text:
Darwin's new $150m hotel set to open in July
NORTHERN Territory Tourism Minister Matt Conlan last week announced that Darwin's newest hotel, the $150 million Élan Soho Suites, is near completion and will officially open its doors to the public next month.
Mr Conlan said the 4.5 star, 301-room hotel, which includes a mix of hotel suites and one and two bedroom apartments, is one of a number of new properties opening this year that will help ease Darwin's hotel accommodation shortage.
"The 4.5 star Élan Soho Suites hotel is a fantastic property which will greatly enhance the range of quality accommodation available in Darwin, particularly for visitors to the Territory," Mr Conlan said.
"It's no secret that accommodation for the holiday market in the Top End has been tight, but this hotel will help boost capacity which in turn will help bring more tourists to the Territory.
"The 301 room hotel will offer one and two bedroom apartments. At least a quarter of the rooms will be quarantined for the holiday, leisure and business events market – which is great news.
"By the end of 2014 more than 700 new hotel rooms and serviced apartments are expected to be available to the leisure market. This includes; the 301 rooms at élan Soho Suites, 238 rooms at Lee Point Village, 60 serviced apartments at Quest Berrimah, and 101 rooms at Argus on Shepherd.
"There are also a significant number of private apartments coming online this year, which will free up more rooms across the city for the leisure market,'' Mr Conlan said.
Élan Soho Suites General Manager, Steve Frichot, said the property is the Top End's newest home-grown hotel – locally built, owned and operated.
"Opening this hotel shows the confidence we have in the Northern Territory and we expect our business to grow and flourish and we have plans for other hotels in the CBD," Mr Frichot said.
"This is a state of the art hotel offering Wi-Fi in all areas of the building, a unique housekeeping logistics control system using iPods, Darwin's first remote check-in facilities and Darwin's first Korean Barbeque Restaurant.
"Attracting business events is also a key market for us, so we have a dedicated conference floor housing six event spaces which can accommodate up to 400 delegates," he said.
Mr Conlan said the NT Government was committed to boosting the number of tourists to the Territory as part of the vision to develop Northern Australia and deliver $2.2 billion in visitor expenditure by 2020.

redpajama_set_name: RedPajamaCommonCrawl


text:
Kim Kardashian: Kanye Who?!? I'm Ready for a Fresh Start!
The worst year of her life is over.
With the calendar flipped? With no more f-cks left to give? With her husband having wasted away her final chance to make things right?
Kim Kardashian is ready to move on.
As you must have read about by now, Kardashian has at last had it with Kanye West.
After more than a decade with the rapper, and after welcoming four children with the polarizing artist, Kardashian will soon be filing for divorce.
This is no longer a controversial take and we're no longer trafficking in baseless speculation by writing such a statement.
A horde of reliiable outlets, including E! News, have confirmed that this marriage is — for every intent and purpose — over.
It's not because of some horrible cheating scandal and it's really not all that stunning of a development when you look back at the past several months.
Early last summer, Kanye ranted and raved his way through a failed Presidential run, exposing such family secrets at the time as his past desire to abort daughter North when he first learned Kim was pregnant.
West trashed many members of his inner circle throughout 2020, hurling mother-in-law Kris Jenner under the bus, for example, and seemingly suffering a mental breakdown.
At one point, Kim even asked folks for compassion, issuing a lengthy statement about Kanye's bipolar disorder.
But that was back then.
Following a huge fight in December, the couple is now prepared to go their separate ways.
Does Kim have regrets? Maybe.
The past is the past, however, and we're in a new year, prompting the former sex tape star to think about her brand new life ahead.
"Kim is focusing on the new year and a lot of amazing things that are coming her way," an anonymous source tells Entertainment Tonight, adding:
"Kim has tried everything she can to make things work with Kanye but it's not working.
"Kim has held on to the relationship in hopes of a change and for the sake of the kids, but all signs are pointing to divorce."
All signs are also pointing to Kim tryiing to shift the narrative away from her doomed romance.
She just posed semi-nude, without her wedding ring on, perhaps in an attempt to taunt Kanye with all he'll soon be missing.
For the record, meanwhile, West is currently living in Wyoming.
Kim and her quartet of kids remain in Los Angeles, far away from their husband/dad, with no real plans for the immediate family to live under one roof again any time soon.
Or ever again, really.
"They've seen each other for the sake of the kids but have been living separately," E! News reported this month. "Kim knows the marriage is over. She's known for a while."
Kardashian has been focusing of late on prison reform, looking to take on serious subjects and to use her wide-ranging, very popular platform for societal good.
Simultaneously?
Kanye has just been saying weird and crazy stuff, both damaging Kardashian's brand and making it clear the two are at very different places in …read more
Source:: The Hollywood Gossip
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Kim Kardashian & Kanye West: How Will They Divide Their Assets When They Get Divorced? Yes, folks, you read that headline correctly. At this point it's not a question of if Kim and Kanye will get divorced, but when. For…
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Wish gets a fresh 'buy' rating from Deutsche Bank as analysts say the discount marketplace 'has no parallels' (WISH) Summary List PlacementDeutsche Bank has initiated its coverage of ContextLogic, parent company of online retailer Wish, at a Buy rating on Monday. Although the San…
Payment startup Curve has raised a fresh $95 million but faces questions over its late financial filings Summary List PlacementPayment card startup Curve has landed a fresh $95 million in Series C funding, but has raised eyebrows for filings its 2019 financial…
Walmart is piloting smart boxes that will keep grocery deliveries fresh as more people turn to online ordering (WMT) Summary List PlacementWalmart announced Tuesday that it will partner with smart-box company HomeValet to facilitate deliveries of perishable groceries. The pilot starts this spring in…
Vegas in the Rockies? Colorado's casino towns get ready for higher betting limits "Las Vegas-style gaming," that's what the city of Black Hawk says is coming to town this spring after Colorado voters approved Amendment 77 in November.…
The Police Officer Who Shot Jacob Blake 7 Times Is Not Being Charged
January 5, 2021 Usanewssite
Jacob Blake, a Black man living in Kenosha, Wisconsin, was severely injured in August 2020 after a police officer shot him at least seven times, leaving him paralyzed. While months of Black Lives Matter protests honoring Blake and others waged on last year, a case was built against Rusten Sheskey, the white police officer who […]
25th Amendment: Will It Be Used to Remove President Trump?
We are 13 days away from Joe Biden getting sworn in as the next President of the United States. Even Donald Trump himself has at last acknowledged this is going to happen on January 20. Following the events of Wednesday afternoon, however, a contingent of lawmakers now believe we can't even wait just this short […]
Jana Duggar: I Have GOT to Get Out of My Daddy's House!
While some of her siblings became engaged and even married in their teens, the only man in Jana Duggar's life is Jesus. She is 30 years old and has less autonomy and independence than most 16-year-olds. An "old maid" by the standards of the Duggar cult, Jana will never be allowed to move out until […]
How to turn on Dark Mode on your Windows 10 computer to reduce eye strain and give everything a sleek look
President Trump travels to Texas to tour his border wall
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Bridge: Jan. 16, 2021
Word Game: Jan. 16, 2021
Horoscopes Jan. 16, 2021: Love who you are and what you are capable of doing


She may have the 'Pob' but does she have the pins?
Poor old Victoria Beckham - she may be getting heaped with praise for her stylish new haircut and '60s style but there's still no stopping the snipers.
The former Spice Girl, once noted for her shapely pins, has been voted the celebrity with the the least attractive legs in a Lambrini/Pretty Polly poll.
And Girls Aloud's Nadine Coyle's Bambi legs have been singled out for contempt too.
Meanwhile actress Kelly Brooke topped the best legs top ten with Beyonce, Paris Hilton, Christina Aguilera and Kate Moss - last seen covering hers in a pair of baggy Vicky Pollard-inspired leggings - joining her.


A former teacher who runs the 'Musical Moments' franchise in Nantwich has been shortlisted in the 2018 E3 Business Awards.
Vicky Thornton has been running her interactive musical sessions in care homes across Nantwich, Crewe and Stoke-on-Trent since 2016.
A family-run farm in Marbury, near Wrenbury, could soon become home to a wedding venue after being granted a licence for music.
Grange Farm was given permission by Cheshire East Council for live and recorded music on Saturdays from 6pm to 12.30am.
Nantwich Town's season ended in defeat as they went down 3-0 to Stafford Rangers thanks to two penalties from Robert Thompson-Brown at the Weaver Stadium.
The Rangers midfielder netted a spot kick in either half with Tyrell Waite also scoring during the second period making it a day to forget for the Dabbers.
Council chiefs have admitted resurfacing work on a busy Nantwich road had to be repaired – just three weeks after it was completed!
Work to resurface Station Road and Prachitts Row near Aldi supermarket was carried out the week before Easter, with closures over several days.
A South Cheshire pharmaceutical company has been recognised with one of the most prestigious business awards.
Boyds, a consultancy supporting pharmaceutical and biotech products and devices for patients, has been awarded The Queen's Award for Enterprise, International Trade for Outstanding Short Term Growth in overseas sales for the last three years.
A family escaped unharmed as fire ripped through their home in Nantwich.
The blaze broke out at a property on Wyche Avenue at around 5.45pm last night (April 26).
Recorded crime in Cheshire has spiralled by more than 36% in just 12 months, official figures show today.
The Office of National Statistics shows the county saw a 36.4% increase in overall recorded crime between December 2016 and December 2017.


text:
Dit is een lijst van eilandjes in de Kalix-archipel. Alle eilandjes zijn gelegen in de historische regio Norrbotten en in de daar gedeeltelijk mee overlappende provincie Norrbottens län. Meer specifiek zijn alle eilandjes gelegen in de gemeente Kalix op Lillholmen na, dat gelegen is in de gemeente Luleå.

Kalix
eilandjes in de Kalix-archipel

redpajama_set_name: RedPajamaWikipedia


Whales are these large aquatic animals that stay within the water and breathe by means of a blowhole situated on the highest of their head. He became the spokesperson for the Art Nouveau motion and the intellectual purveyor that set a basis for a brand new-found fashion of the creative arts. This is such a cute and acceptable Lenten venture that can be executed with even the littlest children. One of my other favorite fighting arts is Muy Thai not the cheap watered down American model but the real type of it. It teaches you to make use of each part of your body as a weapon. Here are some examples of activities that touch on many areas of the interwoven internet of language arts.


text:
January 4, 2019 Andrew Hogan
QOCS and fundamental dishonesty II
Assuming that the issues have been sufficiently telegraphed to the putatively dishonest party, how is fundamental dishonesty to be defined? Perhaps the starting point is to consider the latest formulation of what would be dishonesty in a recent decision of the Supreme Court that of Ivey (Appellant) v Genting Casinos (UK) Ltd Crockfords [2017] UKSC 67 where the court put it in these terms:
48. Where it applies as an element of a criminal charge, dishonesty is by no means a defined concept. On the contrary, like the elephant, it is characterised more by recognition when encountered than by definition. Dishonesty is not a matter of law, but a jury question of fact and standards. Except to the limited extent that section 2 of the Theft Act 1968 requires otherwise, judges do not, and must not, attempt to define it: R v Feely [1973] QB 530. In this it differs strikingly from the expression "fraudulently", which it largely replaced, for the judge did define whether a state of mind, once ascertained as a matter of fact, was or was not fraudulent: R v Williams [1953] 1 QB 660. Accordingly, dishonesty cannot be regarded as a concept which would bring to the assessment of behaviour a clarity or certainty which would be lacking if the jury were left to say whether the behaviour under examination amounted to cheating or did not. The issue whether what was done amounts to cheating, given the nature and rules of the game concerned, is likewise itself a jury question. The judge in the present case applied himself to the question whether there was cheating in exactly this jury manner. He directed himself that it is ultimately for the court to decide whether conduct amounted to cheating and that the standard is objective. In so directing himself he was right.
Lord Hughes then explained how dishonesty had been treated in the seminal case of Ghosh:
54. A significant refinement to the test for dishonesty was introduced by R v Ghosh [1982] QB 1053. Since then, in criminal cases, the judge has been required to direct the jury, if the point arises, to apply a two-stage test. Firstly, it must ask whether in its judgment the conduct complained of was dishonest by the lay objective standards of ordinary reasonable and honest people. If the answer is no, that disposes of the case in favour of the defendant. But if the answer is yes, it must ask, secondly, whether the defendant must have realised that ordinary honest people would so regard his behaviour, and he is to be convicted only if the answer to that second question is yes.
In civil proceedings the test of dishonesty was described in these terms:
62. Dishonesty is by no means confined to the criminal law. Civil actions may also frequently raise the question whether an action was honest or dishonest. The liability of an accessory to a breach of trust is, for example, not strict, as the liability of the trustee is, but (absent an exoneration clause) is fault-based. Negligence is not sufficient. Nothing less than dishonest assistance will suffice. Successive cases at the highest level have decided that the test of dishonesty is objective. After some hesitation in Twinsectra Ltd v Yardley [2002] UKHL 12; [2002] 2 AC 164, the law is settled on the objective test set out by Lord Nicholls in Royal Brunei Airlines Sdn Bhd v Tan [1995] 2 AC 378: see Barlow Clowes International Ltd v Eurotrust International Ltd [2005] UKPC 37; [2006] 1 WLR 1476, Abou-Rahmah v Abacha [2006] EWCA Civ 1492; [2007] Bus LR 220; [2007] 1 Lloyd's Rep 115 and Starglade Properties Ltd v Nash [2010] EWCA Civ 1314; [2011] Lloyd's Rep FC 102. The test now clearly established was explained thus in Barlow Clowes by Lord Hoffmann, at pp 1479-1480, who had been a party also to Twinsectra:
"Although a dishonest state of mind is a subjective mental state, the standard by which the law determines whether it is dishonest is objective. If by ordinary standards a defendant's mental state would be characterised as dishonest, it is irrelevant that the defendant judges by different standards. The Court of Appeal held this to be a correct state of the law and their Lordships agree."
He then began to explain why this test might need to be changed:
63. Although the House of Lords and Privy Council were careful in these cases to confine their decisions to civil cases, there can be no logical or principled basis for the meaning of dishonesty (as distinct from the standards of proof by which it must be established) to differ according to whether it arises in a civil action or a criminal prosecution. Dishonesty is a simple, if occasionally imprecise, English word. It would be an affront to the law if its meaning differed according to the kind of proceedings in which it arose. It is easy enough to envisage cases where precisely the same behaviour, by the same person, falls to be examined in both kinds of proceeding. In Starglade Properties Leveson LJ drew attention to the difference of test as between civil cases and criminal cases, and rightly held that it demanded consideration when the opportunity arose. Such an opportunity is unlikely to occur in a criminal case whilst Ghosh remains binding on trial judges throughout the country. Although in R v Cornelius [2012] EWCA Crim 500 the opportunity might have arisen before the Court of Appeal, Criminal Division, it did not do so because there had been in that case no false representation of which the honesty needed to be examined; moreover, there is some doubt about the freedom of that court to depart from Ghosh in the absence of a decision from this court.
Lord Hughes then held:
74. These several considerations provide convincing grounds for holding that the second leg of the test propounded in Ghosh does not correctly represent the law and that directions based upon it ought no longer to be given. The test of dishonesty is as set out by Lord Nicholls in Royal Brunei Airlines Sdn Bhd v Tan and by Lord Hoffmann in Barlow Clowes: see para 62 above. When dishonesty is in question the fact-finding tribunal must first ascertain (subjectively) the actual state of the individual's knowledge or belief as to the facts. The reasonableness or otherwise of his belief is a matter of evidence (often in practice determinative) going to whether he held the belief, but it is not an additional requirement that his belief must be reasonable; the question is whether it is genuinely held. When once his actual state of mind as to knowledge or belief as to facts is established, the question whether his conduct was honest or dishonest is to be determined by the fact-finder by applying the (objective) standards of ordinary decent people. There is no requirement that the defendant must appreciate that what he has done is, by those standards, dishonest.
Two decisions of the High Court each given on appeal, are often cited when the court has to look to deploy these concepts on the facts of an individual case. Although decided in the context of section 57, rather than the QOCS rules, they are worth noting.
The first is London Organising Committee of the Olympic and Paralympic Games in Liquidation v Haydn Sinfield [2018] EWHC 51 (QB) where Knowles J stated int the first of several paragraphs of significance:
60. Picking up on a point made by the judge in Menary, the drafter of s 57 sought to draw several distinctions from CPR r 44.16: it is the claimant who the court must find dishonest, rather than the claim. Further, rather than permitting the defendant to recover all of his costs, the court is required to assess the claimant's 'genuine' damages and deduct that figure from the defendant's costs. As to the first point, however, it will be rare for a claim to be fundamentally dishonest without the claimant also being fundamentally dishonest, although that might be a theoretical possibility, at least.
62. In my judgment, a claimant should be found to be fundamentally dishonest within the meaning of s 57(1)(b) if the defendant proves on a balance of probabilities that the claimant has acted dishonestly in relation to the primary claim and/or a related claim (as defined in s 57(8)), and that he has thus substantially affected the presentation of his case, either in respects of liability or quantum, in a way which potentially adversely affected the defendant in a significant way, judged in the context of the particular facts and circumstances of the litigation. Dishonesty is to be judged according to the test set out by the Supreme Court in Ivey v Genting Casinos Limited (t/a Crockfords Club), supra.
63. By using the formulation 'substantially affects' I am intending to convey the same idea as the expressions 'going to the root' or 'going to the heart' of the claim. By potentially affecting the defendant's liability in a significant way 'in the context of the particular facts and circumstances of the litigation' I mean (for example) that a dishonest claim for special damages of £9000 in a claim worth £10 000 in its entirety should be judged to significantly affect the defendant's interests, notwithstanding that the defendant may be a multi-billion pound insurer to whom £9000 is a trivial sum.
64. Where an application is made by a defendant for the dismissal of a claim under s 57 the court should:
a. Firstly, consider whether the claimant is entitled to damages in respect of the claim. If he concludes that the claimant is not so entitled, that is the end of the matter, although the judge may have to go on to consider whether to disapply QOCS pursuant to CPR r 44.16.
b. If the judge concludes that the claimant is entitled to damages, the judge must determine whether the defendant has proved to the civil standard that the claimant has been fundamentally dishonest in relation to the primary claim and/or a related claim in the sense that I have explained;
c. If the judge is so satisfied then the judge must dismiss the claim including, by virtue of s 57(3), any element of the primary claim in respect of which the claimant has not been dishonest unless, in accordance with s 57(2), the judge is satisfied that the claimant would suffer substantial injustice if the claim were dismissed.
65. Given the infinite variety of circumstances which might arise, I prefer not to try and be prescriptive as to what sort of facts might satisfy the test of substantial injustice. However, it seems to me plain that substantial injustice must mean more than the mere fact that the claimant will lose his damages for those heads of claim that are not tainted with dishonesty. That must be so because of s 57(3). Parliament plainly intended that sub-section to be punitive and to operate as a deterrent. It was enacted so that claimants who are tempted to dishonestly exaggerate their claims know that if they do, and they are discovered, the default position is that they will lose their entire damages. It seems to me that it would effectively neuter the effect of s 57(3) if dishonest claimants were able to retain their 'honest' damages by pleading substantial injustice on the basis of the loss of those damages per se. What will generally be required is some substantial injustice arising as a consequence of the loss of those damages.
The second decision which is worthy of consideration not so much for establishing points of principle but for being an example of how a decision on fundamental dishonesty, is very much a matter for the trial judge, akin to that of the role played by a jury, is that of Yip J in Edward Wright v Satellite Information Services Limited [2018] EWHC 812 (QB) where she observed in respect of schedules of loss which of course must be verified by a statement of truth:
27. It seems to me that the importance of the schedule of loss is frequently overlooked. This is, or should be, the document that draws together the presentation of the claim. It ought to be presented in an accessible and easy to follow format. The fact that the schedule of loss is required to be supported by a statement of truth highlights the need for it to be readily understandable by the claimant. It also sets out the claim for the defendant and for the trial judge who will come to the case afresh and ought to be able to follow the case from the schedule. This means that it should not simply be a series of calculations. It needs to be supported by sufficient narrative to explain the case being presented by the claimant.
28. With the exception of the claim for loss of earnings the schedule in this case did not serve that purpose. I note that the Claimant said in cross-examination that he regarded the schedule as similar to a set of accounts prepared by an accountant that he would sign in reliance upon the professional expertise of the drafter. I have some sympathy with that position given the format of the schedule here. However, that is not the right approach. Claimants will be fixed with knowledge of and taken to have certified the truth of the contents. It is very important that lawyers draft the schedule in such a way that the facts to which the client is attesting are clear. Failing to do so is failing in their duty both to the client and to the court.
In the event the appeal failed:
38. The first stage for the court when considering an application under section 57 is to decide whether, on a balance of probabilities, the defendant has established that the claimant has been fundamentally dishonest in relation to the primary claim or a related claim. The judge was not satisfied that this was the case. On the facts and the evidence presented to him, it cannot be said that this was not a decision open to him. The issue of dishonesty is akin to a jury question. In the case of a civil trial before a judge alone, it is a matter for the trial judge who has seen and heard all the evidence unless some material flaw in approach or his analysis can be identified. The judge's approach cannot be faulted. He reminded himself at paragraph 93 of the judgment that the court should not give in to the temptation to find inadvertent rather than deliberate exaggeration and must not shrink from making findings of dishonesty. I can see no proper basis for interfering with the judge's findings.
39. There are four grounds of appeal. They must be read in the context of the introduction set out in the application for permission. That introduction made it clear that the appeal was focused upon the judge's substantial rejection of the care claim and the contention that he was wrong then in failing to find fundamental dishonesty. That is the basis upon which permission was granted. I do not consider that any of the grounds are properly arguable when the judgment is viewed in its proper context by reference to the evidence before the judge. Essentially, they amount to an impermissible attempt to overturn the trial judge's decision which the Appellant does not agree with.
In summary, perhaps like the elephant, the most important point to note is that fundamental dishonesty is something to be recognised rather than defined; something that goes beyond exaggeration, or overemphasis, and which crosses the line into deceit.
Previous Post:QOCS and fundamental dishonesty
Next Post:Issues based costs orders and part 36


Anyone know how to foe someone on Tapatalk?
I have someone on foe on the PC version but the post are still showing in tapatalk.
kiwiincambodia wrote: Anyone know how to foe someone on Tapatalk?
i Foed you ages ago but your posts still show up!
I believe tapatalk will ignore settings like that. That is a feature tapatalk will have to implement, I'm afraid.
^^ I believe someone called Rebo got his working. Anyway . . . .
You can try reading through this. It seems to be doable.
Disclaimer: I didn't read that link, nor do I have tapatalk.
It's alright, I did the same to you when I found out your a fedora wearing broney.
P.S - i found your new hat.
touche mr kiwi... ill give you this round!
Just to update the foe function has been enabled since the latest tapatalk update.
It now shows the same as on the website.
kiwiincambodia wrote: Just to update the foe function has been enabled since the latest tapatalk update.
Great news! Now, all they need to work on is hiding content put in spoilers.
If you haven't updated Tapatalk recently, DON'T, the new one is so full of ads it's ridiculous.
Also a few bugs loading pages and sluggish compared to the previous version.
What's going on with Tapatalk?
Did Tapatalk Disable YouTube Video Embedding?
I wonder how much Trumble was paid?


text:
PREPARATION & RESTORATION
Bullitt Racing
Bullitt Racing aiming for strong Brands Hatch showing to kick-start 2019 GT4 European Series campaign
Bullitt Racing is targeting a strong performance in next weekend's GT4 European Series contest at Brands Hatch (4/5 May) as the Malaga-based outfit looks to kick-start its 2019 season.
The team travelled to the opening round at Monza (13/14 April) with high hopes for its pair of Mercedes-AMG GT4s, but had to contend with a number of issues during a rain-hit event in northern Italy.
The first came when the #66 car of Oleg Kharuk and Ivan Lukashevich suffered an incident during pre-event testing, forcing it to be withdrawn. The #33 crew of Stephen Pattrick and Andy Meyrick displayed competitive pace during free practice and qualifying, only for issues in both races to scupper their hopes as well.
The team now has its sights set on a competitive showing during the season's second double-header round at Brands Hatch, where Pattrick and Meyrick took a brace of points-paying finishes in 2018. This year Bullitt Racing will launch a two-car assault on the British event with the aim of securing strong results for both crews.
Stephen Pattrick: "Monza was a very demanding weekend. It was our first race of the season and we had some bad luck, not least because the conditions were a new experience for us.
"That said, we're going to Brands Hatch with confidence. Pre-season testing went very well and the car performed to our expectations, so we are grateful to Mercedes-AMG for providing us with good equipment. We know the circuit, whereas Monza was new to us, so we're really looking forward to a strong showing."
Andy Meyrick: "Monza was not what we'd hoped for, particularly as everything looked good heading into the weekend. Winter testing was very positive and Stephen has been performing excellently, but the conditions were extremely difficult. It was especially disappointing given that we had been quick throughout practice and qualifying.
"Our full focus is now on Brands Hatch, which is a home event for many of our team. It went well last year, so we're really motivated to turn things around."
Staged over the Early May Bank Holiday weekend, the Brands Hatch meeting will see Bullitt Racing compete in a pair of 60-minute sprint contests against a packed grid of 36 cars. Both races will take place on Sunday, with the opening run at 10.20 and the second at 14.45.
Bullitt Racing Produces Tremendous Team Effort at Red-hot Misano to Secure GT4 European Series Victory
Bullitt Racing adds Monti and Lambertz for upcoming GT4 European Series events
Bullitt Racing takes satisfying seventh-place finish from demanding Circuit Paul Ricard contest
Bullitt Racing takes double points finish from demanding GT4 European Series contest at Brands Hatch
We live and breathe cars


text:
← Back to SINGLE ARRANGMENTS
WAVE - C6th TUNING - By Antonio Carlos Jobim (Arranged by Andy Volk)
ARRANGED FOR LAP STEEL IN TABLATURE + STANDARD NOTATION (audio sample below)
Antonio Carlos Jobim is the Mozart of the Bossa Nova. He has written more original songs that have become standards than any other composer of the Bossa Nova era of the early 1960s. The song is one of the most-often performed of the Bossa standards.
This arrangement for C6th lap steel stays largely with single notes. The lilting melody sits perfectly in this tuning and it's a fun tune to play. It features an intro and outro played by just the rhythm guitar (or rhythm section).
C6th tuning is one of the most popular and versatile lap steel tunings in use today due to the wide range of available chord inversions available in the straight bar and slant positions and the logical way scale tones lie on adjacent strings. C6th is used in diverse genres of music including Western Swing, Jazz, Hawaiian, Blues, Pop, Sacred music and melodic Rock & Roll. The notes of the tuning spell out both a C6th chord and an Amin7 chord, but the tuning is popularly called C6th.
C6th TUNING:
STRING # 6 5 4 3 2 1
NOTES: C	E	G	A	C	E
NOTE THAT THIS LAP STEEL ARRANGEMENT IS COPYRIGHTED. VOLK MEDIA BOOKS HAS NOT ENCRYPTED THE FILE NOR REQUIRED A PASSWORD. WE ARE TRUSTING YOU ( THE PURCHASER) TO KEEP IT FOR YOUR PERSONAL USE AND NOT SHARE THIS PDF VIA EMAIL OR ON THE INTERNET.
Note: Midi audio usually sounds closer to a keyboard than a steel guitar but it is useful for demonstrating the rhythms, feel and overall intent of an arrangement or musical passage. Make this music come alive on your steel guitar!


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Last week, I introduced the cartoon character voice championships to the world, and the world emphatically responded with, "wha?" We're going to ignore them and press on with the competition anyway, because there are upwards of seven of you that are eagerly awaiting the results, and they're not even related to me.
If you're confused as to what any of this actually means, then you're going to need to read part one of this series my friend. This is part two, and part two never makes compromises or takes any prisoners. This is war, all of you late-comers would do well to understand that, internalize it, accept it. Part two has neither the time or inclination to consider your feelings. Part two wants to know the truth! It can handle the truth!
We've trimmed all the fat, now let's dig right into the delicious succulent meat that remains. Yes, put that meat in your mouth. Taste it. Taste that juicy meat.
Optimus Prime, as the leader of the heroic Autobots, represents the pinnacle of what we've been able to achieve as a species when it comes to fictional animated action series leadership. Peter Cullen encompasses all of that competence, strength, intelligence, and compassion in one remarkable voice. A voice that has transcended decades.
As impressive and important as being Uncle Phil is and was, I'm not entirely sure James Avery as Shredder should have beaten Krang in the first round. The sheer Uncle Phil-ishness of Avery propelled him past the more outlandish Krang performance, in an upset that stunned an entire generation. It's the cartoon character voice championship bracket equivalent of the Dallas Mavericks losing in the first round to the 8th seeded Golden State Warriors in 2007. Dare I say, it might be even more shocking than that was.
And Chris Latta was the best.
This is the ultimate showdown between ineffectual bumbling idiots leading villainous empires that accomplishe so little, it's a wonder why they're even given as much attention as they receive. I'd say they both rate high on the unintentional comedy scale, but I'm not convinced any of it was unintentional. It makes a lot of sense. A skull-faced barbarian villain could be a little bit too intense for an after-school cartoon audience if played straight. Same with a terrorist that always hides his face behind a faceless mask or hood, and has that ever present hiss in his voice. However, it's that added hiss that puts Latta over the top on this one.
Dr. Claw, while iconic and memorable, is a pretty limited and one-note performance. Meanwhile, Alan Young had to play a central role in every episode of Ducktales as the iconic Scrooge McDuck. It feels wrong to have Frank Welker lose this early, and it probably is, but there's no way I can put him over Young in this case.
As much as I might want to be Scatman Crothers, how I'd love to the most charasmatic guy in the room. The guy that can get unceremoniously axed in the back in The Shining, or voice the coolest robot in human history. As high as that admiration might be, there's one level above that in my book, and that's being the character I could watch all day, every day, until the end of time. Starscream is that character. He's so shady, manipulative, self-serving, and cowardly. Sprinkle in a dash of actual competence, and you have not only one of the best characters in cartoon history, you have one of my favorite characters in all of fiction. All of that capably given voice and life by the unimitable Chris Latta.
I've made the case before that Ducktales was one of the four most important and influential cartoons of the 1980s. It's only natural that G.I. Joe and the Transformers, two of the other three shows, also have finalists represented here (Teenage Mutant Ninja Turtles being the fourth). Alan Young was the backbone of the show, figuratively and literally as Scrooge McDuck. Huey, Dewey, and Louie played important parts, but Scrooge was the main character. Ducktales was inspired by the excellent comics written and drawn by Carl Barks, in which Scrooge was one of the most entertaining and expertly executed adventure characters ever created. That may not have all translated into the cartoon, but enough of it did to entertain a generation of kids, and Alan Young acting work was an important part of that process.
But there's really no way he's beating Cobra Commander. Sorry.
Man versus machine. Metallic reverb versus a snake-like hiss. This is the ultimate showdown, a man's external conflict with the two sides of his being, represented in the form of a transforming robot jet, and a faceplate wearing snake-themed terrorist. It's the struggle every man and woman was undertake and conquer, in order to function in everyday society. It's his struggle. It's our struggle. It's a cosmic struggle.
There you have it. We all must bow down to the greatness that was Chris Latta. He played an important part in my childhood, and his voice hasn't been replicated since. They've tried, many times, and failed miserably. Any questions, concerns, or disagreements, please feel free to let us know. We love a good discussion.


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Q & A: Francesca Sassu & Raffaella Lupinacci on Getting COVID-19, 'Anna Bolena,' & Returning to the Stage
Francesca Sassu and Raffaella Lupinacci's long-awaited debuts at the Lithuanian Opera in "Anna Bolena" proved quite a unique experience for both artists. Namely due to COVID-19.
The Italian singers were set to perform the work for the first time in August until they tested positive for the virus. As a result, the company postponed the opening of the production while Sassu and Lupinacci recovered from the virus.
In October, Sassu and Lupinacci finally made their role debut in "Anna Bolena" and the show went on. For the first time, Lupinacci and Sassu are sharing their story about COVID-19 and revealed how they felt returning to the stage after the virus.
OperaWire: How are you both feeling and how does it feel to get back on stage?
Francesca Sassu: The emotion of returning to the stage is very strong. After so many months of silence, fear, and uncertainty, the joy of returning to celebrate music made me remember why I chose to do this job.
Raffaella Lupinacci: Returning to the stage was very emotional and exciting. I did not feel any particular discomfort in returning after the long pause; the desire to start feeling inside the theater again is certainly great. Singing, in addition to a fascinating passion, is also my job.
OW: Before the opening of the production of "Anna Bolena," you were ill with COVID-19. What did you feel when you got the positive results? What can you tell about the experience?
FS: We couldn't believe it. It was bewildering. Raffaella and I are like sisters, we helped each other and were close to each other when we were sick. It was a very difficult moment, mostly from a psychological point of view.
RL: After about 10 days from the beginning of the rehearsals, during a stage rehearsal we received the news that a person connected to the theater had tested positive for COVID-19. Rehearsals immediately stopped and the quarantine began (for me it lasted a month). Around my third day in isolation, the first symptoms began to show. I had a cough, fever, and nausea. I took the swab and tested positive for the virus, but at that point, I wasn't surprised.
I continued in isolation at home again with the cough, fever, and then lost taste, had hives, and great exhaustion. After the first week of the illness and isolation, the artistic director of the theater, Sesto Quatrini, managed to organize a thorough visit to the hospital for us. It came out that I had had pneumonia, which I had overcome on my own without the need for therapy. Back home, after a couple of days from this first check-up, I began to experience breathing difficulties – I felt my breath blocked, not totally free. I asked to have another hospital check-up: I had pneumonia.
They hospitalized me in the city's university hospital. After eight days of antibiotics, in massive quantities, and heparin shots, I was finally sent home; in the meantime I was negative. I was very lucky because I immediately realized that something was wrong with my breathing; but what if I had realized it too late? What if they had to intubate me? For a singer, it is great danger!
I want to point out these aspects because I have seen that there is a tendency, even from opera stars, to downplay the danger of COVID-19. I find it to be an unwise and a disrespectful attitude towards those who might be less fortunate. I have never been afraid. I went through several hard moments (both emotionally and psychologically) and I suffered a lot for my family in Italy, who could not help but wait and hope that the situation would not get worse.
OW: What did you do while you were ill with the virus? What kind of attention did you get?
FS: Lithuanian doctors took care of us. They visited and looked after me from home.
RL: During the first 10 days of positivity, when I was still at home in isolation, I naturally avoided any kind of contact with other people and when the fever rose, I took paracetamol: there is not much to do but wait (if there are no complications).
OW: After recovering, were you scared about your voice? When you started singing again, what was that like and how are your voices now?
FS: During the illness, I coughed a lot and my muscles ached. I was never afraid of my voice, but I was worried about muscle recovery. To sing a role like Bolena, you need excellent muscle tone. For this reason, I decided, as soon as the fever was gone, to immediately resume doing exercises through the gyrokinesis method, a technique of movement and specific breathing that has speeded up my recovery a lot. The voice has always been intact and in excellent shape.
RL: I felt that there were no problems in the voice, but, due to the first stages of interstitial pneumonia, my breath was shorter and I could not take deep breaths. After the virus and after antibiotic therapy in the hospital, I felt physically very weak, but thanks to specific and targeted supplements I recovered my energy. The voice, fortunately, was not affected at all.
OW: Knowing you got the virus, what kind of security measures were taken at the Lithuanian Opera on stage? Were you all being tested when you got to the theater? What did you do after leaving the theater?
FS: When I arrived in Lithuania, I was tested with a swab and got a negative result. Unfortunately, the government of Lithuania did not impose security measures such as masks and distancing in theaters, so this is how we got infected. When the production resumed after our recovery, there was no distancing on stage and the opera was performed like before the pandemic. At rehearsals, I always wore a mask and used lots of disinfectants.
RL: As we arrived from Italy, both the first time in August and the second time in September, we were tested with a swab. In the theater, there were no particular safety measures put into place, neither the first nor the second time. Apparently, for the Lithuanian government, given the "few cases," stringent security measures are not necessary and the theater is adapting to the general trend. Outside the theater, I always wear a mask and avoid crowded places and contacts. I try to live with respect for my health and above all, for others.
OW: This was a big debut for both of you in "Anna Bolena." Tell me about this work and why it was so exciting to debut this opera in Lithuania?
FS: For me, this was a much anticipated and much-desired debut. Anna Bolena is a character I have read about and studied a lot and I really wanted to make my debut at the Lithuanian National Opera. Maestro Sesto Quatrini invited me and I thank him for his esteem and trust. We have worked hard to make every single detail perfect and I am happy that our work has been rewarded by great success.
RL: It was undoubtedly a very desired and suffered debut, due to the conditions described above. We had little time to work as we are used to, but we invested all our energies in this, with a lot of determination, trying to do our best.
OW: What are the biggest challenges in Donizetti's score?
FS: Each page is a different challenge. We did the full version so undoubtedly the biggest challenge is holding up – getting to the big final scene with the necessary sprint is not easy. Each page hides a different attitude, therefore a particular vocal characteristic: the greatness of this queen, her fragility, her humanity, her dignity, and her strength are rendered in the score with agility, legatos, different patterns, and dramatic accents. I think having the right voice is not enough: you also need a strong artistic personality to interpret the woman who changed the fate of Europe.
RL: The role of Giovanna Seymour offers a lot of challenges for a mezzo. First of all, the management of a vocal texture often pushing the characteristics of the mezzo-soprano to the limit. It's very important for expressing the complexity of the character in the best possible way. Giovanna is a contradictory soul. She is a friend, a traitor, a caring person in some ways, but also fascinated by power. She is a simple person but also a Queen. It is a very challenging and satisfactory role.
OW: You both perform a lot of bel canto. How does this score differ from other Bel Canto works you perform? How is the writing different from other Donizetti operas you perform?
FS: In the bel canto operas, the interpreter's vocal skills are greatly displayed – think of extension, legato, jumps, agility, and dramatic attitude. In this respect, "Anna Bolena" is reminiscent of "Norma," a role I have interpreted several times. But she is also my first Donizetti queen and I think she is one of the most psychologically and vocally complex characters I have ever faced. I think this debut made me grow a lot as an artist and as a singer.
RL: The Donizetti roles I have played up to now are primarily pants roles. Therefore, the interpretative approach is totally different, as well as the vocal one. The stylistic rendering does not change. The writing of pants roles is more central and in some ways, easier to manage. The preparation is different and the study of the character changes in order to reach the same result: softness, elegance, expressiveness, and beauty.
OW: Tell me about the relationship between Giovanna and Anna. What have you discovered while working on this production? How do you think this opera develops that relationship? What can you tell me about singing the duet?
FS: I believe that there is sincere affection between Anna and Giovanna. Anna sees herself years before, when she too was fascinated by Enrico and, although shocked by this betrayal, she grants her forgiveness, almost as if she wanted to grant it to herself for having done the same to Catherine of Aragon. I think this duet is one of the most intense moments of the whole opera, the engine of all the dramatic tension that will lead to the great final scene.
RL: I find that the relationship between Anna and Giovanna is one of authentic affection and friendship. In the wonderful and very difficult duet, this bond emerges clearly, despite the sense of guilt that devours Giovanna. It is no coincidence that in the last pages of the duet, Giovanna sings a third over Anna, beating repeatedly on A acute and venting on an acute B flat. In these pages we witness a real delirium of Giovanna Seymour: Anna is forgiving her, but she is unable to forgive herself. This symbiosis between music and feeling is extraordinary.
OW: Finally, tell me about your collaboration: what is most exciting about working together?
FS: Raffaella is a great artist. Working with her is always stimulating. I learn a lot from her every time we work together. As for the duet, we managed to find the perfect tension between us in just a few rehearsals. I feel extremely honored to be able to share the stage with her and lucky to have had her as a partner for the debut, despite the difficult circumstances.
RL: Francesca and I have been close friends for a few years now. It was very nice to share this debut as well as the stage with her. There is a lot of understanding and everything is easier and more fun. Our bond also made the long period of isolation and illness in Vilnius much less difficult.