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Food & Beverage›
Name-brand vs. store brand: U.S. consumers' preferences of bagged snacks 2014
Do you typically buy name-brand or store brand bagged snacks (e.g., chips, pretzels)?*
by Statista Research Department, last edited Feb 11, 2015
This statistic depicts the results of a survey among U.S. adult consumers. The survey was fielded online by Harris Interactive in November 2014, asking the respondents whether they typically buy name-brand or private label bagged snacks (e.g., chips, pretzels). The survey revealed that 29 percent of respondents prefer private label bagged snacks.
November 12 to November 17, 2014
U.S. adults
* The original question ran as follows: 'For each of the following types of products, please indicate whether you typically buy name-brand products or store brand products (sometimes referred to as 'house brand' or 'private label')?'
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Do you typically buy name-brand or store brand frozen vegetables?*
Do you typically buy name-brand or store brand cleaning products?*
Do you typically buy name-brand or store brand bottled water?*
Do you typically buy name-brand or store brand OTC (Over-the-counter) drugs?*
Do you typically buy name-brand or store brand coffee?*
Do you typically buy name-brand or store brand cheese?*
Do you typically buy name-brand or store brand fruit juice?*
Do you typically buy name-brand or store brand milk?*
Do you typically buy name-brand or store brand paper products?*
Do you typically buy name-brand or store brand frozen meats or seafood?*
Do you typically buy name-brand or store brand food storage bags and other containers?*
Do you typically buy name-brand or store brand pet food?*
Do you typically buy name-brand or store brand canned vegetables?*
Do you typically buy name-brand or store brand breakfast cereal?*
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text:
'Wit'
Theater director Lynne Meadow and actor Cynthia Nixon discuss the Broadway staging of their play, "Wit," which tells the story of a woman confronting cancer.
Lynne Meadow Cynthia Nixon
George Osborne; 'Wit'
World, Entertainment, Politics
UK's George Osborne examines the global economy and European debt; the Broadway revival of Margaret Edson's play, "Wit." 52:43
'The History Boys'
A conversation about the award-winning play "The History Boys" with the director Nicholas Hytner and four of its stars. 21:33
David Mamet; Joan Rivers
Playwright David Mamet shares his new play, "Race"; Joan Rivers on her documentary "Joan Rivers: A Piece of Work." 54:22
'Little Voice'
A conversation about the film, "Little Voice" with its stars Michael Caine, Brenda Blethyn, and Jane Horrocks. 21:18
George Shultz; Remembering Milton...
Entertainment, Politics, Business
The fmr. secretary of state on the influential economist; We continue by revisiting Schultz' past appearances; A look inside "The History Boys,"... 53:02

redpajama_set_name: RedPajamaCommonCrawl


Sue, I actually can't decide which card I like more because they are both so beautiful. Thank you for hopping along tonight!
Gorgeous! I hadn't noticed that paper in the Frosted Floral pack. It's so pretty and looks great with Crushed Curry. Neat trick with the ribbon too.
Oh what a gorgeous colour combination Sue! I'm not a yellow person at all, but your stepped up version of your card is simply stunning and I love the colouring and addition of the tulle ribbon.
Wow, I love your grungy card with all those stitched layers, but the depth of the muted colour is so different to the brightness I think of as Crushed Curry. So clever.
I didn't want the paper until I saw your card. I like them both but the stepped up version grabs me more.
Oh nice one I love that gray DSP with the crushed curry they really compliment each other.


I don't have sensitive skin (thankfully) but I still end up with incredibly oily skin for days after a skully event!
Phew - that was longer than I was expecting it to be!
Topic: How did you find skully?
Is it possible to nab a few copies please to show people?
Yes - if you look at the bottom right hand corner of the image you'll see a very very small arrow pointing down. Click on that and you'll get a new window open with the photo in it - which you can save.
Good work Dan - nicely done!
What exactly do the runes do?
I saw Resist Through - but what else is there?
Quite true Rob2 - only I'd go one stage further.
Characters inherantly have self preservation to worry about too. Most monsters are either incapable of worrying about dying, or don't care if they die, or have an over inflated sense of their own combative abilities.


Tinnitus is condition in which the person can hear strange sounds even when no such external factors exist. The sounds are generally described as ringing in nature but can also be like a hiss, roar and clicking noise.
It is tinnitus only you can hear. This is the most common type of tinnitus. It can be caused by ear problems in your outer, middle or inner ear. It also can be caused by problems with the hearing/auditory nerves or the part of your brain that interprets nerve signals as sound.
It is tinnitus your doctor can hear when he or she does an examination. This rare type of tinnitus may be caused by a blood vessel problem, a middle ear bone condition or muscle contractions.
Tinnitus in itself is not a condition but its more of a symptom of an underlying condition such as old age, ear injury and circulatory system disorders.
Although tinnitus is often associated with hearing loss, it does not cause the loss, nor does a hearing loss cause tinnitus. In fact, some people with tinnitus experience no difficulty hearing, and in a few cases they even become so acutely sensitive to sound (hyperacusis) that they must take steps to muffle or mask external noises.
The most common symptoms are the irritating sounds that people can hear ringing in their ears. These sounds can be ringing, hissing, roaring, buzzing, clicking in nature.
The sound may be soft or loud, low pitched or high pitched and appear to be coming from one ear or both. Most of the time, it comes on gradually. In some people, the sound causes depression, anxiety or interferes with concentration.
Most people suffering from tinnitus also can suffer from hearing loss. They cannot hear sounds even if they are at the same frequency as the "phantom sounds" that keep ringing in their ears.
With increasing age, the chances of tinnitus occurring are increased manifolds. This generally starts at the age of 60. The medical term for this type of hearing loss is presbycusis.
If the ear is subjected to loud noises then for prolonged periods of time, such as iPods, mp3 players etc then it can lead to hearing loss ultimately culminating into tinnitus.
Earwax protects your ear canal by trapping dirt and slowing the growth of bacteria. When too much earwax accumulates, it becomes too hard to wash away naturally, causing hearing loss or irritation of the eardrum, which can lead to tinnitus.
Stiffening of the bones in your middle ear (otosclerosis) may affect your hearing and cause tinnitus. This condition, caused by abnormal bone growth, tends to run in families.
Tinnitus can be an early indicator of Meniere's disease, an inner ear disorder that may be caused by abnormal inner ear fluid pressure.
Diagnosis for tinnitus usually is started with an audiogram which is an audiological evaluation known as an 'audiogram', measurement of acoustic parameters of the tinnitus, like pitch and amplitude (loudness). After that the person is tested for psychological factors that crop up in people suffering from tinnitus like depression, anxiety and stress.
In this procedure, the person is made to sit in a soundproof room wearing headphones through which specific sounds will be played into one single ear at a time. If the person can distinguish that sounds, the results will be monitored and then compared to that of normal people.
Your doctor may ask you to move your eyes, clench your jaw, or move your neck, arms and legs. If your tinnitus changes or worsens, it may help identify an underlying disorder that needs treatment.
Depending on the suspected cause of your tinnitus, you may need imaging tests such as CT or MRI scans.
Since tinnitus is more of a symptom and not really a disease in traditional sense, therefore if there is no underlying factor that causes tinnitus, then treatment is generally restricted to talk therapy and sound therapy.
For psychological aspects, there is type of counselling for tinnitus which is known as 'Cognitive Behavioral Therapy'. It can effectively decrease the amount of stress that a person feels with tinnitus.
There are devices known as White Noise Machines, which produce simulated environmental sounds such as falling rain or ocean waves, are often an effective treatment for tinnitus. You may want to try a white noise machine with pillow speakers to help you sleep. Fans, humidifiers, dehumidifiers and air conditioners in the bedroom also may help cover the internal noise at night.
We have some really cool natural tinnitus remedies for you right here. Use these tinnitus remedies for immediate results and amazing results.
Ginkgo biloba is one of the most effective home remedy for tinnitus which is caused due to vascular disorders in the auditory system. Ginkgo improves blood circulation in the capillaries in the auditory system and skull which helps in naturally curing tinnitus. Ginkgo extract (120-150 mg per day) can be taken up to thrice a day for best results.
Researchers have found a high degree of correlation between zinc deficiency and occurrence of tinnitus. A healthy adult requires 15mg of daily zinc intake.Adding zinc supplements helps alleviate symptoms of tinnitus in a large number of cases. Food rich in zinc include oysters, liver, lamb mutton, sesame seeds, watermelon seeds, roasted beef, pumpkin seeds and squash seeds.
Excess salt is known to promote water retention in the body. This increases blood flow to the ears and creates pressure on the auditory system. This is known to aggravate ringing in the ears. On the contrary, reducing salt intake helps is reducing intensity of tinnitus. It is a great natural tinnitus remedy as well.
Clinical trials on Black Cohosh have proved it to be effective in alleviating symptoms of tinnitus. A decoction prepared by boiling 3 ml of tincture, or one teaspoon of black cohosh root in water can be taken up to twice daily for relief from tinnitus.
Goldenseal contains an alkaloid named berberine which has healing properties beneficial in healing lesions in the inner ear.
So we have discussed all the best natural tinnitus remedies with you. Now just use them in your daily life for a healthier result and live a healthy and prosperous life forever.


You don't have to stop having fun now you're pregnant - but there are a few things you'll have to give up or cut to almost zero. Alcohol is one of these things, because it can damage your growing baby.
How can alcohol harm my unborn baby?
Most women give alcohol up completely in pregnancy because this is the safest way. When you drink, alcohol passes from your blood through the placenta and to your baby. There is no known safe level for drinking during pregnancy, so the safest approach is not to drink at all while you're pregnant and if you are trying for a baby.
It is particularly advised not to drink alcohol in the first three months of pregnancy as this is a time of huge growth and development.
If you do decide to drink, it is recommended that you do not drink alcohol in the first three months and thereafter limit yourself to no more than one or two units, not more than once or twice a week.
What could happen if I drink heavily?
Drinking in pregnancy can lead to long-term harm to the baby and the more you drink, the greater the risk.
Getting drunk and/or drinking every day are especially dangerous.
Foetal alcohol syndrome (FAS) is the name given to problems that are found in children whose mothers drank heavily during pregnancy. These include facial abnormalities, heart defects, poor growth and severe mental and developmental problems.
If you drank a lot before you knew you were pregnant and are worried about the effect this may have on your baby, talk to your midwife or GP.
They will probably reassure you that the risk to your baby is small if you weren't a regular heavy drinker. You can stop drinking completely now that you know you're pregnant.
The risk of harm to the baby is likely to be low if you were not binge drinking or regularly drinking over the recommended amount.
What if I need help to stop drinking?
If you drink heavily and you think you may have problems stopping, talk to your doctor or midwife.
This is because you may have withdrawal symptoms. These can include delirium tremens (DTs), and you will need help to manage them.
The health team caring for you during your pregnancy can give you advice and support. You can also contact Drinkline, a free and confidential helpline, on 0300 123 1110 (weekdays 9am - 8pm, weekends 11am - 4pm).
Is my drinking is out of control?
Some women know they are drinking too much but don't feel able to talk about it. It's easy to feel guilty or ashamed because you know you shouldn't be drinking alcohol in pregnancy.
Everyone who cares for you during your pregnancy wants you to be well and to have a healthy baby. Cutting down or stopping on your own can be difficult, and you may need help.
Talk to your doctor or midwife - they won't judge you and they can put you in touch with more support if you need it.
If you have difficulty giving up alcohol, talk to your midwife, doctor or pharmacist. They will not judge you and will want to support you.
Drinkline is the national alcohol helpline. If you're worried about your own or someone else's drinking, call this free helpline on 0300 123 1110 (weekdays 9am - 8pm, weekends 11am - 4pm).
Addaction is a UK-wide treatment agency that helps individuals, families and communities to manage the effects of alcohol and drug misuse.
The amount of alcohol in a drink is measured in 'units'. One unit refers to 10ml of alcohol.
Avoiding alcohol may be easy if, like lots of women, you go off the taste early in your pregnancy. But for some others, it can be a challenge.
ℹLast reviewed on June 27th, 2017. Next review date April 27th, 2020.
I am so sorry to hear of the loss of your daughter. You may find it helpful to speak to other people affected by spina bifida.
Women thought to be at higher risk of having a child (such as yourself) with spina bifida need to be prescribed a higher (5 milligram) dose of folic acid by their GP.
If uve been out and been drinking the night before can I still test in the morning or will the alcohol in my system mess with the test?
Hi, I'm unsure what question you are asking. If you think that you may be pregnant I would advise that you don't drink any alcohol.
My wife is in 8 month pregnant and she drink very heavy vodka she dont want to stop. Is it mean she dont want the babe. Need answer please.
Thank you for your comment. I am very concerned to hear that your wife is continuing to drink alcohol during her pregnancy. The safest advice is for pregnant women not drink at all as alcohol can have serious effects on a baby's growth and development. I have attached some links with further information and advice about more support.
Have you been able to discuss your wife's drinking with her midwife or GP-I don't know if her drinking means she doesn't want the baby, but she needs extra support to reduce her alcohol intake for both hers and the baby's health. Her midwife may refer her to a specialist midwife team who give extra support and care to women with alcohol problems.
You can also contact Drinkline, a free and confidential helpline, on 0300 123 1110 (weekdays 9am - 8pm, weekends 11am - 4pm).
Hey im roughly 6 weeks pregnant with my second child and found out early that i was pregnant.(my period was like an alarm,bang on every month so took a test when i was late ) any way i have been drinking becks blue when with friends as its the christmas season and have found out there is alcohol in them even tho it says alcohol free will baby be OK?
The amount of alcohol in the beer is minimal so that is reassuring, However I would advise you to stop drinking it especially for the first 3 months of pregnancy.
Hi - it depends on if the beer is low alcohol or alcohol free. You should be able to find out this information on the label - we'd advise caution as some alcohol free drinks contain small amounts of alcohol which can add up if drank a few times a week.
The labels often say 'alcohol free', but then say 'no more than 0.05% alcohol' in the fine print, which is confusing. Is 0.05% ok?
Hi Jackie, Thank you for your comment.
what if you want to go out and have a couple of drinks while your pregnant? like once every 3 months or so?


These elegant sandy buff stoneware candleholders are fired clay with no glaze. These were wheel thrown in my Nashville, TN studio. The earthy, golden tones of the clay look beautiful when lit by a 100% beeswax candle.
One beeswax tea light is included, and more are available in my shop. Beeswax candles have natural air purifying properties and emit the most beautiful warm glow when burning.
Two candle holders are available.
The uppermost one in photo measures 3 1/4"w x 2 3/4" h, and lower measures 3"w x 2 1/2"h.


The Hilton Dallas/Southlake Town Square hotel anchors the vibrant area in which it resides. Numerous shops, restaurants and entertainment attractions are within walking distance, including a 14-screen Harkins movie theater. Notable nearby dining and shopping includes Truluck's Steak & Seafood Restaurant, Brio Tuscan Grille, Mi Cocina, Ann Taylor, Banana Republic, J.Crew, Coach, Apple, Michael Kors and many more.
Head to Main Street in nearby historic downtown Grapevine to visit City Hall, the Grapevine Convention and Visitor's Bureau, the public library and recreation center. Explore antique stores, restaurants, bars, theaters, a park and many specialty shops. The Grapevine Vintage Railroad follows a scenic route between Grapevine and the Fort Worth Stockyards, departing from a station located on South Main Street. The city is also home to several wineries and tasting rooms as well as the Texas Wine and Grape Growers Association.
Shop for bargains at nearby Grapevine Mills Mall, which boasts top brand outlet shopping, an indoor ice skating rink and a movie theater. For sports and events fans, the Rangers Ballpark and AT&T Stadium - formerly Cowboys Stadium - in Arlington, the American Airlines Center in Dallas and the Texas Motor Speedway in Fort Worth are all a short drive away. If you're planning a golf outing, practice your swing at several nearby courses including Sky Creek Ranch Golf Club, Cowboys Golf Club and Grapevine Municipal Golf Course.
Southlake Town Square offer 130+ stores, 27 upscale eateries, three parks, Harkins Theater and many offices.
See a Dallas Cowboys or college football game, concert or take a guided stadium tour.
Enjoy this waterpark located in Arlington boasting a variety of rides, slides, rafting, tunnels and pools.
Catch a Texas Rangers' baseball game, fun for the entire family. Buy tickets and see the game times.
Located in the Arts District downtown, the DMA is among the leading art institutions in the country.
Enjoy Texas tradition with daily cattle drives or championship rodeos among plenty of restaurants and shopping.
Catch a concert, bull riding or dance lessons at the world's largest honky tonk.
Texas' oldest zoo houses nearly 7,000 native and exotic animals and is nationally ranked.
Check out the visiting exhibitions and worldly collections at this Fort Worth museum.
Explore paintings, photographs, sculptures and more within this museum of American art.
Learn about President Bush's legacy and the events of 9/11 through the library and museum.


Location! In the heart of Hough's Neck. Look forward to the 3rd of July Fireworks, Harvest Fest, and Strawberry Festival as well as so many more exciting neighborhood activities! This property is conveniently located on the bus line. Lots of potential in this spacious colonial in need of some updates. Over sized living room lends to great space for entertaining family and friends. Property boasts great second floor deck overlooking expansive private backyard. With the possibilities of a third floor you could enjoy panoramic views of the Boston skyline and Quincy Bay. So many possibilities!


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Home GovTech Wikidemocracy: Using Tech Platforms in the Public Sector
Wikidemocracy: Using Tech Platforms in the Public Sector
In recent months two books about the transformation of democracy in America are published. Gavin Newsom wrote 'Citizenville, How To Take the Town Square Digital and Reinvent Government'. Introduced on Goodreads as "the story of how ordinary citizens can use new digital tools to dissolve political gridlock and transform American democracy". David Graeber is author of 'The Democracy Project: A History, a Crisis, a Movement'. According to Goodreads The Democracy Process is "a bold rethinking of the most powerful political idea in the world—democracy—as seen through the lens of the most transformative political movements of our time and the story of how radical democracy can yet transform America".
Except for writing books the two men do have very little in common. Newsom is a successful entrepreneur, former mayor of San Francisco and current lieutenant governor of California. Graeber is an anthropologist and a social and political activist, heavily involved in the Occupy Movement.
Newsom's book Citizenville is inspired by the work of authors like Tim O'Reilly (Government as a Platform). The name Citizenville is chosen after Farmville, the popular game where players work with their friends to tend farms and animals to advance to the next level. Newsom focuses on government that is not making optimal use of the fact that people are far more interested in engaging with social media than in engaging with democracy. He pleads for a more tech-enabled government that uses the principles of successful tech platforms (like Yelp) and the principles of gamification in order to engage citizens and solve problems.
Citizenville is a procession of all the remarkable digital trends of the last decade: the iphone and the app store, twitter and facebook, open data, crowdsourcing, crowdfunding initiatives like KickStarter etcera. For Newsom Web 1.0 is about information, but Web 2.0 is something different. It's about collaboration, networking, sharing and organizing while using tech platforms mainly developed in the private sector. The dominant message that Newsom is bringing us can be labeled as techno-optimism.
Evgeny Morozov therefor describes the book even as a lazy tome of techno-populism that consists of random entries. Beth Noveck is far more positive than Morozov but still emphasis in her book review that Newsom doesn't acknowledge that getting to his kind of decentralized, participatory, tech-enabled democracy is a long and uncertain path. In the words of Lydia Depillis "Citizenville is a manifesto for why technological innovation matters. And, like many manifestos —especially techno-triumphalist ones—Newsom glosses over some major complications of the overall program that he espouses."
They are all right in their remarks. For example, Newsom ignores too easily privacy issues and his statement that transparency will lead to more trust is not based on any fact-based research. The words 'reinvent government' in the subtitle are therefor too ambitious and the book is far from being blueprint of how to reinvent government. The question is whether we should want a blueprint to reinvent government? Who wrote the blueprint for inventing Internet or social media?
Or to put it in the words of Graeber "When has social change ever happened according to someone's blueprint? It's not as if a small circle of visionaries in Renaissance Florence conceived of something they called 'capitalism', figured out the details of how the stock exchange and factories would someday work, and then put in place a program to bring their visions into reality."
Where Newsom writes a paragraph called Twitter-Enabled Revolutions, only two pages long, to cover the Arab Spring uprisings and Occupy Wall Street, Graeber dedicates a whole book to Occupy Wall Street. He not only writes about is, he was actually there from the beginning. Graeber is an anarchist, adverse to any form of government. There is a lot to say about Graeber's book that goes beyond the purpose of this blog. It would be worth a blog, and more than one, on its own.
What is interesting here is that Graeber doesn't focus on the role of social media, leaving me with the impression that we tend to overestimate this role. But he is not really deliberating on that. However, he pays much attention to the way people organize themselves in horizontal groups instead of vertical groups and how direct democracy could work. Although the books are very different and in fact incomparable, this is where Graeber meets Newsom. From a totally different point of view both authors describe how decisionmaking and collaboration between people can take place in an effective way outside the borders of the hierarchal, formal institutions and how we can bypass current government.
My suggestion: read both Newsom and Graeber and start acting now without worrying to much about blueprints. If we do want to bypass government from an ideological point of view or because we feel the need to do so because of budget constraints is irrelevant. To paraphrase Graeber: we are left in the bizarre situation of watching the capitalist system crumbling before our very eyes, at just the moment everyone had finally concluded the capitalist system was the most effective blueprint for our society.
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For runners, low back pain is a common problem. According to Concong et al, 13.6% of recreational runners in the southern United States report experiencing back pain and about 85-90% of the general population have experienced low back pain at some point in their life.
Many of your athletic patients will come in inquiring as to why they are experiencing back pain.
This Part I blog article can better explain to your patients the top 4 risk factors that contribute to back pain in your athletes.


Without a doubt, the Ferrari 250 GTO is one of the world's most coveted cars. Earlier this month, a 1963 example sold privately for nearly $80 Million dollars. So our friends at RM Sotheby's have put a conservative estimate of $45 Million on a 1962 model. It will be the centerpiece of their Monterey Auction during Monterey Car Week in August.
Our friends over at Autoblog were first to notice this pristine prancing horse. This 250 GTO is chassis 3413 GT is just one of 36 examples, and it began life as a factory test car for Phil Hill at the Targa Florio. It was then sold to Edoardo Lualdi-Gabardi who won 9 out of 10 races in 1962. He sold it to Gianni Bulgari, the founder, and owner of Bulgari Jewelry. This car has complete documentation back to the factory, and it retains its original engine, transmission and differential. If you need a new daily driver, we'll see you in Monterey. If you don't need a race car, our dealers have a nice selection of Ferrari 250's that are ready for you. Stay with us for all your RM Sothebys updates.


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'Significant' amount of staff needed to reopen Irish schools 'as normal'
'We have to look at different ways of doing substitution for teachers and SNAs'
Ciara Phelan
Schools will need a "significant" amount of extra staff as part of the plan to reopen their doors as "fully and normally" in September.
Secretary General of the Department of Education, Seán Ó Foghlú told an Oireachtas Covid committee yesterday (FRI) they plan to issue guidelines at the end of July to schools on "safely" reopening.
He said: "There is no doubt that the Minister, the Department, school leaders and staff all want to see schools reopening as normal in the new school year in late August and September.
"Our aim is to return as fully, normally and safely as possible.
"I do not want to put a number on it, but across the sector given the different needs and including cleaning and so on there will be a need for significant additional staffing to cover.
"We have to look at different ways of doing substitution for teachers and SNAs.
"We want to minimise the number of schools that different substitutes are going to so we may be able to create more full time posts while reducing the overall number of people who are actually substituting."
Cork gardai seize €425K worth of drugs in car that travelled from Dublin
New regulations see face masks becoming compulsory on public transport next week
Mr Ó Foghlú said parents and students will have to play their part in keeping the virus out of schools on return.
He said anyone who has symptoms of Covid-19 or suspects they have the virus need to stay out of school.
He said parents who intend on bringing their children on summer holidays abroad need to ensure they return at least two weeks before schools reopen.
Mr Ó Foghlú said there may be cases where teaching staff will have to wear a face visor and that there may also be a need for some PPE for older children on school transport.
He said: "We are looking at that and talking to Bus Éireann about that issue.
"Again, the advice we have from the health authorities is encouraging the use of face masks for children aged 13 and over.
"We would be following the same general health advice on face mask use that as applies to the general public.
"We have the health advice and the health advice does not suggest that children in normal circumstances in a school setting would use PPE.
"However, there may be a case for staff working closely with them to have PPE and the visor would be much preferable to the mask.
"We are very conscious of not putting an additional financial burden on schools for these costs and additional funding will be available to cover the hygiene costs."
Mr Ó Foghlú also said people's attitude towards going to work when feeling unwell had to change.
He said many people felt they were not justified in missing work if they had a cold and felt that they were "mitching off."
He said that because many people were currently working from home they may not have fully realised how this attitude had to change.


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Warwick Creative Exchange
All Roads Lead to Coventry – continuing the journey
This is a reposting of Chris Bilton's blog on the Centre for Cultural Policy Studies blog, 'Culture Matters'
All Roads Lead to Coventry was a joint venture organised by Warwick Creative Exchange, Coventry Artspace and Warwick Arts Centre – the aim was to invite universities, arts organisations and council officers to share ideas about the longer term future for the city and the role that arts and culture could play in reimagining that future. Rather than spending day in meetings, we decided to invite participants to spend a morning walking and talking through Coventry, discovering and rediscovering some of the 'hidden gems' which are tucked away across the city (museums, theatres, statues and historic buildings) as well as encountering the everyday experience of a richly varied (but still compact) contemporary city. And so, on a sunny September morning in Coventry, our journey began.
Our walks started from ten locations across the city, converging in the city centre. My own journey took in the village atmosphere of Earlsdon, the statue of Frank Whittle (inventor of the jet engine and a reminder of the city's heritage as a centre of engineering, innovation and manufacturing) and the Albany Theatre, a beautiful 600-seat theatre run entirely by volunteers with big plans to relaunch itself as a centre for community arts. Like many of the places we visited, the Albany is hidden in plain sight, tucked away in an impressive former college which it shares, rather bizarrely, with a Premier Inn.
Other groups walked along the canal, visited Coventry's music museum (home of The Specials and a back catalogue of ska and reggae), looked at the new Fargo development or took in the Hillfields neighbourhood.
Coventry is often identified with its history of motor manufacturing and today it is still dominated by the ringroad – an impressive feat of engineering and a vital artery for people who live and work in the area – but also a symbolic barrier which seems to cut off the city centre from the diverse neighbourhoods beyond. So it was refreshing to be able to walk the city, meandering through its many histories, guided by people who knew its hidden corners and byways.
All walks led to EGO performance space – here we were served a wholesome lunch, shared stories from the day and tried to connect our experiences of the city into a bigger picture.
It became clear in the conversations during and after the walks that people who know Coventry well enjoy sharing its secret histories and hidden pockets of culture and community. But for outsiders, like many of the academics and students at the city's two universities (including myself), the city is hard to 'read' (and hard to navigate!). One of the challenges we confronted was how to connect the city's diverse histories and communities into a coherent narrative – how can we sell this complicated, fragmented, reticent city in a world dominated by brash city 'brands' and honeypot tourist destinations? Coventry is a city which wears its history lightly – ancient cottages house kebab shops, the old city walls skirt brutal modernist buildings. How can we connect the city's many pasts and presents into a new future? What part can the arts and culture play in drawing the city together and opening it out to visitors? What are the barriers in the way of what we want the city to become?
These questions will be part of a series of ongoing conversations between artists, academics and council officers and members over the coming months. Following the walk, the organisers are compiling a list of ideas and questions which we hope might lead to further discussions, actions and collaborations. Please feel free to add comments and questions of your own!
Christopher Bilton : 29 Sep 2014 10:31 | Comments (0) | Close comments | Report a problem
All Roads Lead to Coventry
Marie-Jeanne Merillet, a Masters student in the Centre for Cultural Policy Studies, University of Warwick, writes about 'All Roads Lead to Coventry': an event initiated by Warwick Creative Exchange, and co-organised with Warwick Arts Centre and Coventry Artspace, to explore how arts and culture can help to re-shape the city for its citizens and visitors. It took place on 16th September.
The day started out with a series of walks through the City, the goal of which was to generate discussion around art and culture and how this aspect could be used strategically in the future to make the city a more engaging environment. Essentially each of the walks aimed to bring together academics, creatives, and council staff. I joined one such group in a walk which began at Daimler road, winded down the canal way, and from there to the EGO performance space where the afternoon discussions took place. It was a surprising walk in the sense of discovery. Having spent an entire year living in Coventry, while studying a Masters at the Centre for Cultural Policy studies, I realized as the day progressed how little I really know about the city and how rich it is in terms of history and culture. In the course of our morning's walk we wandered through the Cash buildings,
up Foleshill, to Tower Court, once home to a thriving car industry. Next we descended an obscure flight of stairs to explore Coventry's waterway heading in the direction of the canal basin, yet another dimension of the city I am completely unfamiliar with.
(In the mist the barges would suddenly appear like a monster)
At the end point, we were met by Alan Dyer, artist and Director of the Canal Basin Trust, who took us on a tour of the artists' studios. Alan explained that the building was carefully restored in the 1970s, to look like the original, and that initially they invited their third year students to come and work there, filling it up with graduates. It has since remained a creative hub of artistic industry. We climbed down tiny staircases and through low doorways. Apparently the warehouse has its own ghost, believed to be a canal worker who plummeted to his death from the top of the staircase. The warehouse at present boasts some free studios and work spaces for creatives. There is some question about efficiently latching on and using spaces already in existence in the city instead of trying to carve out new ones elsewhere. As intended, the results of the walk left us with many ideas and perceptions about Coventry, which left us well prepared for the afternoon's activity.
Grouped around tables of ten at the EGO performance center, the second part of the day revolved around discussing Coventry. Themes discussed included nostalgia for the past, a sense of pride in history, and also the role of universities in the shaping of the city. One of the issues that arose was that students do not often engage with the city, many do not even realize that the University of Warwick is in fact in Coventry. Having met many students during my studies at Warwick, I know that the majority I spoke with had a very negative impression about Coventry, an impression that could be remedied if they were encouraged to get to know the city better, and have some sense of its cultural richness. Some of the conclusions reached highlighted the universities as being instrumental in shaping students' perception of the city. This year for example I took part in the Dominos project as part of the Coventry Mysteries Festival, which was a wonderful experience to engage both with the city and its culture. Perhaps raising students' awareness and interest in the cultural history of the city could have a long-term positive effect on their involvement in the community and could be seen as a strategy in itself.
Emma Shaw : 23 Sep 2014 14:32 | Comments (1) | Close comments | Report a problem
Collaborative Working in Practice
RICHARD HAYHOW, Theatre Director, Open Theatre and JO TROWSDALE, Centre for Education Studies, Warwick talk about how their work together led to learning for both partners and significant developments in Richard's theatre work with young people and school teachers, and in turn has led to a symposium, journal articles and a research funding bid.
JO: I was a regular attender of Arts Alive – a festival largely of Coventry based independent theatre companies - and there saw the work of The Shysters. Richard was their founder and director. Their work was so joyful, playful and challenged perceptions about what actors with learning disabilities could achieve. A few years later I was approached to report on a three-year partnership experiment (called 'Something Wicked') between the Belgrade theatre and seven independent theatre companies – the Shysters was one of them. As I witnessed work and interviewed artists, I got insights into the practice and especially into how Richard was enabling these young people to develop as actors and as people, as well as to engage and entertain others.
RICHARD: The 'Something Wicked' work gave me the opportunity to reflect on the development of the Shyster practice and in many ways to legitimise it as a valid theatre practice that could sit alongside that of the other theatre companies involved. The approach to creating theatre with the Shysters had always been driven by the desire to make high quality productions: over a period of five years leading up to Something Wicked many ways of working were tried and tested, with some rejected, in order to achieve this. The basic principles of non-verbal physical work created in response to pre-recorded music (acting in effect as the 'script') were developed and explored in this period. The young people were able to lead much of the creative process through their intimate engagement with this way of working. An aesthetic for the work began to grow and the actors themselves became highly skilled within this. Perhaps the most significant statement made about the company at the time was: ' The Shysters are great actors – but they are also great people'. A process that had been developed to create high quality theatre had inadvertently had a transformatory effect on the actors themselves.
JO: In 2004 I was appointed Creative Director for Creative Partnerships Coventry and as I met with Deedmore MLD Special Primary school's head teacher and heard her explain her ambition for her children, I was reminded of Richard. I bumped into Richard at another Coventry Arts event and he was talking about the desire to develop a longer term relationship with schools where he might see if the Shyster practice introduced with younger children might affect similar changes and give them a better chance in society. I arranged for the two of them to meet -a six year year long relationship was born between Richard and Deedmore, now joined with an SLD school and renamed Castlewood.
RICHARD: I remember that conversation well. I had learnt two important things from the Shyster process – firstly the work needed time to achieve its effect – on both the quality of the acting and the theatre created, and on the impact on the people involved. Secondly the younger the person involved the more significant the impact you could have. I had also worked in special schools at various times before this but only on one-off projects – but perhaps the best comment from one of these schools had been that the project we had developed had not been a 'dumbed-down version of a mainstream project' but had been ideally suited to the particular students involved. I was therefore keen to work in a primary special school to explore these ideas further – and as such made it clear from the outset that I would only become involved in Creative Partnerships Coventry if I could work in one school for a significant period of time – at least a year, if not two –and not be forced to compromise the work to fit in with preconceived notions of what an arts project should look like. The work in Deedmore began after a key meeting set up by Creative Partnerships Coventry at the school in which I made it clear that I was only interested in working in special schools because I valued the creativity of people with learning disabilities above all else!
JO: Richard had a healthy disrespect for the bureaucracy of Creative Partnerships, suggesting that he began working very openly, learning through the practice where to take the work. But he was also keen to engage with the reflective process and welcomed questions. His approach challenged me to re-think the possible frames and prompts we offered teachers and artists in scoping, planning and reflecting on the work in order to deepen value.
RICHARD: I think I had gained that healthy disrespect because of working with people with learning disabilities. After trying many conventional theatre-making processes I'd had to discover and invent new ways of working that got to a deep level of truth in terms of the contribution that the actors could make to a creative process. So within the education system and the bureaucracy of Creative Partnerships I continued that search for truth in terms of both adapting the practice and in gaining a sense of its impact on pupils. The challenge of imposing existing systems on the work forced me to come up with better systems and better articulation of what was really going on. It was great that Jo was open to the challenge and also that the lead teacher at Deedmore was equally keen to understand and change ways of thinking and doing things when she witnessed the impact of the Shyster practice on her pupils.
JO: Richard built a strong relationship with the lead teacher and both welcomed engagement with the practice. I was regularly invited to witness and get involved with the work. Visits, discussions, evaluation meetings and written reports were littered with evidence and accounts of children whose behaviour had altered positively; who had achieved something new and previously unimaginable: a catalogue of moments of children communicating: eye contact, smiling, talking; instances of caring for each other, playing imaginatively together at playtime, listening and learning. Performance events were emotional affairs with parents (and staff) moved by the transformations they saw. Richard was increasingly committed to this work with young people. During this time I also attended a number of Shyster events and was always aware of how joyful and full of laughter they were. Richard brought out the best in everyone and the dynamic he generated with young people was life affirming.
RICHARD: I was genuinely quite puzzled by the impact on the children involved of what I was doing – although it was very welcome and satisfying to know that it was happening I wanted to know why. Was it just because I was mostly a joyful and life affirming kind of person and was good at passing that on in sessions and to some extent it didn't matter what I did as long as I did in that way? Or was it the uniqueness of the practice itself (which included the way it was delivered by a practitioner) that was key to the impact. If it was the second, then the potential for its use could become huge – others could be trained in the practice and many more young people in special schools and elsewhere could benefit from it. So it became even more important to find ways of understanding and sharing the work. At the heart of this was a central conundrum though - how could we explain in words a process that in its essence is beyond words?
JO: Witnessing the children working with Richard and each other was evidently the best way to communicate the impact of the practice, so a film was made and used to share the work at a Drama education conference in Exeter. Preparing for the conference was our first attempt at understanding what was happening and marked my closer involvement with the project: in debating with the team about how to develop understanding and practice across the newly formed school. We focussed upon visual techniques and critical incident analyses…
RICHARD: …which we called 'significant moments'. We felt that we could share those moments when a particular child made a significant achievement – a quantum leap -within the work and which was witnessed by the adults in the room. By talking through what led up to this moment it could be possible to understand what combination of current circumstances and previous experiences could have contributed to the significant moment taking place, which in turn could help with our understanding of what were the key elements of the practice. One of the most memorable of these significant moments was when one particular child, after two years of him resisting the use of his imagination, gave in to his growing understanding of 'pretending' by suddenly juggling with imaginary balls and really enjoying the experience.
JO: By the time Creative Partnerships and the Shysters funding was cut, the demand for Richard's practice by schools in Coventry and Birmingham was established, supported also by Liz Leck at the Birmingham Hippodrome with whom we planned and delivered a symposium about the practice and its particular relevance to adolescents with learning disabilities transitioning from school. We also began writing about the work: for a research bid to Leverhulme and for journals – one has been published in the BJSE.
RICHARD: All of these activities – the symposium, the articles and the funding bids were in effect further (welcome) challenges to articulate the work more effectively and to communicate a better understanding of it both to ourselves and to others. They were also partly about a move to articulate the work in a context that was about common human development as opposed to being solely about learning disability and therefore implying a specialised and insular practice of limited use. As we looked at the work through a theatre lens, the term 'mimetics' seemed quite an accurate way to describe this embodied practice - and a more useful way of explaining it than 'shystering', which we had been using so far.
JO: We are now looking to develop our understanding of what happens to people through mimetics - how they develop. We have both read a bit about mirror-neuron theory – although there is no consensus about this from neuroscientists. Human development markers – as proposed by psychology seems most useful, but we really need to find some interested experts in other fields to help us take it further...
Jane Woddis : 17 Mar 2014 12:09 | Comments (0) | Close comments | Report a problem
Creative industries generate £8 million an hour. So states Creative Industries Statistical Report
From Jonnie Turpie, Founder & Director of Maverick TV
Creative Industries Economic Estimates Report
The report came off the press on the 13th January 2014. The Office for National Statistics report is a detailed analysis of the Creative Industries' growing contribution to UKPLC. This is not a new phenomenon! It has been well known for the last 40 or so years, since the emergence of popular culture, that the UK punches above its weight in this sector. The report is accompanied by a supportive statement by the Secretary of State for Culture, Media and Sport, Maria Miller: "These incredible statistics are confirmation that the creative industries consistently punch well above their weight, outperforming all the other main industry sectors, and are a powerhouse within the UK economy."
The report is based on analysis of the extensive data, and additional consultation, supported by a cross-industry collaboration overseen by the Creative Industries Council, Creative Skillset, Creative and Cultural Skills, Nesta, DCMS and a range of industry bodies.
The headline findings are that:
The UK's creative industries are worth £71.4 billion per year to the UK economy. The creative industries, which include film, television and music, generate a staggering £8 million an hour.
Growth of almost 10 per cent also meant that the creative sector outperformed all other sectors of UK industry, accounting for 1.68 million jobs (5.6 per cent of the UK total) in 2012.
The UK creative industries are renowned across the globe; driving growth, investment and tourism.
Creative Industries Council Chair Nicola Mendelsohn said: "These figures amply demonstrate the huge contribution our sector makes to the economy and it's vital that the right framework is in place to nurture and support the industry. We are working with Government on developing a growth strategy for the sector which will identify how all involved can ensure the creative industries continue to go from strength to strength."
The report is here: https://www.gov.uk/government/publications/creative-industries-economic-estimates-january-2014
Jane Woddis : 05 Feb 2014 12:22 | Comments (0) | Close comments | Report a problem
A message from one of the founders of Warwick Creative Exchange
What do the arts, especially the performing arts, and education have in common? In my experience creative imagination, collaborative working, fluency and conviction in communication, attention to detail, ability to meet deadlines.
The recognition of this commonality of experience between the theatre and the academy has been a significant feature of Warwick's teaching and research since its foundation in the 1960s with the Department of English and the Institute of Education in its Drama and Education courses at the forefront of work in this area, joined by colleagues in the exploration of creativity and performance in its application across the disciplines. So the establishment of the Warwick Creative Exchange in 2011 was the next step on a journey for the University (and for me), following on from the work of the CAPITAL Centre (http://www2.warwick.ac.uk/fac/cross_fac/capital) and more recently WBS Create at Warwick Business School http://www.wbs.ac.uk/research/specialisms/teaching-groups/wbs-create/, with which I have been involved as administrator since 2005.
The Arts and Humanities Research Council's call for proposals for Knowledge Exchange Hubs for the Creative Economy in April 2011, made us look with fresh eyes at the work going on at Warwick and encouraged us to take the opportunity to formalise the partnerships and projects that had been so fruitfully developed in the region with, for example, Birmingham Royal Ballet, Sante Theatre, Talking Birds, China Plate, the RSC. Although we weren't selected as an AHRC hub we didn't want to lose the momentum we had gathered from the enthusiastic support of arts practitioners and organisations. The most practical way forward to facilitate partnerships and projects to the mutual advantage of all in terms of knowledge exchange was to create a more formal network. So the Warwick Creative Exchange (WCE) was established in autumn 2011, with the aim of bringing together Warwick academics and West Midlands cultural organisations to identify and encourage interdisciplinary research and knowledge exchanges between the University and the regional cultural community.
What essentially drives all WCE partners, whether academic or cultural, after our core activities and commitments, is funding to support our ideas, dreams, and practical needs. How do we get the support we need to do what we want to do? How do we persuade funders that we are worthy of that support? How do we evaluate what we do so we know – and our funders know - that we have made a difference to the audiences we serve whether in the theatre, the classroom or the academy. Talking to each other helps to develop ideas and strategies but I think practical actions help more. Warwick's expertise in cultural policy, digital innovation, education and training is there to be tapped by our cultural partners and their expertise in audience development, community engagement, creative interpretation can inform and inspire the University. Having recently retired, I am outside WCE looking in, but I continue to believe that WCE's success will come from making real work that capitalises on those strengths. I look forward to seeing the results!
Susan Brock
Formerly Administrator, the CAPITAL Centre; Academic Project Manager, WBS Create.
Jane Woddis : 05 Dec 2013 12:58 | Comments (0) | Close comments | Report a problem
The curiosity of academia together with the creativity of the arts
Birmingham Royal Ballet's mission statement is to be one of the world's leading large-scale international dance companies Achieved through… 1. Promoting outstanding creativity and artistic excellence 2. Being a model of good management practice 3. Serving a global range of constituencies and communities 4. Maximising arts development opportunities 5. Increasing understanding of the cultural and social importance of the arts To achieve this we are constantly reflecting on our work and developing the learning to strive for excellence in all that we do. Being involved in activities and discussions with Warwick Creative Exchange enables us to bring the rigour of academic interrogation into our work. The curiosity of academia together with the creativity of the arts will enable new and exciting developments to emerge with circles of influence spreading far and wide. Birmingham Royal Ballet is delighted to be involved in this exciting venture.
Pearl Chesterman
Director for Learning, Birmingham Royal Ballet
Sue Coventry isn't a bad city, though I could name better ones. Everything is relative as Albert Ein… by Emma Shaw on this entry


Domaine Boisson is owned by two brothers, Alain, who oversees the Cros de Romet property and Bruno, who is in charge of the Domaine Boisson cuvees. Bruno Boisson is a lot of fun but also a very skilled winemaker. He learnt wine making in Burgundy and then spent one year in Australia. Bruno is advised in the cellar by the famous Chateauneuf-du-Pape oenologist, Philippe Cambie. Bruno produces great terroir wines, which combine finesse and intensity.
Domaine Boisson is one of the finest estates in Cairanne where prices are ridiculously fair for such quality.


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redpajama_set_name: RedPajamaGithub


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Home » Estimating Mean Length of Stay in Prison: Methods and Applications
Estimating Mean Length of Stay in Prison: Methods and Applications
Patterson, Evelyn; Preston, Samuel
Journal of Quantitative Criminology;Mar2008, Vol. 24 Issue 1, p33
This paper examines various approaches to studying the mean length of stay in prison. The literature contains a wide range of estimates of this quantity. The discrepancies that appear in these estimates and in the conclusions reached from them have been the subject of several reviews. We build upon that work, using the life table as the gold standard, to demonstrate the inaccuracy of common measures such as the ratio of the population size to the annual number of entrances or the mean length of time served by those exiting in a particular period. This demonstration is conducted in two parts. One part uses model populations with constant growth rates; the second part relies upon simulated prison populations with time-varying rates of entrance and exit. In addition, we introduce two new indirect measures that are more accurate than several existing indirect measures and that are relatively easy to use. The new measures are based on the entrance rate or the exit rate and adjust for the growth rate of the prison population.
Controlling prison population size. Tonry, Michael // European Journal on Criminal Policy & Research;1996, Vol. 4 Issue 3, p26
The article discusses the different methods used by various countries in controlling the population size of their prisons in September 2010. It says that the main reason why presumptive guidelines have been implemented in Kansas, Ohio and North Carolina in the 1990s is that they have been shown...
WORST OF THE WORST. Sterngold, James // Mother Jones;Jul/Aug2008, Vol. 33 Issue 4, p48
The article discusses problems facing the prison system in California. A number of class action lawsuits brought against the state prison system in regard to overcrowding and the lack of sanitary conditions are examined. Statistics related to the large number of inmates and detention facilities...
Correctional Programming: A Value-Added Service. Kaiser, Randee M. // Corrections Today;Apr2004, Vol. 66 Issue 2, p8
Discusses the challenges to the development of prison-based programs for correctional institutions in the U.S. Use of confinement as a strategy to correctional system; Factors that contributed to the growth of prison population; Effectiveness of prison-based programs.
The American Experiment. Reitz, Kevin R. // European Journal on Criminal Policy & Research;1996, Vol. 4 Issue 3, p74
The article discusses the highlights of the massive social experiment that has been conducted by the U.S. for the last 25 years as of September 1996. It says that U.S. prison populations had surpassed the million mark late in 1994, which drew varied reactions usually along political lines....
Booze, jail and no justice. // New Internationalist;Nov99, Issue 318, p5
Reports on the overpopulation in correctional institutions in Sudan. Imprisonment as a penalty for minor offenses committed by women in Sudan; Sudan government's efforts to increase the incarceration capacity of the Ombudsman Prison for Women; Maximum capacity of the prison.
Parole of a Lifetime. Albanese, Elizabeth // Bond Buyer;6/29/2004, Vol. 348 Issue 31915, p31
Reports that the Texas Board of Pardons and Paroles has granting early release for prison inmates in an effort to keep crowding to a minimum despite an improvement in the state prison system as a result of a billion dollar prison-bonding program.
SLAMMED. Gonnerman, Jennifer; Brown, Ethan // Mother Jones;Jul/Aug2008, Vol. 33 Issue 4, p44
The article discusses the prison system in the U.S. The impact the cost of supporting a large number of inmates and the correction facilities that house them has on the U.S. economy is discussed. Figures showing the U.S. incarcerates a fourth of all the prisoners in the world are mentioned. The...
CALIFORNIA: Judge: Ease Prison Crowding. Saskal, Rich // Bond Buyer;12/15/2006, Vol. 358 Issue 32529, p37
The article reports on the six-month deadline of federal district judge Lawrence Karlton to the California government officials to alleviate the state prison overcrowding. His decision is expected to force further to Governor Arnold Schwarzenegger's proposals which is to build new correctional...
California Gov. Brown, Predecessors File Joint Brief Against Inmate Releases. Webster, Keeley // Bondbuyer.com;7/22/2013, p9
The article reports that incumbent California Governor Jerry Brown, along with four previous governors, namely Arnold Schwarzenegger, Pete Wilson, George Deukmejian, and Gray Davis, have filed a brief on July 13, 2013 before the U.S. Supreme Court against a ruling by a panel of three federal...


text:
Residents against plans to bring Fruit 'back to life'
The legendary music venue would reopen as Social if it is granted a licence by Hull City Council
Joseph GerrardLocal Democracy Reporter
The Fruit building in Humber Street (Image: Peter Harbour)
Plans to relaunch FRüIT as an arts centre have faced opposition from nearby residents worried that it could add to current "disruptive" noise levels.
An application to license Social, formerly FRüIT on Humber Street, has been submitted to Hull City Council.
Documents from Sesh Events UK Limited, the venue's owners, stated it would be an "arts and entertainment centre" in the popular Fruit Market area of the city.
It is set to open between 9am and midnight Monday to Thursdays and on Sundays and from 9am to 1am Friday and Saturday.
But residents on Humber Street have objected, claiming it could become a late-night haunt for drinkers after other venues close, leading to on-street noise.
Humber Street
Residents claimed they faced "significant disruption" when the venue operated as FRüIT.
The objection stated: "This had a big impact on residents' wellbeing. The extent of the disruption can be seen in the re-housing of residents at this time."
Residents claimed they had faced similar problems with other venues on the street, leading to worries the opening of Social could make the problem worse.
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The objection stated that noise from venues in the street is "disruptive to the extent of some residents seeking alternative housing".
Social is set to host comedy acts, film screenings and live music if it is granted its licence, according to its Facebook page.
Sesh Events UK director Mark Page said his company wanted to bring the venue "back to life".
Watch: Everything you need to know about alcohol licensing
Mr Page said: "The venue is the heartbeat of Humber Street. We've worked really closely with the building's owners to ensure it will be beating again very soon."
It comes after 61-63 Humber Street underwent a £1.2m makeover to create arts and cultural spaces.
The revamp was a joint venture between the regeneration company Wykeland Beal and Hull City Council.
Hull City Council


Home / Tabletop / Glassware / Drinking Glasses / Plastic Tumblers / Cambro NT16152 Newport Tumbler, Clear, 16.4 oz.
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Suffering from cold, try this simple cure!
– Avoid being out in the cold, eating cold foods and bundle yourself if you do step out.
Boil water, add all the spices. Do not add honey. (Honey should never be cooked) Boil for a few more minutes. Now turn off the heat, add honey and stir well. You can now store this in a thermos or in any container and continue to drink a few times throughout the day.
– Make sure you slow down and rest. The body needs to re-coop and direct all the energy to the body for healing purposes.
-If possible fast. It's usually the undigested food in the food that is causing all the congestion. So cut down on heavy foods, eat light. This will give your digestion a rest and you will recover sooner.
I hope you found this helpful! More simple remedies coming soon and on a ongoing basis, so stay tuned!


As his team prepared to play in a Division I district final May 19, Gahanna Lincoln High School softball coach Jim Campolo reminded his players about some of the program's accomplishments since he took over in 2001.
Among those were that the Lions had a chance to win a sixth consecutive district title a season after they made their third state tournament appearance under Campolo and fifth overall.
Their focus never waned even after falling behind by five runs in the top of the first inning, as they came back to beat Mount Vernon 13-10 at Pickerington Central.
It was Campolo's 600th career victory, with almost 400 coming with the Lions.
"What we talked about is that this started about 18 years ago and it's snowballed," Campolo said. "You're not playing for yourself; you're playing for our program. They're dependent on you to keep it going.
"The great thing about this game is it's seven innings. If they can score five, we can score five. I knew right off the bat that it was going to be a high-scoring game. We're both really good hitting teams, and as a result you're going to put runs on the board."
The Lions were 18-7 heading into a regional semifinal against Olentangy on May 23 at Ohio State, with the winner to play Westerville Central or Teays Valley in a regional final at noon Saturday, May 26, at the same site.
The regional champion plays Canfield, Willoughby South, Brunswick or Massillon Perry in a state semifinal May 31 at Firestone Stadium in Akron. The state final is June 2 at the same site.
Of the four Central District teams that advanced to the regional, Gahanna was seeded the highest in the district at No. 6. Teays Valley was 10th, Olentangy was 13th and Westerville Central was 19th.
Mount Vernon, which was seeded 15th, allowed two home runs to Addie Kittel and one apiece to Gracey Day and Molly Troutman.
The Yellow Jackets trailed 13-9 heading into the seventh. After cutting it to 13-10, left fielder Ericka Harmon threw out a runner at third base for the game's final out.
"The past couple games we've been (practicing) working from behind," said Kittel, who pitched a complete game in the district final. "This game really helped boost our confidence. (My defense) has done a really good job of backing me up. We really just were on top of the ball all day and got it done."
The girls track and field team is hoping it ends the week with a fourth consecutive Division I regional championship.
The regional began May 23 and concludes Friday, May 25, at Pickerington North. The top four finishers in each event advance to the state meet June 1 and 2 at Ohio State.
In the 16-team district 2 meet that concluded May 19 at Hilliard Darby, Gahanna earned its sixth championship in a row as it scored 164 points and won nine events. The top four in each event qualified for regional.
Amariah Thomas won the 100 meters (12.77 seconds) and the 200 (26.51), Alexis Thigpen was first in the 400 (56.55), Madison Martinez won the 800 (2:14.0), Faith Hunter was first in the high jump (5 feet, 5 inches) and Lacey Stringer won the shot put (38-11). Also capturing titles were the 800 relay of Joi Bradley, Shaina Rutledge, Thigpen and Thomas (1:42.79), the 1,600 relay of Shynae Deas, Allison Groves, Thigpen and Thomas (3:57.61) and the 3,200 relay of Deas, Groves, Martinez and Claire Steigerwald (9:07.09).
Earning runner-up finishes were Deas in the 800 (2:14.02), Brooke Johnson in the shot put (37-1 1/2), Martinez in the 1,600 (5:14.99), Steigerwald in the 3,200 (11:36.49) and the 400 relay of Nya Bailey, Trinity Houpe, Rutledge and Zoe White (49.6).
Also advancing were Ciarra Carter in the long jump (fourth, 16-0), Houpe in the 300 hurdles (third, 45.53), Bronte Johnson in the discus (third, 111-2), Rutledge in the 100 (fourth, 12.62) and Steigerwald in the 1,600 (third, 5:15.5).
The boys track team also defended its district title, scoring 109 points to win the 16-team district 2 meet.
The Lions captured four championships as sprinters Jerome Buckner and LaCarr Trent led the way.
Buckner won the 200 (21.8) and Trent won the 100 (10.93), and both joined Lee Bennett and Alexander Drenski on the first-place 400 relay (41.94).
The 800 relay of Bennett, Drenski, Jayden Hill and Joseph Gathuru also was first (1:29.23).
Earning runner-up finishes were Trent in the 200 (22.08) and the 1,600 relay of Davion Bryan, Drenksi, Hill and Ian Slaughter (3:24.56).
Also moving on to regional were Buckner in the 100 (third, 11.15), Cameron Riddle in the shot put (third, 49-8 3/4), A'Che Sanchez-Baccus in the shot put (fourth, 49-5 1/4), Kelly Wilson in the 110 hurdles (fourth, 15.32) and 300 hurdles (fourth, 40.36) and the 3,200 relay of Donovan Hight, Riley Jackson, Caleb Shovlin and Tyler Story (fourth, 8:09.79).
The sixth-seeded boys volleyball team opened the Division I East Region tournament by beating 15th-seeded Pickerington Central 23-25, 25-16, 25-12, 26-24 on May 19 in a second-round match at Olentangy.
The Lions advanced to a regional semifinal against seventh-seeded Olentangy Liberty on May 22 at Olentangy. The winner plays second-seeded Olentangy or eighth-seeded Westerville Central in a regional final at 6:30 p.m. Friday, May 25, at Westerville Central.
The state tournament is June 2 and 3 at Capital University.
Gahanna, which lost to Dublin Jerome 29-27, 25-19 on May 15 in the OCC Challenge, was 15-9 before facing Liberty.
On May 16 in a Division I district semifinal at Marysville, the 20th-seeded baseball team nearly upset fifth-seeded Upper Arlington.
The Lions led 7-4 after two innings but gave up one run in the fifth. Then in the bottom of the seventh, the Golden Bears scored three times to win 8-7.
UA then lost to eighth-seeded Lancaster 8-5 in a district final May 17 at Grove City.
The Lions finished 15-11 after earning back-to-back regional runner-up finishes.
"It was a battle between two good baseball teams," coach Mike Shade said. "Both teams fought hard and we knew it was going to be tough."
Although the girls lacrosse team beat Pickerington Central 9-5 on April 17, things didn't go in Gahanna's favor in the rematch May 14 in the Division I, Region 3 tournament.
The seventh-seeded Lions lost one of their players early in the game to a second yellow card and also played most of the game without sophomore midfielder Julia Foresi after she suffered a first-half injury.
The ninth-seeded Tigers went on to beat Gahanna 18-9 in the second-round game.
The Lions finished 11-7 overall to set the program record for wins. They went 10-8 last season.
"We lost Julia, which was rough," first-year coach Maggie Maley said. "This is the best record Gahanna has had, so that's cool. We like to be on the up-and-up."
The Lions won their first nine before enduring a five-game losing streak. They closed the regular season with wins in two of their final three, beating Chillicothe 10-4 on May 8, losing to Darby 10-8 on May 9 and beating Westerville South 18-6 on May 11.
Gahanna went 4-2 in the OCC-Central to finish behind UA (6-0) and Dublin Coffman (5-1) and ahead of Pickerington North (3-3), Pickerington Central (2-4), Hilliard Davidson (1-5) and Marys-ville (0-6).
The Lions lose a five-member senior class that was led by midfielder Stephanie Shirey, goalkeeper Samantha Stafford and defender Makina Walt.
Foresi was among the team's leading scorers along with junior attacker Melanie Whalen.
Juniors Sydney Ankrim (midfielder), Elizabeth Babcock (defender), Lexi Bochenek (goalie) and Morgan McIlwain (midfielder), sophomores Izabella Belesovski (attacker), Julie Bray (defender) and Tatum Myers (defender) and freshmen Casey Bare (attacker), Emily Burkhart (defender), Brooke Gates (defender), Anna Linnabary (attacker) and Haley Meheren (goalie) are others eligible to return.
"We had (three freshmen) who played a decent amount, so this was good experience for them," Maley said. "I'm excited for our attack for next year."
Of the boys tennis team's postseason representatives, all but one was a senior.
Seniors Colin Jordan and Daniel Shtein, who played first and second singles, respectively, during the regular season, had their season end with a 6-1, 6-2 loss to Olentangy Orange's Jordan Phelps and Alex Heiden in the first round of the Division I district tournament May 17 at Hilliard Bradley. Phelps and Heiden went on to finish fourth and advance to state.
Jordan and Shtein finished fourth in a sectional May 10 and 12 at Reynoldsburg to advance to district.
In singles at sectional, senior Josh Russell lost in the second round, senior Oliver Cope lost in the first round and senior Josh Miller lost in a play-in match.
Senior Connor Barnette and sophomore Kyle Fout lost in the second round in doubles.
Fout spent much of the season at third singles and is the favorite to take over at first singles next season.
In the Ohio Tennis Coaches Association team tournament, the Lions lost to New Albany 4-0 on May 14 in a Division I district semifinal to finish 12-5 overall.
Gahanna won a share of its third consecutive OCC-Ohio title, as it tied Pickerington Central and Pickerington North at 4-1, ahead of Lancaster (2-3), Grove City (1-4) and Reynoldsburg (0-5).
"We'll take a share of the title for the third straight year," coach Chris Schwinnen said. "It's been a great season."


In case you're missing any of the action from the 2012 MTV Video Music Awards, we've got a complete winners recap right here for you on PopCrush! Did VMA frontrunner Drake come out on top with as many awards as he was nominated for? Did indie hit makers Gotye or M.I.A. end up taking the Video of the Year VMA in an upset over reigning pop princesses Rihanna and Katy Perry?
Check out our full list of the 2012 MTV Video Music Award winners, including Demi Lovato -- who won during the pre-show for Best Music Video With a Message -- and One Direction, who received two moonmen!
Rihanna Feat. Calvin Harris, 'We Found Love' -- WINNER!
One Direction, 'What Makes You Beautiful' -- WINNER!
Drake feat. Lil Wayne, 'HYFR' -- WINNER!
Chris Brown, 'Turn Up the Music' -- WINNER!
Nicki Minaj, 'Starships' -- WINNER!
Calvin Harris, 'Feel So Close' -- WINNER!
Demi Lovato, 'Skyscraper' -- WINNER!


text:
Jozef Maria Aloys Janssens (vanaf 1912 met toevoeging de Varebeke (Sint-Niklaas, 29 mei 1854 – Antwerpen, 29 juni 1930) was een Belgisch kunstschilder uit de Antwerpse School.

Levensloop
Hij was de oudste van de tien kinderen van de industrieel en volksvertegenwoordiger Theodoor Janssens (1825-1889) en van Marie-Angélique Beeckman, en behoorde aldus tot de later in de Belgische adel verheven familie Janssens de Varebeke uit Sint-Niklaas en verwant aan de familie Nobels. Veel van zijn nauwe verwanten waren terug te vinden in de katholieke clerus of onder katholieke politici. Zijn neef August Nobels was de bekende priester-kunstenaar en oorlogsaalmoezenier, vier van zijn broers werden priester, onder wie kanunnik Frans Alfons Janssens en Henri Janssens, theoloog, benedictijn en bisschop. Zijn oom Louis Janssens-Smits (1832-1884) werd senator en zijn oom Alfons Janssens (1841-1906) werd volksvertegenwoordiger. Hij trouwde met Lucie Hye Hoys (1866-1955), een lid uit de Gentse welstellende burgerij.

Na zijn eerste opleiding bij Jan Swerts, vervolgens in Düsseldorf bij Franz Ittenbach en Karl Müller, en nadien weer bij Jan Swerts en bij Godfried Guffens in Brussel, afgerond met een verblijf in Italië van 1875 tot 1978, onder meer bij L. Seitz, bouwde hij een degelijke carrière uit als kunstenaar. Hij schilderde vooral religieuze taferelen en versierde veel neogotische kerken met fresco's. Stilistisch wordt hij gerekend tot de late neogotiek.

Hij maakte ook talrijke portretten van edelen en clerici. Hij was pas 24 toen hij in 1878 het portret mocht schilderen van paus Leo XIII. Hij was bij de heilige vader geïntroduceerd door zijn broer Henri Janssens, seminarist-student in het Belgisch College in Rome, door Mgr. Victor van den Branden de Reeth en door Mgr Charles de T'Serclaes. Hierdoor werd zijn carrière gelanceerd.

Hij vestigde zich in Antwerpen. Tijdens de Eerste Wereldoorlog vluchtte hij met zijn gezin naar Engeland en leefde er van het produceren van kunstwerken, hoofdzakelijk portretten. Hij maakte er ook een prent onder de titel Praying for Belgium (1915) die op duizenden exemplaren werd verkocht ten voordele van de Belgische vluchtelingen.

In opvolging van Jules Helbig werd hij lid van de Koninklijke Commissie  voor Monumenten en Landschappen, waarin hij een actieve rol speelde.

Hij overleed in Antwerpen en werd bijgezet op het Schoonselhof.

Oeuvre

Vredekapel
Onder zijn werken bevinden zich in de Onze-Lieve-Vrouwekathedraal van Antwerpen:
 Het altaarstuk Onze-Lieve-Vrouw van Zeven Weeën (1905-1910).
 Het altaarstuk Onze-Lieve-Vrouw van de Vrede (1923-1924). Het houten paneel stelt koning Albert I van België in uniform en koningin Elisabeth als verpleegster voor, die de Maagd Maria aanbidden in het koor van de kathedraal. Voor de vorstin ligt een gewonde Belgische soldaat, die ze de zorgen toedient. De maagd wordt omringd door de patroonheiligen van het vorstenpaar en door kardinaal Désiré-Joseph Mercier. Op de predellae zijn verschillende oorlogsgebeurtenissen te zien, zoals de brand van Leuven, de verwoesting van Ieper en het bombardement van Antwerpen.

Portretten
Het repertorium vermeldt 435 door Janssens geschilderde portretten.
 Portret van Paus Pius X (1904)
 Portret van kanunnik Stillemans
 Portret van monseigneur Stillemans, bisschop van Gent (1906)
 Portret van kardinaal Mercier, aartsbisschop van Mechelen
 Portret van monseigneur van Rechem, hulpbisschop van Gent
 Portret van kardinaal Goossens, aartsbisschop van Mechelen
 Portret van Columba Marmion OSB, abt van Maredsous
 Portret van Placide Wolter OSB, abt van Maredsous
 Portret van moeder-overste Hyacinte Weghsteen
 Portret van graaf Florimond de Brouchoven de Bergeyck
 Portret van gouverneur Edouard Osy de Zegwaart
 Portret van baron Emile Tibbaut
 Portret van ridder Fritz Mayer van den Bergh (1901)
 Portret van kamervoorzitter Théophile de Lantsheere
 Portret van Edgar Tinel
 Triptiek Desclée (1893-1902) voor de abdij van Maredsous
 Portret van drie broers Janssens (1918) (Jozef zelf, Henri Janssens die onder de naam Laurent, benedictijn en bisschop werd, en Paul Janssens)

Familieportretten
 Portret van Anna Theodora Janssens de Varebeke (1909)
 Portret van Maria Janssens de Varebeke
 Portret van Jean-Baptiste Nobels

Literatuur
 Jubelfeest van den XXVsten verjaardag der Sint-Lucasschool, te Gent. Tentoonstelling. Naamlijst der kunstwerken in het Paleis der Gentsche Universiteit tentoongesteld, van 23 augustus tot 20 september 1891, Brugge, 1891.
 Herman STYNEN, De onvoltooid verleden tijd. Een geschiedenis van de monumenten- en landschapszorg in België 1835-1940, Brussel, Stichting Vlaams Erfgoed, 1998.
 GUY JANSSENS DE VAREBEKE & Michel VERWILGHEN, Jozef Janssens, 1854-1930. Peintre de l'art religieux et maître du portrait, 2 delen, Brussel, 2020.
 Bernard VAN DE WALLE DE GHELCKE, Boekbespreking van "Jozef Janssens, peintre de l'art religieux et maître du portrait", in: Bulletin van de Vereniging van de Adel van het koninkrijk België, januari, 2021.

Belgisch kunstschilder

redpajama_set_name: RedPajamaWikipedia


The Supreme Court will be hearing petitions in the Vyapam scam on Thursday. Senior Advocate Vivek Tankha said that the SC hopefully will order CBI probe under its supervision and truth will come out.
Watch how hearing impaired students play music!


"Homebrewing is a lot of fun until you need to bring some to a party. Nobody needs to hand bottle when they have a stylish growler that's ready to take the new brew on the road." So great to be included on this list! Orange Vessels make great gifts for anyone that loves delicious craft beer whether you brew it yourself or not.


After a year of teaching with the text, J-Source asked two j-school profs what they thought of Robert Cribb, Dean Jobb, David McKie, Fred Vallance-Jones' second edition of Digging Deeper: A Canadian Reporter's Research Guide. Here's what they had to say.
In the opening pages of The End of Iceland's Innocence, author Daniel Chartier accuses media of sensationalizing the facts to "create an ethos" with readers, and, as a result, of making the situation worse for Iceland. Not so fast, writes reviewer Claude Adams.
A few months ago, Christie Blatchford released Helpless: Caledonia's Nightmare of Fear and Anarchy, and How the Law Failed All of Us. The best work in the book, writes reviewer David Swick, is thoughtful, well-researched, and delivered with punch .But what about the rest? And, why don't we hear from one occupational leader in all 258 pages?
In Peace Meals: Candy-Wrapped Kalashnikovs and Other War Stories, correspondent Anna Badkhen writes about conflict and food, and how sharing a meal in "the most forlorn and violent places on earth" can be a reassertion of life itself. A review by Claude Adams.
Last year, 109 journalists died trying to cover the news. Reviewing two recent books dealing with journalism and danger, Dvorkin says some journalists teeter between recklessness and bravery in their hunt for the story.
Continue Reading A Dying Breed?
I.F. Stone made significant contributions to investigative journalism at a time in the U.S. when holding powerful institutions to account was seen as unpatriotic and disloyal, writes Cecil Rosner in this review of D.D. Guttenplan's new biography American Radical The Life and Times of I.F. Stone.


text:
VARIOUS: South Korea and China express anger as Japanese Prime Minister Shinzo Abe seeks understanding over his controversial Yasukuni war shrine visit
Title: VARIOUS: South Korea and China express anger as Japanese Prime Minister Shinzo Abe seeks understanding over his controversial Yasukuni war shrine visit
Date: 27th December 2013
Summary: BEIJING, CHINA (DECEMBER 27, 2013) (REUTERS) EXTERIOR OF CHINESE FOREIGN MINISTRY CHINESE NATIONAL EMBLEM CHINESE FOREIGN MINISTRY SPOKESWOMAN HUA CHUNYING WALKING IN FOR REGULAR NEWS CONFERENCE JOURNALISTS (SOUNDBITE) (Mandarin) CHINESE FOREIGN MINISTRY SPOKESWOMAN HUA CHUNYING SAYING: "We cannot help but ask, how can a person who is not willing to, not dare to face up to their own history, win the trust of the international community or lead people to believe he is able to play a role in maintaining regional and global peace and stability?" NEWS CONFERENCE IN PROGRESS
Topics: General,Politics
Reuters ID: LVA1TBERABK24UWDXDIV1C40K6M2
Story Text: South Korean protesters rallied on Friday (December 27) against Japanese Prime Minister Shinzo Abe's visit to the controversial Yasukuni shrine, seen by critics as a symbol of Japan's wartime aggression.
Abe visited the shrine on Thursday (December 26), infuriating China and South Korea and prompting concern from the United States about deteriorating ties between the North Asian neighbours. Abe is the first leader in office to pay homage at Yasukuni shrine in the past seven years.
About 200 anti-Japan protesters gathered in front of Japanese embassy in Seoul and burned Abe's effigy and slashed a Japanese flag.
"The visit revived militarism, distorted history and caused pain to many victims again. The Southeast Asian countries, the United Nations, the international society and we strongly condemn this kind of act by Japanese Prime Minister Abe," said a protest leader Park Chan-sung.
The South Korean Foreign Ministry on Thursday summoned an Japanese embassy official in Seoul to lodge a protest.
Abe, a conservative who took office for a second term exactly one year ago, said he did not intend to hurt feelings in neighbouring nations, and he visited the shrine to convey his resolve that people never again suffer the horrors of war.
"As a leader, praying for the repose of the souls and putting your hands together for those who perished in the war is something which leaders around the world do," Abe said on Friday.
"It is nothing more than that and I will continue to work hard to sincerely seek understanding for this," added Abe.
Chinese Foreign Minister Wang Yi also summoned the Japanese ambassador on Thursday (December 26) to convey China's "solemn protest" against Abe's visit to the shrine.
Chinese newspapers on Friday (December 27) denounced Abe, describing his visit to the Yasukuni Shrine for Japan's war dead as paying homage to "devils" and warning that China could crush "provocative militarism".
Chinese Foreign Ministry spokeswoman Hua Chunying said Abe's visit to the shrine "has already attracted the Chinese people's ire and denunciation".
"We cannot help asking how can a person who is not willing to, not dare to, face up to their own history, win the trust of the international community or lead people to believe he is able to play a role in maintaining regional and global peace and stability?" Hua told media at a daily briefing in Beijing.
Tokyo's relations with Beijing and Seoul are already strained by territorial rows and disputes stemming from Japan's wartime occupation of large parts of China and its 1910-1945 colonisation of the Korean peninsula.