, partaking at once of the quality of tone of the trumpet and of that of the bugle. The number of the members of the family of saxotrombas equals that of sax-horns. They are disposed in the same order, from high to low, and possess the same compass.

In 1910 W. L. Hubbard defined the term saxotromba — without any suggestion that the instrument was obsolete at the time of writing — in the following words:

A valve instrument of the trumpet family having a narrow tube and the quality of whose tone is less delicate than that of the horn and more refined than that of the saxhorn. It is found in seven sizes: soprano; sopranino; alto; tenor; bass; low bass, and contrabass.

According to The New Grove Dictionary of Music and Musicians, the saxotrombas were "pitched in B and E, with an additional member in F, and they were designed to replace French horns in military bands".

The saxotromba family
Writing in his Treatise on Instrumentation in 1855, Berlioz stated unequivocally that the number of saxotrombas was equal to the number of saxhorns, which he set at nine. Sax's patent application for the saxhorns (1845), however, only included five instruments, the other members being added in the 1850s. The original family comprised a soprano in 3' E, an alto in 4' B, a tenor in 7' E, a baritone in 9' B, and a bass in 9' B. The latter two instruments were of the same size, pitch and compass, differing only in bore.

If, as Berlioz stated, the saxotromba family corresponded in number, size and range to the family of saxhorns, then it would appear that there were originally four different sizes of the instrument: a soprano in 3' E, an alto in 4' B, a tenor in 7' E, and a bass in 9' B (though, once again, these may have been referred to by other names).

Kastner (1848) includes an image of seven different sizes of saxotromba, all of them with vertical bells:

Of the five original saxhorns, only the bass was a whole-tube instrument capable of sounding its fundamental tone (or first harmonic). The narrower bore of the saxotrombas, however, meant that all members of this family were half-tube instruments (like the trumpets and cornets), whose natural downward ranges extended only as far as the second harmonic.

Acoustic principles

The saxotromba was a half-tube brasswind instrument. It was constructed in such a way that the column of air inside the instrument was capable of vibrating at a number of different pitches that corresponded to the notes of the harmonic series. These pitches are known as the instrument's natural or normal modes of vibration, each one being a natural harmonic or open note. By vibrating their lips at the correct frequency, the player is able to compel the instrument's air column to vibrate at the correct pitch; by lipping, they can correct the minor intonational defects that inevitably arise on account of the discrepancies between the natural harmonic series and the tempered scales of classical music.

Like the modern valve trumpet and cornet, the saxotromba employed harmonics two through eight. Being a half-tube instrument, the fundamental or first harmonic was not available on the saxotromba. Harmonics higher than the eighth were certainly feasible, but it is unlikely that military musicians would ever have been required to venture above the eighth harmonic. The seventh harmonic was too much out of tune to be lipped; this partial was generally avoided by trumpeters and cornet players after the introduction of valves.

In order to provide a saxotromba with a chromatic compass from the second harmonic upwards, it is essential to provide the player with some means of lowering the pitch of the third harmonic by as many as six semitones, this being the size of the gap between the second and third harmonics. Three independent valves will reduce the pitch of a natural or open harmonic by two, one and three semitones respectively. Used singly or in combination, these can bridge the gap between the second and third harmonics, though the player will be required to correct by lipping the faulty intonation produced when independent valves are used in combination. The gaps between the higher harmonics are smaller still, so no more than three valves are required to provide a saxotromba with a full chromatic compass; this is true even if the seventh harmonic is not used.

Furthermore, by using all three valves in combination while overblowing the second harmonic, the player can extend the lower end of the instrument's compass downwards by six semitones to a note three whole tones below the second harmonic:

Presumably the fourth valve, where present, would have lowered the pitch of an open note by a perfect fourth, or five semitones, removing the need to use certain faulty combinations of the first three valves. In the early nineteenth century, when four valves were applied to a half-tube instrument they generally lowered the pitch of a natural harmonic by two, one, three and five semitones respectively. Berlioz notes that in the case of "an instrument with four cylinders, the chromatic compass of the low part of this instrument no longer stops at the [written] F# [a tritone below the second harmonic] but goes down to the first C [i.e. the written fundamental]". He notes, however, that the "first low note of the tube's resonance ... is too bad to be employed". This would seem to imply that the fourth valve of the saxotromba did indeed lower the pitch of a given harmonic by 5 semitones, so that all four valves in combination would lower an open note by a major seventh. It is doubtful, however, whether four independent valves were ever used in combination to produce such low notes.

The fifth valve, where present, probably lowered the pitch of an open harmonic by 6 semitones. Later models of saxotromba were provided with six independent valves, lowering the pitch of an open harmonic by one through six semitones, thus removing completely the need to use any valves in combination.

Compass
Like the saxhorn, the saxotromba was a transposing instrument. Its music was always written in the treble clef as though for an instrument pitched in 4' C, but the actual sounds produced depended on the size of instrument used. For example, if a piece of music were performed on a soprano saxotromba in 3' E, it would sound a minor third higher than written.

In the following table, all possible saxotrombas mentioned in the literature have been included with their probable ranges, even those whose existence is in doubt; the four in bold are probably the original models of 1845. The table follows Forsysth (1914), who restricted the compass of all the saxhorns to harmonics two through eight, and set the lower end of the compass of the half-tube saxhorns a tritone below the second harmonic. Several other sources imply that the ninth and tenth harmonics were also in regular use (on some models, at least), extending the upper range by two whole-tones. I have assumed that all of the saxotrombas - even the contrabass models, if they ever existed - were half-tube instruments. It should be remembered that the fundamentals (shown here at their sounding pitches) were not available:

Richard Wagner and the saxotromba

In November 1853, the German composer Richard Wagner began the composition of the first of his Ring operas, Das Rheingold. A few days later he drafted a provisional list of the musical instruments he intended to use in the work. It was written on one side of a sheet of paper the other side of which contained an early draft of the opera's opening scene. This list includes the following items:

In October of the same year Wagner had paid a visit to Adolphe Sax's workshop on the Rue St Georges in Paris, where he had seen several new instruments, including the saxhorns and saxotrombas. Wagner must have felt that the saxhorns would make suitable adjuncts to the large complement of horns he intended to use in the Ring, as their appearance in the list of instruments in parenthesis after the "8 Hörner" clearly indicates that he originally intended four of his horn players to double on them.

As for the "Saxtromp", this is clearly an abbreviation of Saxtrompete, Wagner's German translation of saxotromba. It seems clear, then, that Wagner's original plan was to use a saxotromba as the bass member of his trumpet group; but between then and 1876, when the Ring was given its premiere, Wagner fell out with Sax and altered his plans more than once. In the event, the three trumpets were supported by a bass trumpet designed especially for the occasion by the instrument maker C. W. Moritz.

Nevertheless, we can deduce that one of the early saxotrombas was pitched in E, was equipped with four piston valves, and had a compass that was presumably capable of playing the bass trumpet part in Das Rheingold (which is notated throughout for an instrument in E, sounding a major sixth lower than written). This latter covers almost two-and-a-half octaves from sounding C3 (one octave below middle C) to G5 (at the top of the treble clef). This four-valved saxotromba in E presumably corresponded to the tenor saxhorn, whose sounding range according to Berlioz ran from A2 to G5, thus encompassing the bass trumpet part in Das Rheingold. The top note, however, would have been produced by overblowing the tenth harmonic (sounding G5) while engaging the second valve (lowering the open note by one semitone to G5).

Saxotromba or saxhorn?
The organologist Evgenia Mitroulia has recently questioned the very existence of the saxotromba as an instrument in its own right. She argues that the instruments known today "as the alto and baritone saxhorns are in fact the alto and baritone saxotrombas". By taking accurate measurements of extant instruments, Mitroulia has concluded that "Sax's plan for creating two distinct complete families of brasses, the saxhorns and the saxotrombas, never came into realization. Sax's commercial trick regarding the existence of a saxotromba family has now been exposed".

Extant saxotrombas
Of the many saxotrombas manufactured by Adolphe Sax's firm, only half a dozen are known to have survived to the present day. The following table also includes three instruments of unknown location which may no longer be extant. Note that most of these instruments are identified as "saxhorn or saxotromba", which supports Mitroulia's claim that the saxotrombas were saxhorns in all but name:

References

Notes

Bibliography

External links
 The Trumpets in Bach's Music - requires access
 Saxotromba with six independent valves and pavillon tournant – the caption says 1860, but this is the eighth instrument (1864) in the table of extant saxotrombas.
 Saxotromba with three valves and pavillon tournant
 Baritone saxotromba with pavillon tournant

Brass instruments
B-flat instruments
E-flat instruments


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Grady's art captures pain of war
By Julie Titone
This powerful work by artist Grady Myers is not among those included in his memoir "Boocoo Dinky Dow: My short, crazy Vietnam War." This Memorial Day seems a good time to share it. Perhaps the soldier he imagined when he created this survived his battlefield wounds, as Grady did. Perhaps he lived with the pain for decades, as Grady did before his death in 2011.
Sadly, Grady never had a gallery exhibit of his work. But it's good to know that most of his war-related art is included in the collection of the National Veterans Art Museum.
Powerful prose from two veterans
No disrespect to the folks who were moved by it, but I had to click off the TV about 10 minutes into Sunday's Memorial Day concert from the National Mall. The overly groomed singers belting out patriotic songs clashed mightily with the complex, unscripted emotions I have confronted in conversations about battlefield sacrifice and its aftermath. I've had many such talks during the last few years of sharing the Grady Myers memoir "Boocoo Dinky Dow: My short, crazy Vietnam War."
What did move me this Memorial Day were commemorations that arrived in my email box in the form of unpublished writing by two Army veterans, Michael Simpson and Carroll McInroe. I was honored to read their work. It made me think not only of those who died in the service, but also what died inside many of those who made it home.
'I had to lay down my soul'
Michael Simpson, who served in Vietnam in 1967, sent chapters from a memoir so powerful I had to stop reading from time to time. In one of them he described how a Vietnamese boy, who sold Coca-Cola to the troops, stepped on an anti-personnel mine that had been planted under a tree. The blast vaporized him from the waist down and flung his upper body into a road, right where a convoy was headed. The platoon leader yelled for someone to move the corpse. When none of the other stunned soldiers responded, Michael stepped forward to do what should have been a gut-wrenching task. He writes:
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Post-traumatic stress disorder? For decades, that wasn't something Michael thought had anything to do with him. Not even when he pushed away memories of holding a fellow soldier who died in his arms, intestines spilling out on them both, a medic nowhere in sight. Not even when his life was falling repeatedly apart.
Michael is a Veterans Justice Outreach volunteer in Lewiston, Idaho. He also serves as mentor coordinator for Veterans Treatment Court. He plans to publish his book, in hopes it will help parents understand what their children could face if they go into the military. Its working title is "The Road from Happy Valley: A Pacifist's Viet Nam Experience."
'Backhoes biting holes in the earth, day after day'
Texas-born Carroll McInroe served during the Vietnam era and went on to a career in the Veterans Administration where, he said, "we knew PTSD before PTSD had a name." He lives in Spokane, Washington. He wrote the following essay, titled "Waco V.A.," in the 1970s.
As I entered the V.A. hospital ward, I saw my old classmates, Catfish, Gary, Ross, Richard and Avis. I saw our former Commander-in-Chief, President Richard Nixon. We soldiers did not like him much, you know. I saw Walter Cronkite telling us why and later why not. I saw long lines of teenagers being inoculated and indoctrinated. I saw the distant stares of boys fresh from battle, as we ferried them from the airport to the barracks – a hot meal, a warm bed at last.
I saw the anguish, the guilt, the confusion on the faces of hundreds of other boys, as they formed yet another line to give blood, month after solemn month, for their young comrades-in-arms over 10,000 miles away. I saw backhoes biting holes in the earth, day after day, for American teenagers who no longer bled.
I saw other teenagers, privileged confident ones, taunting Gold Star mothers at the gravesides of their sons. "Baby killer" was the common phrase. "Killed in Action" read the letter. "From a grateful nation," said the flag. Ashes to ashes, dust to dust, names on a wall.
I saw hallways and drill fields, filled with young enlisted men, enraged over the killings at Kent State. It was 1970. I saw the same halls and fields filled with shouting senior NCO's, demanding obedience, screaming "the college kids got what they deserved," threatening courts-martial for any young G.I. rebel who disagreed.
I saw an old friend rolling a joint with shiny metal hooks where his hands had once been. He had continued to man his M-60 as his arms were literally shot to pieces by NVA rifle fire. "I had to keep shooting or we were done. Those little people, they never quit." The girls sat mesmerized, stoned, silent, wondering what had happened to this good young man.
His girlfriend had walked out of his life because he was a war-monger. The local police were scouring the streets for him because he was "involved with drugs"; former friends and family shunned him. "Dirty long hair, bunch a' bums."
He took a deep toke and told me, "I have nowhere to go – prison I suppose." We spent the evening, getting high, talking, listening to Jethro Tull. I don't know where this friend is anymore. I don't know much of anything anymore.
I know where Cat, Gary, Ross, Richard and Avis are. Their families leave a small flag at their grave sites once a year. Now listen carefully, you rare few. My classmates survived the Vietnam war. It was the homecoming that killed them.


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CONCLUSION: Our survey documents a higher C difficile prevalence rate than previous estimates using different methodologies. The majority of inpatient CDI appears to be health care associated. Given that not all patients with diarrhea are tested for CDI and that most facilities use enzyme immunoassays with limited sensitivity to detect C difficile, these are minimum estimates of the US health care facility C difficile burden.


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Curry Rail Services will be attending the 2017 NARS Annual Meeting, which will be held May 23-25 in San Fransisco, CA. In addition, CRS is a Bronze Sponsor of this year's meeting.
This spring, Curry Rail Services is working with The T1 Trust to fabricate the locomotive cab for their new T1 steam locomotive #5550. CRS believes in the groups mission and wanted to be apart of this project. As a premier manufacturer of locomotive cabs and other equipment this project is a perfect fit for CRS.
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An approved Royal Life Saving NSW Bronze Facilitator is able to instruct and assess the components of the Royal Life Saving Bronze award strands, as well as Rescue strands. These strands teach land-based and water-based rescue techniques, including contact rescues for unconscious casualties and Resuscitation techniques.
Aims to develop skills and knowledge of safe water rescue and survival in candidates from secondary school age, and older. As the most basic of the Bronze Strands, the Bronze Star does not train candidates in any form of contact rescue on conscious persons in deep water. This award also encompasses a Resuscitation Awareness Award.
Aims to develop the knowledge, judgement, technique and physical ability required to carry out safe water rescues in a variety of aquatic environments. This course can be completed by candidates aged 14 and older. This award also encompasses a Resuscitation Award.
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This award is aimed at Primary School aged students and older; it does not train or qualify a candidate to enter the water to perform a rescue, however it is a great introduction to land-based rescue techniques, incorporating water safety messages.
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This award is suitable for Year 5/6 students and older. Skills and knowledge of safe water rescue and survival techniques are taught, although candidates are not taught how to attempt contact rescues in deep water.
Bronze Facilitator status encompasses all basic Royal Life Saving Awards. As well as the Rescue and Bronze Strands explained above, a Bronze Facilitator is also able to conduct Swim and Survive programs, as well as Resuscitation strands.
Who can become a Bronze Facilitator?
How do I become a Bronze Facilitator?
As well as meeting the criteria above, a Bronze Facilitator will need to have the required knowledge to deliver a Bronze course, encompassing knowledge of Resuscitation skills that are compliant with the standards of the Australian Resuscitation Council (ARC).
To finalise the application process, appropriate payment is to be made, and the Bronze Facilitator Workbook must be completed and submitted to Royal Life Saving NSW. In order to complete the workbook, access to the Royal Life Saving Swimming and Lifesaving Manual is essential. If you do not have access to a Swimming and Lifesaving Manual, they can be selected as an additional item at the time of registration payment. Alternatively, they are available for purchase at the Royal Life Saving Shop.


Drass continued R&D activities completed the engineering of the new Multimedia Entertainment Diving System. The first complete System, which is intended for the new Harkand 18 man twin bell DSV, was successfully tested in presence of a customer representative. The System includes 18 off Private and 6 off Public screens, all controlled by a centralized Server located in SAT Room.
The System was highly appreciated by the customer, who highlighted its flexibility and high performances, being the System capable to deliver HD Multimedia experience to all Screen simultaneously. An important fact to be highlighted is the Mission Monitoring functionality: thanks to the connection between the Multimedia Entertainment with all Digital Video Recorders, Divers inside the saturation system can monitor activities going on underwater and on within the Bell, other than receiving any multimedia contents which may be useful for their job.
Private Screens are handheld devices, engineered as a 10.4" hyperbaric tablets – they are equipped with multi-touch screen interface, stereo headset connection, webcam and USB port. Public Screens are big all-in-one 21.5" PC, featuring multi-touch screen interface, loudspeaker and ambient microphone, webcam and USB port. All screen were developed keeping in mind the maximum safety and reliability: no batteries are used (even the BIOS has been modified to be capable to work without the internal battery), and they are powered and data connected using a single coiled cable. The cable is connected using robust push-pull circular connectors. Screens are independently tested for hyperbaric use.
Private Screens are completed with a touch stylus. The Server provides a Virtual Machine for each user, making easy for each diver to access reserved resources; at the end of the mission, each VM is easily reset to the factory default, assuring the system is restored to the original configuration and that no privacy issues can be raised. Screens can be swapped and replaced if required, due to their independency of the Virtual Machines. If required, the whole system can be serviced remotely by Drass (this will require a remote connection to the vessel).
Next system is going to be arranged for the new Toisa 24 man twin bell DSV – this system is even larger than the Harkand System, comprising 24 off Private Screens and 6 off Public Screens. We look forward for other customers deciding to include such useful upgrade to their existing system.


MbE's bespoke and made-to- measure service has an incredibly rich heritage. Its founding partner Timothy Everest MBE was a pioneer of the New Bespoke Movement and has been involved in ateliers in London's Spitalfields for over twenty-five years.
Tim (as he is known to his friends and clients), began his career with the legendary Savile Row tailor, Tommy Nutter, who dressed the Beatles, Mick Jagger and David Hockney to name but a few. Tim has followed in Tommy's footsteps dressing a myriad of rock stars, artists, actors and politicians and has a long history in the provision of the iconic wardrobes for major films such as Atonement, Skyfall and the Mission Impossible franchise. The consummate designer and collaborator, he has also designed tailored ranges for brands such as Rapha, La Martina and Superdry.
Tim is at the forefront of the bespoke casual movement, which as the name suggests, provides individually tailored casual clothing including casual shirts, smart-casual jackets and jeans of Savile Row quality.
In 2010, Tim was awarded an MBE for his services to tailoring.
Whether it's a suit, jacket, trousers or even a pair of jeans, we create and craft a garment that is "bespoken" to you from scratch. A typical bespoke suit will take over one hundred hours by our skilled tailors to create and craft.
Bespoke garments are made to your specifications in any fabric of your choice. It's highest expression of our craft and your personal style.
The bespoke process is a collaborative one. After an initial consultation where we assess your requirements, your measurements are taken to create your individual "pattern" and at this point we begin creating and crafting your bespoke garment.
Over a series of fittings we work with you to create a bespoke garment that fits you and your requirements exactly. The result is a piece of unique clothing that you'll be wearing for years to come.
A half-way house between bespoke and ready-to-wear, but with no less attention to detail.
Where as with bespoke, we create a "pattern" or template from scratch; your garment is then made by hand, with made-to-measure, an existing template or "block" is adapted to your specifications, your garment is then made by highly skilled machinists and finishers.
MbE offers the same choice of fabrics for made-to-measure as for bespoke. But because made-to-measure is adapted from an existing block, there are limits to how much it can be customised, and fewer fittings in which to fine-tune. Of course, the end result will still be an exceptionally well-tailored garment.
The main advantage of made-to-measure is a more streamlined process than that of bespoke which make is a more affordable way to have a jacket or suit made that is tailored to you.
If you would like to find out more about our tailoring and which is the most appropriate for your requirements, then please contact us at info@mbe.studio to book a consultation.


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Speculative Speakers Directory: Amy Berner
Amy Berner
amy_berner@yahoo.com
http://www.amyberner.com/Berner/index.htm
Amy Berner is a freelance genre television, film, and pop culture columnist. Most recently, she co-authored the book "The Great Snape Debate," analyzing whether Severus Snape (from the Harry Potter series) is a friend or foe as the countdown begins to the final book of the series. Ms. Berner is a regular contributing author to the "Smart Pop" anthology series from BenBella Books with six essays included in their anthologies over the last two years (regarding Angel, The Hitchhiker's Guide to the Galaxy, Alias, Farscape, Lost and Veronica Mars). She also recently completed a three-year stint as the featured columnist at DarkWorlds.com. She specializes in science-fiction and fantasy analysis and has spoken on panels at Comic-Con 2005, the Fourth Conjecture (2005), Comic-Con 2006, the Fifth Conjecture (2006). Ms. Berner is also an accomplished corporate event designer/producer. Fees are negotiable, especially for nonprofit organizations.
Fantasy: General; Science Fiction: Film & Television; Science Fiction: General


Dreel Halls offers two versatile spaces on two levels available for hire individually or together at reasonable rates.
The following additional facilities and equipment can be provided on request: kitchen, crockery, cutlery, tables, chairs, piano, projector (additional charge applicable) and screen.
The halls can be hired by the hour, by the session or for the whole day, which includes the evening. There is a discounted rate for community organisations hiring either or both halls for a whole day.
If you are interested in making regular bookings do let us know. We have an introductory offer and block booking rates.
NB prices shown include VAT but registered charities hiring the halls for purposes that further their charitable aims are exempt from paying VAT.
Bookings should be accompanied by two cheques, each payable to 'Anstruther Improvements Association'. The first cheque should be for £50 to cover the deposit. This cheque will be returned after the event assuming that no damage has been caused to the Halls, the contents or the grounds. The second cheque is for the hall hire charge.
NB Provisional bookings will be held for one week, and we require a completed booking form to confirm a booking.
If you would like to discuss a booking, you can Contact us through the website.


This beautiful bridal bracelet features your choice of white, cream or creamrose 4mm Swarovski pearls and 8mm round Swarovski crystals in sparkling Crystal AB. (The Crystal AB has a reflective, mirror like finish that adds quite a bit more sparkle and also reflects other colors.) The crystals are nestled between genuine Bali Bead .925 sterling silver bead caps. The bracelet closes with a sterling silver lobster claw clasp and includes a sterling silver extender chain for added beauty and length.
For assistance choosing the correct length, please visit our Jewelry Sizing Guide.Jewelry Sizing Guide.
Each item in our Bridal Collection is made to order especially for you. Therefore, please allow 4-8 business days for processing before shipment, although we often ship earlier depending on our stock levels at the time of your order. Click here to purchase our RUSH PROCESSING UPGRADE.


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==== Progress 8 ==== Introduced by the DfE for schools in England in 2016, Progress 8 measures a student's progress between Key Stage 2 and Key Stage 4 across eight key subjects. It shows whether students have performed to expectation, based on a value-added measure using Key Stage 2 English and Maths as a baseline. It's checked by getting a sample of Year 11 students to sit English and Maths reference tests in March before their June GCSEs. Attainment 8 measures the achievement of a pupil across 8 qualifications including mathematics (double weighted) and English (double weighted), 3 further qualifications that count in the English Baccalaureate (EBacc) measure and 3 further qualifications that can be GCSE qualifications (including EBacc subjects) or any other non-GCSE qualifications on the DfE approved list. Each individual grade a pupil achieves is assigned a point score, which is then used to calculate a pupil's Attainment 8 score. ==== Is progress 8 a reliable measure? ==== Some argue that Progress 8 is statistically flawed as some external values can be added to skew the apparent school progress and make it look better than it is. However, progress 8 is a way to encourage secondary schools to get students improving.
progress8.txt · Last modified: 17/07/2019 05:58 by digicoled


Are your estimates in QuickBooks? If you do job or project costing, then I believe some form of your estimate belongs in QuickBooks. Even if you just give your customer a fixed price. All your other numbers are there – invoicing, job costs, payroll…. Chances are, you're creating some form of those reports already, but you are probably pulling some numbers from QuickBooks, some from a stack of receipts for the project and then entering them either in a spreadsheet, on the back of a project folder and using a calculator. Doing that elsewhere can be very time consuming and double work.
If you enter estimated quantities (such as labor hours) and run payroll in QuickBooks, you can even get an Estimated vs Actual Hours report!
If your customer wants to make changes along the way, as so frequently happens, QuickBooks will let you do a change order and can keep track of the changes for you. And, you can easily invoice off the estimate, order materials or even enter orders for work you will sub out, so once the estimate is in, often other tasks can be done with just a couple clicks.
If your estimating is fairly simple, then usually the regular estimate form in QuickBooks works. You can enter your anticipated costs for the various items, mark it up and arrive at a number you want to charge your customer.
I will admit that there are many times when the estimate form in QuickBooks can be inadequate so a spreadsheet or other estimating software often works better. But some form of the estimate still belongs in QuickBooks making it easier to review the job. How much detail to have in QuickBooks depends on what you want to see in your reporting when you're reviewing your job reports.
There are several ways to enter an estimate, including Memorized Estimates or importing using 3rd party software.
Let us know if you'd like help with getting your estimates in QuickBooks!
This entry was posted in Job Costing and tagged estimate, estimated vs actual, estimating, job, job costing, job costs, QuickBooks, WIP. Bookmark the permalink.
Is this possible to do in Quickbooks online?
I've created an estimate to track vs actuals but I cannot find an Estimate vs Actuals report in QBO.
You can do a Budget vs Actual in QBO but why would you want to create an estimate and then a budget?


approx: 3ft.10in. x 3ft.2in. and 6ft.2in. x 4ft.10in.
Balouch rug, filed with hooked rosettes and stylised frame medallion. Surrounded by multiple floral and panelled stripes. striped kilim at each end. Touches of slight wear. In general this rug is in very good usable condition.


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The Greatest Female Friendships In History
U.S. Army (Yank, the Army Weekly) via Wikimedia Commons
Lucille Ball And Carol Burnett
Seeing how the two are comedians with their own shows, it's no wonder that Lucille Ball and Carol Burnett became friends. While their shows aired a decade apart, the two women met at one of Burnett's off-Broadway shows, where Ball was part of the audience. After the curtains dropped she went to the dressing room to chat with Burnett, and they became fast friends, turning into a type of mentor-mentee relationship.
"She called me 'kid' because she was 22 years older than I," recalled Burnett. "Just as she was leaving, she said, 'Kid, if you ever need me for anything, give me a call.'" Eventually, it was Ball that would give Burnett her first big break by appearing on her show and launching her career, and the two had stayed friends ever since.
The Cutest Couples At The 2019 ACM Awards
The Celebrity Throwback Pics You Need To See
Then And Now: Your Favorite Boy Bands
Where Are They Now: The Cast Of 'The O.C.'
Teen Heartthrobs You Forgot You Loved
Where Are They Now: The Men Of 'Sex And The City'


then you're in for a treat.
exact amount stated for the transaction to go through.
Grab app to see what's new.
Valid for purchase only from 1 to 25 Dec 2018 via the Grab app, while stock lasts.
Each user is limited to a maximum of 3 purchases.
For a purchase to be deemed successful, users must pay exactly '$89.00'. All other values paid will be deemed unsuccessful, and will be refunded within 14 working days after the end of the campaign period in the form of GrabPay Credits.
15 minutes of a successful purchase.
Valid for redemption at all Häagen-Dazs outlets in Singapore.
Not valid in conjunction with any other ongoing Häagen-Dazs or Grab promotions, discounts, offers or privileges.
Each Häagen-Dazs reward is valid for redemption until 31 Dec 2018 only. Strictly no extension is allowed for expired rewards.
Grab Singapore and Häagen-Dazs reserves the right to make a refund in the form of GrabPay Credits or replace the reward with an item of equal value.
For a purchase to be deemed successful, users must pay exactly '$48.00'. All other values paid will be deemed unsuccessful, and will be refunded within 14 working days after the end of the campaign period in the form of GrabPay Credits.
For a purchase to be deemed successful, users must pay exactly '$18.00'. All other values paid will be deemed unsuccessful, and will be refunded within 14 working days after the end of the campaign period in the form of GrabPay Credits.
A Cedele reward will be credited via 'My Rewards' in the Grab app within 15 minutes of a successful purchase.
Premium Butter Shortbread. Selection available while stock lasts.
Valid for redemption at all Cedele outlets in Singapore.
Not valid in conjunction with any other ongoing Cedele or Grab promotions, discounts, offers or privileges.
Each Cedele reward is valid for redemption until 28 Dec 2018 only. Strictly no extension is allowed for expired rewards.
GrabPay Credits or replace the reward with an item of equal value.
For a purchase to be deemed successful, users must pay exactly '$31.20'. All other values paid will be deemed unsuccessful, and will be refunded within 14 working days after the end of the campaign period in the form of GrabPay Credits.
An ETUDE HOUSE (Shadow Palette) reward will be credited via 'My Rewards' in the Grab app within 15 minutes of a successful purchase.
Valid for redemption at all ETUDE HOUSE outlets in Singapore.
Not valid in conjunction with any other ongoing ETUDE HOUSE or Grab promotions, discounts, offers or privileges.
Each ETUDE HOUSE reward is valid for redemption until 31 Dec 2018 only.
Strictly no extension is allowed for expired rewards.
Grab Singapore and ETUDE HOUSE reserves the right to make a refund in the form of GrabPay Credits or replace the reward with an item of equal value.
For a purchase to be deemed successful, users must pay exactly '$54.40'. All other values paid will be deemed unsuccessful, and will be refunded within 14 working days after the end of the campaign period in the form of GrabPay Credits.
Rewards' in the Grab app within 15 minutes of a successful purchase.


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Subscribe To Why Kanye West Missed The Met Gala, According To Kim Kardashian Updates
Why Kanye West Missed The Met Gala, According To Kim Kardashian
By Will Ashton
If you been paying attention to coverage from last night's Met Gala, you likely noticed that Kanye West wasn't in attendance. Although Kim Kardashian West was easily spotted at the high profile media event, her controversial husband decided not to join her this time around. There's apparently a good reason why, according to Kim Kardashian. On social media, the reality TV star explained why her headline-grabbing hubby didn't attend the fashion extravaganza. Hint: it involves work. A whole lot of work. Here's what Kim Kardashian West wrote on her social media addressing Kanye's noted absence.
Love you babe wish you were here with meeeeee but you're only finishing up 5 albums ?????????????? https://t.co/7r5SbJZoeX
— Kim Kardashian West (@KimKardashian) May 8, 2018
Gotta admit, that's a pretty good excuse. Since returning to Twitter, Kanye West hasn't shied away about making bold proclamations, as well as controversial remarks about President Donald Trump. But the rapper also revealed that his follow-up album to 2016's The Life of Pablo, allegedly called Love Everyone, comes out on June 1st. Additionally, Kanye West also has a new collaboration album with Kid Cudi, for a newfound duo called Kids See Ghost, that is set to be released on June 8th. So, yeah, that's not a whole lot of breathing room right there. And if he's working on even more albums, that's a ton of work.
Kanye West might also have a few other goals in mind too. Specifically, running for president in 2024. In his ongoing string of recent social media posts, Kanye revealed his lofty aspirations for trying to enter the Oval Office are still in place, and that he's starting the campaign process early to drum up more attention for his political ambitions. The musician certainly garnered some attention, although it might not have been as positive as he'd hoped. Who honestly knows with Kanye if he'll actually follow through with his campaigning plans for President, but he's still promising it. So that's probably keeping him pretty busy, too.
Of course, Kanye West has earned a great deal of criticism for his recent comments. In particular, fellow musician Daz Dillinger threatened Kanye with a "crip alert" in a social media post that was deleted from his page shortly after it went live. Additionally, John Legend reached out to him to express his own concerns for his friend, in a text message exchange that went viral when Kanye screenshoted it and shared it online. They've put aside their differences, but it's unclear if everyone else is going to do the same. It's quite possible that Kanye West's recent behavior is going to be a problem for the foreseeable future. It also inspired a pretty good Saturday Night Live skit with host and musical guest Donald Glover, in a parody of John Krasinski's surprise smash hit A Quiet Place, entitled A Kanye Place.
Even if Kanye West isn't as the Met Gala, he's going to find attention, one way or another. That's for certain.
Kim Kardashian West Posts Sweet Family Photo Before Fourth Child Arrives
Kris Humphries Opens Up About Marriage To Kim Kardashian, Says It Wasn't Fake
Looks Like Ryan Seacrest Is Trying To Distance Himself From Blac Chyna's Lawsuit With The Kardashians


Holiday Ideas & Projects - Learn DIY Projects At Fiskars!
Celebrate the holidays with inspired décor to family together. From gift ideas to kid-friendly DIY projects, you're sure to create memories to cherish forever.
This DIY bat costume is a quick make for your little trick or treater.
This year, make a perfectly spooky Halloween sign and display it on your mantle or shelf.
Repurposing an old pallet is the perfect upcycle DIY project.
Try a new take on Halloween this year with a subtle and sophisticated yarn hanging.


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text:
U.S. National ArchivesPublic Domain ArchiveNot developed or endorsed by NARA.
Fire Control: Detection - Washington
save_altMedium1024x835
save_altLarge1600x1304
Photographs Relating to National Forests, Resource Management Practices, Personnel, and Cultural and Economic History
resource management practices
The U.S. National Archives
https://catalog.archives.gov/
No known copyright restrictions
Explore: washington state
US Air Force (USAF) 437th Aerial Port Squadron (APS), Charleston Air Force Base (AFB), South Carolina (SC), Rodeo 98 Team members prepare to run towards the cargo bay of their C-141B Starlifter aircraft to begin downloading equipment during the Engine Running Onload/Offload (ERO) competition, which is part of the over all USAF AMC sponsored Rodeo 98 airlift competition at McChord AFB, Washington (WA)
Visit of Oregon Congressman Greg Walden, Secretary Gale Norton, and Washington Congressman Brian Baird, far left to right, to the U.S. Geological Survey's Cascades Volcano Observatory in Vancouver, Washington, where they received tour and briefing from volcanologist John Pallister, far right, on the Mount St. Helens status. Photo was used in Interior video on Norton era
S47-73-022 - STS-047 - Earth observations taken during the STS-47 mission
A P-3 Orion aircraft from Patrol Squadron 8 (VP-8) takes off on a Naval Air Training and Operating Standarization (NATOPS) evaluation flight
US Army tank crew member from Company C, 5th Battalion, 20th Infantry Regiment, 3rd Brigade, 2nd Infantry Division, during field training maneuvers. Point Salinas drop zone, Fort Lewis, Washington
US President George W. Bush (left) and US Representative (REP) George R. Nethercutt, Jr. (R-WA), wave from Air Force One after landing on Fairchild Air Force Base (AFB), Washington (WA). President Bush visited Spokane, WA in support of REP Nethercutt race for the US Senate
040824-F-2233S-001 (Aug. 24, 2004)A US Air Force (USAF) C-17 Globemaster III cargo aircraft from the 62nd Airlift Wing (AW), McChord Air Force Base (AFB), Washington (WA), releases electronic countermeasures (ECM) flares during a training mission over the Bollen Range located at Fort Indiantown Gap, Pennsylvania (PA).U.S. Air Force official photo by SENIOR AIRMAN Matt Schwartz (RELEASED)
Sen. Henry M. Jackson, D-Washington, congratulates CDR Ken Parsons as the new commanding officer of Fleet Logistic Support Squadron 61 (VR-61)
Explore: fire control
Fire Control: Lookouts - New Mexico
Fire Control: Lookouts - Montana
Fire Control: Detection - Arkansas
A close-up view of a computer monitor display that shows the grid for special operations forces, coalition forces, and fire control. Challenged by the desert environment and technical integration with a variety of other U.S. and multinational services for 10 days, personnel are participating in the largest air defense exercise in the free world
Fire Control: Lookouts - Minnesota
Fire Control: Lookouts - Idaho
Fire Control: Lookouts - West Virginia
Explore: detection
An air-to-air right side view of an Air Anti-submarine Squadron (VS-31) S-3A Viking aircraft with an ASQ-81 Magnetic Anomaly Detection (MAD) probe extending from the tail section. The aircraft is assigned to the nuclear-powered aircraft carrier USS DWIGHT D. EISENHOWER (CVN-69)
STAFF Sergeant (SSGT) Dominic Vecchi, USAF, dog handler, 31st Security Forces Squadron (SFS), Aviano AB, Italy, guides his K-9, Lakya, a Belgian Malamois, through its paces, detecting for a possible bomb in this stack of ammo cases. The working dog team at Aviano undergoes weekly training for bomb detection and attack procedures
US Marine Corps (USMC) Corporal (CPL) Harry Klein (left) and CPL Shawn Cook, both assigned to 1ST Marine Division, examine an XM22 Automatic Chemical Agent Detection Alarm (ACADA) during an exercise conducted in Kuwait, during Operation ENDURING FREEDOM
Aerial view of the PAVE PAWS radar site, which provides detection of enemy missile launches and keeps track of objects in space
A dog handler from the 3282nd Technical Training Squadron of the Air Force Security Police Academy waits to take a dog for a visit to the veterinarian. The 3282nd trains patrol, drug detection, and explosives detection dogs for all the military services and other government agencies
U.S. National Archives
The objects in this collection are from The U.S. National Archives. The U.S. National Archives and Records Administration (NARA) was established in 1934 by President Franklin Roosevelt. NARA keeps those Federal records that are judged to have continuing value—about 2 to 5 percent of those generated in any given year. There are approximately 10 billion pages of textual records; 12 million maps, charts, and architectural and engineering drawings; 25 million still photographs and graphics; 24 million aerial photographs; 300,000 reels of motion picture film; 400,000 video and sound recordings; and 133 terabytes of electronic data. All of these materials are preserved because they are important to the workings of Government, have long-term research worth, or provide information of value to citizens.
Disclaimer: A work of the U.S. National Archives is "a work prepared by an officer or employee" of the federal government "as part of that person's official duties." In general, under section 105 of the Copyright Act, such works are not entitled to domestic copyright protection under U.S. law and are therefore in the public domain. This website is developed as a part of the world's largest public domain archive, PICRYL.com, and not developed or endorsed by the U.S. National Archives. https://www.picryl.com


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Taxpayers against fraud education fund Membership
Who can join TAFEF?
TAFEF's membership is made up of more than 400 experienced attorneys who focus in their legal practices on the representation of whistleblowers who come forward to expose fraud against the government. Prospective members must certify that they and their law firms (1) do not defend clients against allegations of federal or state False Claim Act violations, and do not intend to do so in future; and (2) do not represent clients – as plaintiffs or defendants – in claims against whistleblowers based on actions taken in connection with whistleblowing activity, including claims for breach of contract, breach of fiduciary duty or theft of company documents, and do not intend to do so in future.
Whistleblowers, nonmember lawyers, law libraries and others may be eligible to subscribe to the TAFEF Quarterly Review.
Why Join TAFEF? To become part of a great professional community.
TAFEF is a nonprofit, 501(c)(3) public interest organization dedicated to protecting whistleblowers, combating fraud against the government and safeguarding taxpayer-funded programs through public-private partnerships. Our mission is to protect the integrity and advance the effectiveness of whistleblower incentive provisions in federal and state laws, including the federal and state false claims acts, the federal tax, securities, and commodity futures trading laws, and the Motor Vehicle Safety Whistleblower Act.
We pursue our mission in a variety of ways.
TAFEF members and staff work to inform and educate the general public, the legal community, government officials, the media, and other interested groups about incentive-based whistleblower programs. We have appeared at Congressional and state government hearings to testify in support of the protection and improvement of whistleblower laws, and we have played a significant role in drafting statutory amendments to federal laws and promoting the adoption and strengthening of state false claims acts.
Each year TAFEF presents a national conference dedicated to serving those who represent whistleblower clients, bringing together key players, including federal and state government attorneys, agency officials and other experts, and providing substantive and timely resources for our members' continuing legal education needs.
On a daily basis, our members enjoy access to a vibrant community of colleagues on the TAFNET intranet listserv, which is managed by TAFEF staff with the goal of providing up-to-date information on all aspects of whistleblower law. The listserv, together with the TAFEF website and a variety of publications, supports and promotes the effective representation of whistleblowers before the courts and the Congress, and provides a space for members to share information in order to assist one another in bringing strong cases to the attention of government enforcers at the U.S. Department of Justice, the Securities and Exchange Commission, the Commodity Futures Trading Commission, the Internal Revenue Service, the U.S. Department of Transportation, and the offices of state Attorneys General.
TAFEF member attorneys practice across the country and represent plaintiffs in whistleblower-initiated cases and related employment law actions. The current membership rate is $775 per year and is due upon approval.
Access to the TAFNET listserv, dedicated to keeping the whistleblower bar updated on FCA, IRS, SEC, CFTC and MVSWA developments. TAFNET also serves as a clearinghouse for information uniquely pertinent to our bar, providing a forum for discussion of unsealed cases, litigation strategies and experiences, and legal issues affecting whistleblowers.
An online subscription to the False Claims and Qui Tam Quarterly Review, the nation's only law journal devoted solely to False Claims Act litigation developments.
Access to the Legal Zone, TAFEF's members-only document database. Legal Zone houses relevant judicial opinions from the U.S. Supreme Court, the Circuit Courts of Appeal, and federal and state trial courts, as well as copies of underlying complaints, motions, briefs, and settlement documents.
Subscription to our Bi-Weekly False Claims Act Case Summaries, compiled and edited by TAFEF's Director of Legal Education and Public Interest Advocacy Fellow, which provide brief synopses of significant recent judicial opinions.
Access to TAFEF's staff for consultation on membership and legal resources.
A listing on our public Members Directory webpage, if desired.
Discounts and access to early registration for TAFEF's annual conference.
Opportunities for participation in projects undertaken by TAFEF's committees and working groups.
For those who qualify, participation in the Young Lawyers Division of TAFEF members -- learn more here.
Incentivized integrity programs are under constant threat from the strongest and best-funded interests in the country, and TAFEF has for decades maintained its position on the other side of this battlefield. Our member lawyers, and our whistleblower clients and friends, remain committed to strengthening and expanding laws that protect the American taxpayer.
If you are interested in becoming a member of TAFEF, access to our online membership application is available below. If you have any questions or concerns, please feel free to contact TAFEF staff at (202) 296-4826.
TAFEF General Membership - $775.00 (USD) Subscription period: 1 year No automatically recurring payments
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HomeAwareness By ColorYellow Awareness ProductsSupport our TroopsCanada Canadian Flag Magnet - 4" x 6"
Show your Canadian colors with our highest quality Canada flag car magnet. Works on your vehicle or metal whiteboard or fridge.
This Canadian Flag Car Magnet is 4" by 6", printed with the official Canada PMS red with U/V protected ink. The glossy ink is printed on outdoor thickness .030" magnetic material. The size is not quite as wide as the official Canadian flag dimensions, but it is a popular, more compact size.
One a week or so remove from the metal surface and clean under it for best long term results.
Love them. Bought each of my girls one as well.


text:
SC upholds Jamaat leader Azhar's death penalty
| 31 Oct 2019, 00:00 | Update : 31 Oct 2019, 19:50
The Appellate Division upheld the verdict of death sentence for Jamaat leader ATM Azharul Islam in a case filed against him for his crimes against humanity. The four member Appellate Division bench headed by Chief Justice Syed Mahmud Hossain delivered the verdict upholding the sentence at around 9 am on Thursday.
The International Crimes Tribunal awarded the death sentence for Azhar on December 30, 2014 over allegation of killings and genocide during the liberation war.
The four member Appellate Division bench led by Chief Justice Syed Mahmud Hossain kept the case CAV for delivering verdict on July 10 after hearing the arguments of both state and accused sides. The other three members of the bench were- Justice Hasan Fayez Sidduque, Justice Jinat Ara and Justice Md. Nuruzzaman.
It was the eight case that came to the Appellate Division against the verdict of International Crimes Tribunal and the verdict was delivered.
Lawyers Khondoker Mahbub Hossain and Shishir Monir stood for ATM Azharul Islam, the former assistant secretary general of Jamaat-e-Islami. Attorney General Mahbubey Alam represented the state.


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No matter how well you maintain your system, the need for commercial heating repair will happen occasionally. At Whitetail Heating & Cooling, we can make sure your furnace is running smoothly to keep your commercial facility comfortable throughout the changing seasons. We service most brands of HVAC equipment and have years of experience working with other business owners and commercial facility managers in the Williston area. You'll be able to give us a call and feel confident in our work. Our technicians stand behind the quality they provide to each customer served.
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text:
Paloma Cela, született María Luisa Cela Molinero (Madrid, 1943. március 4. – Madrid, 2019. március 30.) spanyol színésznő, modell.

Életútja

Fontosabb filmjei
 40 grados a la sombra (1967)
 Tepepa, a hős bitang (Tepepa) (1968)
 Frank Mannata igaz története (¡Viva América!) (1969)
 Del amor y otras soledades (1969)
 A pokol városa (A Town Called Bastard) (1971)
 A la legión le gustan las mujeres... y a las mujeres, les gusta la legión (1976)
 Manuela (1976)
 Avilai Szent Teréz élete (Teresa de Jesús) (1984, tv-sorozat, három epizódban)
 Dokiakadémia (Bad Medicine) (1985)
 A kristálykő legendája (Crystalstone) (1987)
 Hogyan legyünk nők anélkül, hogy belehalnánk (Cómo ser mujer y no morir en el intento) (1991)
 Örökölt kísértete (Fantômes en héritage) (1992, tv-film)
 A bankrablás nagy öregjei (Maestros) (2000)
 Torrente 2. – A Marbella-küldetés (Torrente 2: Misión en Marbella) (2001)

Jegyzetek

1943-ban született személyek
2019-ben elhunyt személyek
Madridiak
Spanyol színészek
Spanyol nők
Spanyol modellek

redpajama_set_name: RedPajamaWikipedia


text:
Op-ed: The Village indoor mall on Telegraph is quirky and should be saved
The Village on Telegraph Avenue strongly conveys Berkeley's local color and personality and we should find ways to ensure it dodges the wrecking ball.
by Tom Dalzell Feb. 14, 2017, 10:47 a.m. August 4, 2022
2556 Telegraph Avenue, Fondue Fred's at night. Photo: Tom Dalzell
The Village on Telegraph at Blake is magic. Throw in its history and the stories and faces of its businesses – even more magic.
The Village is an indoor mall that began life in 1945 as Harry Doten's auto dealership. Doten owned and ran University Motors at C.J.'s Old Garage one building south, at 2566 Telegraph. He ran Doten Pontiac out of 2556 Telegraph and passed it on to his son.
In 1971, Larry Broding filed an application with the City to convert the building into two levels with a total of 21 small commercial spaces around a large common area. Hal Gilbert was the architect. What Broding proposed is today known as adaptive reuse, the process of reusing an old site or building for a purpose other than which it was built or designed for.
The January 14, 1972, Berkeley Daily Gazette featured a long story about what would become the Village – "Creative Shopping Mall to Have a Berkeley Flavor."
Read about The Village and the proposal to replace it with housing.
Broding had been involved in developing a similar project one building south in C.J.'s Old Garage. With the Village, he sought to avoid the "more Bohemian atmosphere of C.J.'s which tended to scare people away." For the new space, Broding wanted only tenants "with prior background in bookkeeping, marketing and other aspects of managing a business."
Broding told the Gazette that his goal was to "develop Berkeley's local color and personality" and to "rekindle the vital character of Telegraph Avenue."
Rather than hire union carpenters, Broding hired "relatively inexperienced" hippies from the area who picked up skills as construction progressed. The crew and Broding worked off architect drawings, but made "daily and detailed alterations in every aspect of the plan."
Original and/or early businesses included Achilles Sandals, African Bazaar, Crazy Dave's fresh-squeezed orange juice, Dan Han, Divali Enterprises, Eurasian Imports, the Federation Trading Post (an early Star Trek-themed store), Lord of the Rings, Moon Shirt Emporium, the Naked Lady, Playback, Sitar Indian Food, and the Waterbed Cooperative. There was also a beer and wine pub, an air charter service, a waffle shop, a parachute jump school, and an artist's cooperative. Fondue Fred came a few years later. Among the first generation of tenants was the campaign office of Ron Dellums, running for his second term in Congress.
If you are unsure as to its name, three signs tell you it is The Village.
2556 Telegraph Ave. Photo: John Storey
There is a broad open entrance on Telegraph with a retractable garage door.
There is a smaller door on the Blake Street side of the building And – this three-arched brick arcade entrance at the northeast corner of the building.
Inside the entrance is an L-shaped courtyard with more-or-less random bricks on the floor. The courtyard was called "the commons" in the plans.
2556 Telegraph Avenue. Photo: John Storey
The basic construction of the Village is well kept up. Shiny. Happy. To my eye, it is surprisingly well preserved today, 40+ years later after "relatively unskilled" workers built it, improvising the plans as they went. Several flights of stairs lead to the upper level.
There is kitsch, a touch of it – it adds value in my book.
The Village in daytime is quaint and charming. At night – magical. Everything that looks good in the day looks great at night, sparkling with the twinkle of the strung lights. It is a different feel, dark and dark wood but colored lights and strings of white lights up the railing, brick walls soaring, shingles, the white (wrong!) ceiling and rafters. It is 1972 again. It is tonight.
2556 Telegraph Ave. Photo: Tom Dalzell
The Village is a time capsule. Larry Broding's vision as brought to life by his hippie carpenters survives and thrives. Like the headline in the Gazette said, it exudes "Berkeley flavor." As Broding hoped, it rings with "Berkeley's local color and personality" and "the vital character of Telegraph Avenue."
The original 21 spaces have been consolidated. I count five restaurants and several other businesses. Each one has a story. Here are the stories of a few of the humans of the Village.
Norikonono is a restaurant serving Japanese food. Noriko and Takumi Taniguchi run it.
Noriko Taniguchi. Photo: Anna Mindess
Noriko was born in Manchuria. She came to the United States when she was 14. In 1993, Noriko was eligible for early retirement from her job at UC. She decided to pursue her dream and bought the restaurant to run with her husband Takumi, whom she met while still living in Tokyo. They opened on April 29, 1994, the Japanese holiday (Showa Day) to celebrate the Emperor's birthday. Now, almost 23 years later, they still live their dream. He grills, she prepares the side dishes. It is a great restaurant but that's not the point here. The point is – it is her dream.
Noriko told Berkeleyside: "My life motto is: 'kiyoku, tadashiku, utsukushiku soshite tsuyoku.' What this means to me is to live pure, fight injustice and help others while keeping your love, sweetness, and politeness. But in the end, be strong enough to stand up for what you believe." For her, standing up for what she believes in translates into "We'll all come together to fight this new building."
The Finfine Ethiopian restaurant is tucked in the southwest corner of the first floor. Roman Zewde opened it in 2001. She had worked in catering at the International House and for 12 years dreamed of opening a restaurant as popular as her mother's restaurant in Adis Ababa, Ethiopia. She says that she named the restaurant after the source of the purest spring water in Addis Ababa. Her restaurant is her dream.
Lelah Heravi bought Fondue Fred's in the late 1990s. She is Iranian, and explains that "When you live in war and you come to a country like America, you are grateful for everyday things." She, too, has more than a purely commercial relationship with her restaurant and the Village. "We are all part of that building. That was our retirement. That was our passion. We've all put in so many years there."
Roxanna Haas owns Arriba Peru on the second story. She came to the United States from Lima in 2004. She worked at the Peruvian consulate in San Francisco, dreaming of opening a Peruvian restaurant. Her dream came true on June 29, 2012. If she is forced to leave the Village, her dream will come to an end. She cannot afford the higher rents prevalent in Berkeley.
Aashish Shrestha owns Iresurect Repairs on the second floor, just to the right of the Telegraph Avenue entrance into the Village. He was born in Nepal and attended the Gamati Boarding Higher Secondary School in Katmandu. He moved to the United States in 2008, living in Oklahoma, Texas, and Louisiana before arriving in Berkeley and opening his business in 2014. He repairs phones, laptops, and tablets. He considers himself a counterforce to the disposable economy.
Jacques Lacey is one of the owners of the Vapor Den on the first floor. When it opened on June 8, 2011, it was the first vape store in the United States. Vaping is the use of a handheld electronic device that vaporizes a flavored liquid. Lacey wouldn't have his store anywhere else. He revels in the company of other Village tenants, especially the restaurants.
You can see – the humans of the Village add to its draw.
But – wait – there is trouble in paradise.
Photo: Tom Dalzell
Plans are in the works to demolish The Village and build a 76-unit 7-story mixed-use building without parking, although each unit will have a dedicated bicycle storage space.
A rendering of a 7-story building proposed on Telegraph to take the place of The Village. Image: Pyatok Architects
The prior City Council upheld the denial of landmark status for the Village despite efforts by neighbors to landmark it. I don't know what the new City Council can or will do, but as a hopeless romantic, I wish that there were some way that this reminder of the past which so strongly conveys "Berkeley's local color and personality" and "the vital character of Telegraph Avenue" could dodge the wrecking ball.
How about another shot at adaptive reuse, how about not destroying that which makes us different and special and Berkeley? If we aren't careful, we'll just be paving paradise.
How about, just maybe, going back to the 21-space configuration and leasing to artists? Why not an angel investor or even the City jumping in and buying the building, making it home for start-ups, an incubator for new and good ideas? Why not go back to the "local color and personality" vision and embrace art? Take at look at NIMBY in Oakland – see what Michael Snook has done in the name of
Or – let's look just a few miles south to Temescal Alley – why can't the Village learn a lesson from Oakland? It would even be possible to knock doors into the western wall of the Village and open out into the alley behind the building. Actual alley or not, the great success of Temescal Alley with small, hip businesses suggests a possible healthy future for the Village.
Tom Dalzell, a labor lawyer, created a website, Quirky Berkeley, to share all the whimsical objects he has captured with his iPhone. The site now has more than 8,600 photographs of quirky objects around town as well as posts where the 30-year resident muses on what it all means. A longer version of this post may be found at Quirky Berkeley.
Berkeley council denies landmark status for The Village
Telegraph restaurants, shops face uncertain future
7-story building, no parking, proposed on Telegraph
Tom Dalzell, a labor lawyer, created a website, Quirky Berkeley, to share all the whimsical objects he has captured with his iPhone. A longer version of this post may be found at Quirky Berkeley.
Tom Dalzell
tmd9@ibew1245.com
Freelancer Tom Dalzell has lived in Berkeley since 1984. After working for Cesar Chavez and the United Farm Workers for 10 years as a legal worker and then lawyer, he went to work for another labor union... More by Tom Dalzell


VANCOUVER, B.C. – Liberty Gold Corp. (LGD-TSX) ("Liberty Gold" or the "Company") is pleased to announce results from its ongoing Reverse Circulation (RC) drilling at the Goldstrike Project, the flagship of its three principal gold projects located in the prolific Great Basin of the United States. Located in southwestern Utah, Goldstrike is a past-producing, oxide-heap leach gold mine that contains a large, shallow, district-scale, Carlin-style gold system.
In 2018, The Southwest Goldstrike Trend (Beavertail Area) was drill-tested both within and outside of gold resources1 contained within the Preliminary Economic Assessment2 ("PEA") pit. Results have been received for 19 holes to date, with additional results pending.
To the west of the resource area and PEA pit, drilling targeted a large area with surface gold-in-soil anomalies and associated jasperoid alteration (West Beavertail). Shallow oxide gold mineralization was encountered in multiple drill holes, extending drill-tested gold mineralization over 300 metres from the Main Beavertail area. The mineralized zone remains open for extension to the south and west. Future drilling will focus on bringing the new extension into the existing resource model.
Infill and step out drilling by Liberty Gold demonstrates that mineralization extends laterally beyond as well as below the limit of historic drilling.
Liberty Gold discovered a new zone of mineralization extending to the west of the Goldstrike deposit (West Beavertail). It has been tested by 19 holes to date, with assays pending for 12 additional holes. The zone extends westward from the historic pit at least 300 m and is open to the south and west.
The zone lies on surface at the collars of holes PGS646, PGS648 and PGS650, which are spaced approximately 100 m apart, and is marked by abundant jasperoid float.
Unlike other areas of the Goldstrike deposit, mineralization in this area is entirely hosted in Upper Paleozoic carbonate rocks. This is the first significant "stand alone" test of carbonate rocks by Liberty Gold. With roughly half the property underlain by Paleozoic carbonate strata at surface, the potential for additional mineralization hosted in this rock type is significant.
Pending holes test areas to the south and up to 100 metres west of the holes reported in this release. All contain zones of jasperoid alteration similar to alteration in the highlighted holes.
The Goldstrike Graben area in the Western Zone was subject to condemnation drilling to assess suitability for location of a heap leach pad. Results ranged from No Significant Results to a high of 0.35 g/t Au over 6.1 m and 1.03 g/t Au over 3.0 m and 0.39 g/t Au over 3.0 m in PGS606. Combined with drilling from previous years, it is clear that there may be areas of gold mineralization inside the proposed PEA heap leach pad footprint that could warrant some follow-up work but, at present, most of the area appears to be better suited for location of infrastructure.
Liberty Gold continues to meet its project enhancement goals in 2018, commencing with a maiden resource estimate released in February3. The PEA4, published in July 2018, is based on a resource that includes drill results through the end of 2017 (1730 holes). 2018 drilling was focused on 1) infill and expansion of the resource; 2) testing of the historic heap-leach, stockpile and waste dump areas that are largely situated within the PEA pit and counted as waste in the PEA pit model (see August 16, 2018 press release); and 3) testing of new targets property-wide. An amendment to the current Plan of Operations to grant access to an additional >878 acres in and adjacent to the resource area is expected in the final quarter of 2018.
Goldstrike is located in the eastern Great Basin, immediately adjacent to the Utah/Nevada border, and is a Carlin-style gold system, similar in many ways to the prolific deposits located along Nevada's Carlin trend. Like Kinsley Mountain and Newmont's Long Canyon deposit, Goldstrike represents part of a growing number of Carlin-style gold systems located off the main Carlin and Cortez trends in underexplored parts of the Great Basin. The historic Goldstrike Mine produced gold at an average head grade of 1.2 g/t Au and an average recovery of approximately 75%.