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"These regular anthologies ... are becoming essential volumes for fans of short fiction."
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The 2018 Ghost Story Competition: now open for entries.
Wednesday, 1st November 2017.
The 2018 edition of the Fiction Desk Ghost Story Competition is now open for entries. This year there's a first prize of £500, along with second and third prizes. Entry costs £8, and the closing date is Wednesday, 31st January 2018. (The competition closes at midnight UK time, so don't get caught out if you're sending an entry from overseas.)
The main page of the competition can be found right here. Full terms of entry can be found at the bottom of our online entry form.
Winners from the last two years appear in our latest anthology, New Ghost Stories III. It's well worth picking up a copy if you want to see the stories that have been successful in the past – or if you just want a good spooky read to get you through the winter nights…
New Ghost Stories III is out now!
Friday, 29th September 2017.
Copies of our latest anthology are available now. New Ghost Stories III contains seven substantial tales of the supernatural, including the winners of our last two ghost story competitions. The contributors are Amanda Mason, Barney Walsh, Seth Marlin, Jerry Ibbotson, Philippa East, Richard Agemo, and Will Dunn.
If you're a subscriber or pre-ordered your copy, you should have already received it. If not, you can order your copy now directly from us right here. You can also take out a subscription to include this volume.
Announcing the winners of the 2017 Newcomer Prize
Monday, 31st July 2017.
It's time to announce the winners of this year's Newcomer Prize for Short Stories.
The standard of entries to our competitions is always high. People send in their best work, and judging the entries is as rewarding as it is challenging. Getting the entries down to a shortlist of ten stories was tricky, and picking two winners nearly impossible. But we're short story publishers: we're used to doing the impossible.
And so, here are the winners and shortlist of this year's prize. First, our shortlist of ten stories. All of the writers below will receive a selection of paperback Fiction Desk anthologies through the post:
Three More Days by Gayle Andrews
The Bus Stop by Becky Carnaffin
Uncle Dougie's Suitcase by Alastair Chisholm
The Insurance Policy by Christine Grant
Not Waving, But… by Maureen Hanrahan
All Washed Up by Chris Hogben
The Black Squirrel by Christopher Howard
Tool by Mac McCaskill
Recalculating Route by Mat Osman
Not Like Us by Sherri Turner
And now our two winners:
In second place, with a prize of £250:
In first place, with a prize of £500:
So congratulations to all of the above, and thank you to everybody who took part in the competition. This year's winners will be appearing in our twelfth anthology, due early in 2018.
The Newcomer Prize will open again for entries next year, but if you fancy trying your hand at very short stories, our flash fiction competition is open now. You'll find details of that one over in our submissions section.
Announcing the 2017 Fiction Desk Flash Fiction Competition
Tuesday, 4th July 2017.
After taking a break for 2016, we're delighted to announce that our annual Flash Fiction Competition is back for 2017 — and open now for entries!
This year we have a first prize of £300 and two runner-up prizes of £100. The entry fee for one story is £5, or you can enter two stories together for the special rate of £8.
The deadline is midnight (UK time) on Friday, 29th September. For full details, including our online entry form, head over to our submissions section.
Penguin Little Black Classics: a great resource for writers
Friday, 16th June 2017.
Penguin's Little Black Classics are a collection of short books (mostly around 64 pages, although some are longer), originally published in 2015 as a series of eighty volumes, to celebrate the 80th anniversary of the founding of Penguin. These first books were priced at 80p each. The volumes cover short stories, poetry, miscellaneous bits and pieces, and the odd slice of non-fiction. All are older works, largely from the 19th century; but with some going much further back, and the odd volume creeping in from the early 20th century.
The first eighty volumes did rather well: within a year combined sales of these little books had comfortably exceeded two million copies, and so in 2016 Penguin added a further 46 volumes (the first Penguin Classic was published in 1946, you see). Now they dropped the 80p business, with the new titles priced at £1, or £2 for a few slightly longer volumes. In 2017 the United States Constitution was published as a sole additional title, making the total number of Little Black Classics in print today 127.
This isn't the first time that Penguin Classics have bombarded us with tiny little books: the 1995 anniversary was celebrated with Penguin 60s: those cost 60p, and totalled 180 volumes covering a range of subjects including biography, travel, classics, and sixty more modern stories from the likes of Martin Amis and Muriel Spark — perhaps Penguin had more of a budget for licensing and royalties in those heady 1990s. (The full list of Penguin 60s is on Wikipedia.) In 2011 they marked the 50th anniversary of Penguin Modern Classics with fifty 'Mini Modern Classics', a series of slightly more recent volumes at £3 each.
Getting back to the current series, when the first volumes came out I took note, vaguely hoped to find a cheap boxed set of all eighty books somewhere, and then forgot all about them. I must admit, I expected them to disappear quickly. Not because they're not worth buying (they certainly are), but because in the days of online free postage and real bookshops with squeezed margins, small very cheap books didn't seem particularly practical. But as the list has grown, and been embraced by millions of readers and at least some bookshops (my nearest Blackwell's has a full bay of them; or did until I got my hands on it), perhaps it bears revisiting.
For writers in particular, the Little Black Classics series is a fantastic resource. It's vital that writers read as widely as they can, and familiarise themselves with as many authors, styles, and ideas as possible.
Anthologies are one great way to do this, whether they're specific themed collections of periods or genres, or attempts to take in a wider picture, like the two-volume Penguin Book of the British Short Story that Philip Hensher edited a few years ago (and there are of course still wider pictures than just British short stories). As a quick overview, these anthologies are terrific; and for obvious reasons, The Fiction Desk likes anthologies.
Anthologies generally only contain one story by each author, however, and while these individual stories might bring a writer to your attention, they can only tell you so much about their work. The logical next step, the single-author collection, will take you much deeper into an author's work, but it's impractical to read as many of these longer collections as you might want to, particularly when you're also trying to keep up with more modern writers.
The Little Black Classics come somewhere in between, usually containing two, three, or four stories by the featured author. Having these extra stories on hand gives you just a little of the context and depth that you normally need to go to a collection for, but the price and size makes them much more accessible, much easier to take a chance on.
Here then is an opportunity to find out whether Mark Twain's humour still hits the spot, and think about why it succeeds or fails in the modern era; to take a look at how Arthur Conan Doyle's supernatural fiction compares to the Holmes stories (sometimes Conan Doyle is surprisingly good, and sometimes he's surprisingly bad); to examine HG Wells' ability to spin a gripping tale with economy and vitality (Wells is one of the few authors to be honoured with two volumes in the series); to finally take a look at the short fiction of Thomas Hardy (another one); or Balzac or Washington Irving or whoever else you've not quite got around to yet — or whose work you need to revisit to freshen your memory.
I'm concentrating on the short fiction because that's what we do here; the poetry and non-fiction volumes in the series offer similar delights and, again, further opportunities for exploration and discovery.
The Little Black Classics are available from some online outlets, but not all: Amazon has them in both paperback and Kindle form; The Book Depository — whose 'free worldwide delivery' seems to steer them away from any book costing under about £2 — have only the boxed set of the first eighty volumes. But ideally, you want to find a physical bookshop in your area that has them there on the shelf, where you can browse properly and make a habit of picking out a volume, or a handful, whenever you happen to be passing.
It would be great if the series could be expanded to include slightly more recent work, as was the case with the Penguin 60s, but there's still plenty here to be getting on with. You'll find that one of those nasty plastic fivers can be converted into a lot of nice black books.
— Rob
Announcing the winners of the 2017 Ghost Story Competition
Thursday, 30th March 2017.
Today I'm very pleased to be announcing the winners and shortlist of our 2017 Ghost Story Competition.
Judging this competition is one of the great pleasures of working with The Fiction Desk, and this year's entries have been very strong indeed, possibly the strongest to date.
As usual we'll start with the shortlist. All of these authors will receive a three-volume subscription to our anthology series:
Richard Agemo: The House Friends
Jacqueline Burgoyne: Borrowed
Alastair Chisholm: Exhalation
Amanda Crum: The Body Farm
Will Dunn: Des Nuits Blanches
Philippa East: The Archivist
Randi Berg Ferstad: Benjamin
Amanda Mason: When the Dark Comes Down
Henry Peplow: Take Me Home
Victoria Richards: The Camera
Darren Todd: What Meets in the Dark and Rain
Christopher Youds: The Reclaiming
And now the winners:
In first place (£500 prize): Will Dunn: Des Nuits Blanches
In second place (£250 prize): Philippa East: The Archivist
In third place (£100 prize): Richard Agemo: The House Friends
Congratulations to all of the above writers. Again, it's been a particularly strong year for entries. We'll be putting the winners of this year's competition together with the 2016 winners and a selection of other stories in our next anthology, New Ghost Stories III.
The next edition of our ghost story competition will open for entries in November 2017. Keep an eye on the competition page for more details closer to the time.
Announcing the winner of the Writer's Award for Separations
Wednesday, 23rd November 2016.
It's time to announce the winner of the Fiction Desk Writer's Award for our tenth anthology, Separations.
The Writer's Award is a prize of £100, presented to the author of the best story in each of our anthologies, and voted for by the contributors to that volume. This makes it a genuinely peer-judged prize, and a great way of recognising talent.
Separations featured some tough competition for the award, as it contained some superb work, including two stories by previous winners: S R Mastrantone and Alex Clark. In the end our authors decided that the Writer's Award should go to Fiction Desk newcomer Hannah Mathewson, for her story 'Two Pounds, Six Ounces', which tells of a hospital visitor's crisis when a power cut knocks out the lights in the building.
Congratulations, Hannah!
Alex Clark on 'Poor Billy'.
Friday, 28th October 2016.
Our occasional 'Stories behind Stories' series features our writers talking about the inspiration and ideas behind their work. Here, Alex Clark tell us how she came to write 'Poor Billy', which is featured in our current anthology Separations.
Ghosts, it seems, are usually attached to places. The haunted house, the haunted graveyard, the haunted wood: as Halloween approaches, you'll see them adorning everything from boxes of biscuits to babygrows. A thousand horror films have at their centre the Bad Place, where no-one should go but we know they will: the place where the unquiet spirit waits, seeking justice or vengeance.
Give this a moment's thought, and it's a bit odd. Why don't the ghosts go out wandering? Why don't they go looking for the people who've done them wrong? Or try to correct whatever terrible mistake led them to be stuck in the real world? Of course, in some stories and in some other cultures, they do. The ghost in Western culture, though, is usually stuck on its home turf, acting out the same horrors over and over again.
With the dawn of spiritualism, in the Victorian and Edwardian period, it was inevitable that people would start investigating why this might be. Intelligent, rational people set out to investigate hauntings, feats of mediumship and black magic. For a glimpse of the true weirdness of this time I strongly recommend a visit to the Wikipedia page for Harry Price, amateur magician and psychical researcher of the early twentieth century, which features tales of talking mongooses, egg-white ectoplasm and boys transforming into goats.
The idea of seriously investigating these kinds of phenomena seems ludicrous to us now, yet many of the investigators were not fools. They knew that most of the supernatural claims were hoaxes, but they believed that it was possible they might find a tiny core of genuine paranormal activity. This activity could then be investigated, to find the mechanisms by which apparitions might appear to people in the everyday world.
New theories sprung up, theories distinct from previous religious, moral or superstitious understandings of what 'ghosts' might be. Victorian psychical researchers William Fletcher Barrett and Eleanor Mildred Sidgwick, for instance, suggested that strong psychical energy could become imprinted upon materials such as wood or stone, remaining there and disturbing the minds of later visitors. In the mid twentieth century, Welsh philosopher H.H. Price expanded on this and suggested that ghosts might not be unquiet souls, but some kind of memory or recording, held in the matrix of the physical world. His theory of 'place memory' suggested that a strand of memory from a person's mind might attach itself to the physical environment and lodge there, experienced by others as hallucination.
Later, in the 1960s, all these theories were gathered by parapsychologist Thomas Lethbridge to argue for 'stone tape theory', the idea that ghostly phenomena are recordings of historical events, stored in the stone and wood that witnessed those events. Ghosts, in this theory, are inanimate shadows, acting out a short loop of the past over and over and over.
Whilst I love the idea of stone tape theory, there are some big problems with it. The first of my objections is: why no happy ghosts? Or ghosts who have strong emotions, but about ridiculous things? If stone tape theory held true, then maternity units the world over would be plagued by endless replays of new-baby bliss, registry offices would be impossible to work in and the M25 would be infested by apparitions with road rage. Furthermore, why are almost all supposed ghosts dead people? Wouldn't there be lots of recordings of living people?
And this is where Poor Billy started to take shape. Rather than wood or stone, concrete seemed the natural material on which to store a psychical recording. There are very few stone castles and timber-framed houses knocking around nowadays, but an awful lot of concrete tower blocks. Concrete has all of those properties that Billy talks about in the story: it's great at absorbing sound and heat, so why not memory too? Why not a happy memory? When Maggie's mum describes the ghost as 'just a snatch of him,' this is what I had in mind: a fragment of the past, like a radio station caught and lost again, or a TV channel flicked over.
I've written here before about my former career as an archaeologist, and it amuses me to note that many of the early psychical researchers were archaeologists before becoming paranormal investigators. Perhaps there's something about studying the past, about wanting to know what life was like there, that draws the mind towards ghosts. I know myself that to pull an object out of the ground, to know that the human being who last touched it walked the world of the 1570s, is extraordinary. It is easy to think that the present is the only real time that there has ever been, and that the past looked like a film, or a tapestry, or an illuminated manuscript. It didn't. The sun shone, the wind blew. 1570 was the only reality, and it was happening just where you're sitting, reading this. Hundreds of millions of dramas and revelations and deaths have been acted out on every patch of this earth, and all of them are vanished. It seems inconceivable that those emotions left no trace. How appealing it is to imagine that they might have done, and that we might be able to replay those memories and see the past for ourselves.
It was perhaps because of my archaeologist's training that I was unable to stop myself planting a small artefact in the story, an in-joke of my own. The architecture firm for which Billy works is named Sidgwick Barrett Price, a nod to the people whose ideas birthed stone tape theory. I think they would find it funny. If they don't, I do hope they won't come visiting.
— Alex Clark
Quays: revisiting Manhattan with Richard Smyth
Wednesday, 21st September 2016.
Fiction Desk contributor Richard Smyth is in the process of crowdfunding his new novel Quays through publishing platform Unbound. Here he tells us about the novel, and its connections to his Fiction Desk story, Crying Just Like Anybody:
Richard has now added a new reward for supporters on his Unbound page. For £35, pledgers can choose to receive both a signed copy of Quays and a signed paperback of Crying Just Like Anybody. Visit his Unbound page and scroll down for details.
I had this map of Manhattan tacked up over my desk for a couple of years. It shows Manhattan Island in 1916, a century ago, just before the US entered the war. The Battery, on the tip of the island, is at the bottom; 110th street, north of Central Park and south of Harlem, is at the top. In the middle – "way out of the way in midtown", to be exact – is where I set my story 'Crying Just Like Anybody'. And it's where Tom Quays, the hero of my new novel Quays, grew up.
Around here no-one calls anyone by their right name. There's little Tomas Quis who's Spanish but he's called Tom Keys, and there's my sister Jesca and the boys call her 'Yes' and make dirty jokes about it. At the repair shop Mr White is really Mr Weiss and then there's Si Portman who works for the grocer and wears braces on his legs, and he's just called Dumdum. Johnny ought to be Gianni really but everyone calls him Johnny. He doesn't mind.
I'm not sure which Tom Quays – or Tom Keys, or Tomás Quis – came first; I have an idea that the Tom of Quays (then barely even a work in progress) strolled into the New York of 'Crying Just Like Anybody', but it could have been the other way around, and in any case these things are seldom clear-cut – all these little worlds bleed into one another.
Why New York? Why midtown Manhattan? Why there, and why then? In one sense, there's a straightforward answer: books. In my early twenties I was led through urban America by a succession of library paperbacks: Upton Sinclair's The Jungle, Henry Roth's Call It Sleep, Theodore Dreiser's Sister Carrie, and, from after the war, John Dos Passos's Manhattan Transfer most of all. Non-fiction fleshed out the picture: Luc Sante's Low Life, Anne Douglas's Terrible Honesty.
I found that there was room in this world for the stories I wanted to tell. Of course, some of these stories – stories about love, death, war, sex – could have been told in any place at any time, but others played on themes that I picked out most clearly in the madly symphonic Manhattan of the early 20th century. These were stories of immigration and identity, of political radicalism, of literary fame, of escape, ambition and opportunity.
The Fiction Desk chose to publish 'Crying Just Like Anybody' as the title story in its fourth short-fiction anthology in 2012. It remains one of the stories I'm most proud of; it's certainly one of the stories I'm most fond of. I've spent a lot of time thinking about these streets: sending Tom Quays stumbling drunk along Broadway, or putting Dorothy Parker on Pearl Street at midnight, or letting Anna Moller look up at the stars from Coenties Slip. I know this place better than anywhere else I've never been.
If it's possible to escape from the places you grew up (and I'm not at all sure that it is) then Tom, in Quays, does escape the crowding alleys of midtown: he goes to war, first of all, and then is plunged into the smoke and glitter of the Jazz Age literary scene. But his past – the grimy Manhattan of 'Crying Just Like Anybody' – won't ever really let him be. He finds its shadows in an upstate mental asylum, in the offices of Metropolitan magazine, in the history of his city, in his own books and stories.
It's been kind of like that for me. I spent a lot of time in this place – pretty much all of it without leaving my office chair – and it probably won't ever really let me be, either.
People seemed to connect with 'Crying Just Like Anybody', with Anna and Johnny and the sorry-looking Martian they find in midtown Manhattan. I think they'll connect with Quays, too: I think anyone who ever feels lost in a big city, or who has ever wanted to escape without quite knowing where from or where to, will get along with the novel (as will anyone who wants to read about Damon Runyon reporting from a WW1 shell-hole or a drunk novelist applying Freudian theory to the Dempsey-Tunney fight – it has something for everyone).
The Manhattan of Quays is my Manhattan; Unbound's crowdfunding model means that it can stay like that, just as I dreamed it up, without creative compromises or focus-grouped revisions, all the way to the bookshop shelf. It's a terrific place, and it'd be wonderful if you could read the excerpt, pledge to the book, and maybe (cue clink of cocktail shaker, hum of passing El train, opening bars of Rhapsody In Blue) join me there.
— Richard Smyth
Richard Smyth's prize-winning stories have been published in The Fiction Desk, Structo, The Stinging Fly, Riptide, Minor Literature[s], The Stockholm Review, Foxhole, The Lonely Crowd, Haverthorn, Firewords Quarterly, Vintage Script, The Nightwatchman, Cent and anthologies from Arachne Press and Ink Lines.
His first novel, 'Wild Ink', was published in 2014; he also writes for the TLS, The Guardian, The New Statesman and a few others.
You can pledge to buy his new novel 'Quays' – and pick up rewards including one-to-one writing mentorship – at: https://unbound.com/books/quays.
Volume 10: Out Soon!
Friday, 2nd September 2016.
Our tenth anthology, titled Separations, is out on September 19th.
Copies will be sent out to subscribers and pre-orderers as soon as they're back from the printers, usually a few days earlier.
Speaking of which, to pre-order your copy, or to read full details of the new anthology, go over here.
< view newer posts or view older posts >
News from The Fiction Desk
The Stories Behind Our Stories
Writing Advice and Ideas
Reading Diary
Somewhere This Way: The Writer's Award Winner
Call for Short Story Submissions: Houses and Homes
Announcing our latest Writers' Award winner
Why we've stopped running writing competitions
The Winners of the 2018 Newcomer Prize for Short Stories
Quick Guide to File Formats for Short Story Submissions
Do Fiction Writers Still Need Whitaker's Almanack?
Announcing the winners of the 2017 Flash Fiction Competition
Announcing the winner of the New Ghost Stories III Writers' Award
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Same Sex Couples and "Divorce" under New Illinois Law
On Behalf of Gabrielle S. Davis, P.C. | Apr 10, 2016 | Same-Sex Couples & Divorce
Same sex couples go through "Divorce" in Illinois even though they never married. What if they have children?
New law in Illinois changes the rules! The new Illinois Parentage Act which took effect January 1, 2016 is gender neutral and recognizes same sex parents. It recognizes gay parents who are splitting up instead of divorcing because they were never actually married.
You cannot fight for custody if the law does not recognize you as a parent. This has had a particularly devastating effect on the Gay Community.
In line with the legalization of Gay Marriage in Illinois, the new Parentage Act recognizes that the definition of who is the parent is not limited to a man and a woman. The Illinois Parentage Act of 2015 which was signed into law by Governor Bruce Rauner in July of 2015 takes out the words "man and woman" when defining who can be a parent and substitutes the words "parent". By eliminating the old language of a man and a woman, the new law recognizes parental rights regardless of the parents' gender.
The new law specifically states that a person can be a "Parent" without ever having been married to the other person and without regard to whatever the legal relationship between the two parents is or was.
Who is presumed to be a parent without a DNA Test? Traditionally a man was presumed be the father of a child if the child was born during the parties' marriage. The new law states that a child is presumed to be yours if he or she was born during a civil union or a substantially similar relationship. Alternatively, a presumption of parentage attaches if the child was born within 300 days after divorce or a substantially similar relationship.
Although this new law doesn't answer all of the questions gay parents face, it at least is gender neutral. For more information as to how this new law might impact your situation, contact a custody lawyer.

redpajama_set_name: RedPajamaCommonCrawl


Vitamin A creams eg Retinol can improve sun damage and mild wrinkling. They are useful as maintenance and can be used in combination with other anti wrinkle treatments. Vitamin A creams can be combined with Vitamin C creams and glycolic acid.
Frown lines and crow's feet can be successfully treated with injections, which last 3-4 months. Due to TGA regulations, the names of these injections cannot be used on the website, but if you contact us these details can be provided.
3. Injections to Fill wrinkles.
There are many new injectable fillers which can be used for fine lines around the mouth, eyes and other areas. They can be used also to enlarge lips, fill areas of the face that have lost volume eg cheeks and hollows under the eyes. Fillers can be temporary (lasting 3-6 months), semipermanent ( lasting 12-18 months), and permanent. Due to TGA regulations, the names of these injections cannot be used on the website, but if you contact us these details can be provided.
Fractionated lasers eg Fraxel can improve some wrinkles, but generally less than 50% and require at least 4-5 treatment session. Some newer fractionated carbon dioxide lasers produce better improvement in wrinkles, but need at least 2-3 treatment sessions.
This is a newer non laser heat source which can improve wrinkles by more than 50% in one treatment session. It is especially good for wrinkles around the eyes.
This is the gold standard for skin rejuvenation, and can produce dramatic reduction of wrinkles in one treatment session. It is particularly good for wrinkles around the mouth and is long lasting. Healing time is long and redness can last for months.
Chemical peeling can be useful for wrinkles depending on the strength of the peel. They range from superficial (glycolic acid, salicylic acid, lactic acid), medium (trichloroacetic acid) and deep (phenol). Chemical peels may be combined with other treatments.


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The Walls Have Ears (and eyes and tentacles and pigeons)
Every time I go to another city I usually end up taking a tour of some description. Not the hop-on hop-off buses but something to do with food, architecture or music. But I very rarely do it on home turf. Recently, however, I took a walking tour with Alternative London, concentrating on the history, art and architecture of the East End and how it has changed. And changed it certainly has. When I worked in Wapping I used to walk up to Spitalfields Market for lunch from the rather ramshackle but tasty stalls. It was a shock to see the gleaming (and ubiquitous) Wagamamas, Leons, Canteens etc in their place. The old market now looks like a clone of the new King's Cross Station concourse, albeit with out the trains.
But the main point was to look at the street art. The guide was a young Australian called Keir Ralph, who knew an impressive amount about everything from Hugeunots to hip-hop pigeons (as placed around the streets by artist Ronzo). He also pointed out otherwise hard-to-spot works, including diminutive sculptures and plaques by 'Jonesy', rumoured to be a sixty-odd-year-old Welshman, who must be pretty fit for his age, given some of the climbing involved in placing his installations.
Hanbury Street was an early stop – it has Belgian artist Roa's crane, Guy Denning's lady's head and (not shown) Alexis Diaz's elephant-cum-octopus, which could be an early seventies prog-rock album cover.
Below is a portrait of Charlie Burns, a Brick lane legend, on Bacon Street, who died in 2012, aged 96, by Ben Slow.
On the same street, another tribute, this one to Lou Reed, by Dscreet.
On Brick Lane, one of New Yorker Colette's augmented street signs.
And a giant hand (aka David and Goliath) by Argentinean Martin Ron on Holywell Lane, which took eight days to complete.
You'll also see work by Swoon, Monster, Mighty Mo, Cranio, the Burning Candy collective, Gold Peg, Sweet Toof, Citizen Kane, Space Invader.. it's a very worthwhile two hours of re-educating yourself where to look for (and how to look at) street art. At the end you pay what you think the tour is worth – most people gave five or ten pounds. Details on: http://www.alternativeldn.co.uk. Also see: http://streetartlondon.co.uk. Given the ephemeral nature of the art, though, expect there to be a whole new catalogue when you go.
This entry was posted in Travel on November 21, 2013 by Robert Ryan.
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Access to 2 stand-alone personal umbrella markets: RLI (preferred) and Anderson & Murison (alternative). Protect yourself from "failure to offer" E&O claims; offer a personal umbrella to every client.
Big "I" Markets has been without an event liability market since February. As we searched for a new market, we found an old friend with a fresh new brand. We are thrilled to announce the return of Event Insurance Now (previously known as Gales Creek Insurance), now with fully admitted markets, broader coverages, and greater appetite.
Public liability for single day, short term, and annual policies is available. In addition to GL, HNOA liability, umbrella and liquor liability can be offered. One day events generally can be quoted in a single business day.
Coverage can be placed for the individual or entity hosting the event quickly. For those providing services to events, such as DJ, caterers, florists, and photographers, Event Insurance Now has a product as well. Vendors can secure coverage on a short term or annual basis.
Weddings start at $225 and can be at public venues or private residences. Parades start at $335.
We have no limit on event size: bring us your largest accounts! Event Insurance Now can also insure overnight events with camping.
Event Liability Insurance is available in all states, so lead a parade over to Big "I" Markets and check it out.
Imagine this scenario: A bank handles its employee retirement plan and suddenly finds itself being sued by the Labor Department for charging excessive fees. Even if it turns out to be just sloppy bookkeeping, thousands of dollars will need to be spent on the defense. Hundreds of thousands or even millions could be levied/awarded if the charges are true.
Even when a bank fails, its officers can still be sued and it's not true that the FDIC only goes after the directors and officers of those that have director and officers' liability insurance.
Offering coverage for a local bank, including D&O, is easier than you think with the Big "I" Markets Community Banks Business Insurance Program. Because our partner Travelers understands that few agents have extensive knowledge about banks, they will walk with you through the entire operation, explaining the process and details of coverages. Travelers will even go with you to pitch the coverage to the client. Travelers is there to guide you every step of the way.
November 16 - 1:00 - 3:00pm EST. "Builders Risk". Builders Risk insurance is meant to provide protection against the financial consequences of accidental losses which occur during the course of construction, renovation, or installations. This area of the insurance industry is largely misunderstood by many insurance professionals, including those that advise on the procurement of such insurance. This is further complicated by the fact that many insurers use differing proprietary coverage forms. Increase your knowledge in this two-hour webinar. Click here to learn more and register.
In doing some research, I stumbled upon the birth of the first multiple line insurance policy in our fair industry: Homeowners. What a great story!
You can see the innovation turned out to be quite a nice premium event…and not the least for The Insurance Company of North America ("INA") who was the only writer of the line for several years. Before 1950 and when INA filed the form, most insurance was written by separately regulated and narrowly focused insurers writing only "property" (fire and extended perils) or "casualty" (liability and medical payments). In fact in the filing made on August 11, 1950 in Pennsylvania, the form was even called "Homeowners Policy Multiple Form." Before 1950 to duplicate the same outcome, you probably needed multiple policy issuing insurers to obtain Dwelling Fire Policy, a Personal Articles Floater and a Personal Liability Policy and you might still be missing extended perils on your home and medical payments. The situation was ripe for change.
This brings me to the reason for my review of the origins of multiple line forms. Are we ripe for change? Do we need an omnibus multiple line form that would cover many of the coverages often not purchased by consumers… even though we know they should purchase them? We know too well the low penetration of personal umbrellas and lower penetration still is consumers purchasing high limits of Uninsured and Underinsured Motorist. What if we could combine other overlooked coverages to drive conversations with consumers? Think about in-home business coverage for all the work-at-home and 1099 situations. How about renters insurance for young adults and the rising exposure with millennials for non-owned automobile liability from rented or shared cars? What about all the dollars that flow into PDA "insurance" on consumer cell phone bills and coverage for property in storage facilities? What else might be added to something as "radical" in the day as homeowners was in 1950? Have an idea? Have an idea?
Do you think such a program would work on Big "I" Markets? Send me an email at paul.buse@iiaba.net.
Congratulations to this week's winners - Jack Harris (IN), Jane Hamada (CA), Nikki Eagle (NM), Megan Thomas (OK) & Cheryl Sedich (CT).
Congratulations to our agent in Mississippi on a small commercial market sale of $3,089 in premium!


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The children have compulsory schooling between the ages of 5 and 16. The school is free of charge, but spending on school uniforms, transport and books can be a challenge for poor families.
Almost all children go to preschool for at least a year before starting at the age of 5. Then follows eleven school years, divided into a six-year and a five-year stage. The proportion of children who complete all school years has increased after an expansion of schools in the 1990s and is around 90 percent.
COUNTRYAAH: Country facts of St. Vincent and The Grenadines, including geography profile, population statistics, and business data.
Most schools are state-run, but there are also private schools run by churches but largely funded by state funds. There is a shortage of educated teachers.
For higher education there is a teacher's seminar and a technical institute. Since 2001, there is also a medical education that cooperates with schools and hospitals in the USA and Canada.
Educationvv: Provides school and education information in Saint Vincent and the Grenadines, covering middle school, high school and college education.
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Saint Vincent and the Grenadines Entry Requirements
Saint Vincent and the Grenadines Travel Information
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Posted inArts+Movies, Culture Shock
SEWE picks a pony for this year's poster
by Staff Reports September 12, 2017 October 11, 2021
[image-1]Last week the Southeastern Wildlife Exposition announced its 2018 featured festival artist, Kathryn Mapes Turner, whose painting, Unbridled, serves as the official SEWE 2018 poster. Born and raised on the Triangle X ranch in Grand Teton National Park, Turner is more than familiar with wild landscapes.
In a press release Turner says, "Having been passionate about painting animals since I was a young girl, this is an unprecedented opportunity for me as an artist. My goal is to create work for the show that expresses my profound respect for the natural world and inspire the viewer to understand the interconnectedness we share."
And while Turner's influences veer a little more wild west than Lowcountry, SEWE's executive director John Powell says, "We believe the subject and style of Unbridled is going to resonate with an even broader audience." With more than 40,000 attendees every year, we can only guess that most SEWE visitors are amenable to, err, horse stuff.
In addition to Turner, SEWE will feature a guest artist, Joseph Sulkowski, whose work is "reflective of the Old Masters." Huntin' dogs and Rembrandt go hand in hand, after all.
SEWE 2018 will be held in various venues in downtown Charleston, Feb. 16-18, 2018. Tickets go on sale Oct. 13.
Tagged: Kathryn Mapes, sewe, southeastern wildlife exposition, Turner


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Streaming and Tracking in Basic Education
I am an alumnus of Manila Science High School. To be admitted to this school, students take an entrance examination and must have a grade of at least 85% in Mathematics, Science, and English subjects, and a grade of at least 83% in all other subjects. Once enrolled, there is a star section in each year. Forty students with the highest grade point average for each class are assigned to these star sections. I was in the star sections of Bohr and Einstein during my last two years of high school. My high school education is an example of both school streaming and class tracking. Entrance is limited to students with above average academic performance thus students with similar academic performance are grouped in one school (school streaming). And within each class, the top students are placed within one classroom (class tracking). These two ways of grouping similar students can indeed benefit instruction in basic education since it allows for lessons to be customized. However, there is the question of inequity especially when teachers are not randomnly assigned and resources are not equitably distributed among schools or classrooms. Since academic performance correlates with family income, homogeneity can happen in terms of socio-economic status in which rich children study in one school while those who are poor study in a different school. Extreme homogenity is therefore expected to lead to higher achievement gaps.
Above copied from Manila Science High School
A recent study scheduled to be published in the Journal of Educational Psychology looks at the effects of streaming and tracking on reading performance in forty countries. The abstract is as follows:
Chiu, M. M., Chow, B. W.-Y., & Joh, S. W. (2017, March 6). Streaming, Tracking and Reading Achievement: A Multilevel Analysis of Students in 40 Countries. Journal of Educational Psychology. Advance online publication. http://dx.doi.org/10.1037/edu0000188
Grouping similar students together within schools (streaming) or classrooms (tracking) based on past literacy skills (reported by parents), family socioeconomic status (SES) or reading attitudes might affect their reading achievement. Our multilevel analysis of the reading tests of 208,057 fourth-grade students across 40 countries, and their parents', teachers', principals', and their survey responses yielded the following results. Streaming was linked to higher reading achievement (consistent with customized instruction), but tracking was linked to lower reading achievement (consistent with more help opportunities). Students had higher reading achievement when classmates had stronger past literacy skills (suggesting sharing ideas) or extremely poor ones (help opportunities). Also, when classmates have higher family SES, students had higher reading achievement (suggesting sharing resources), with diminishing marginal returns. When classmates' family SES differed more (more diversity), students with greater past literacy skills had higher reading achievement (Matthew effect). Lastly, when classmates had better reading attitudes, students with lower past literacy skills showed higher reading achievement (modeling, norms). When classmates' reading attitudes differed more, students had higher reading achievement (contrasting cases), although extreme differences weakened this link (less homophily). These results suggest that streaming across schools and mixing of students within classrooms (by past achievement, family SES and reading attitudes) are linked to overall reading achievement.
At least, for reading achievement, it appears that streaming across schools is beneficial, but students need to be mixed within classrooms. Thus, based on this study, the idea of having Manila Science High School as a selective school is good, but the practice of having star sections in each class is not. In addition, the authors conclude, "These results also suggest avoiding extremes, where severe school streaming reduces help opportunities and sharp differences among classmates prevent customized instruction by higher achieving students."
Since I left the Philippines, there are now numerous science high schools in the country. Based on the TIMSS Advanced 2008 International Benchmarks of Mathematics, these schools are not performing well:
Above table copied from PERFORMANCE OF PHILIPPINE HIGH SCHOOLS WITH SPECIAL CURRICULUM IN THE 2008 TRENDS IN INTERNTIONAL MATHEMATICS AND SCIENCE STUDY (TIMSS-Advanced)
Aside from students from the Philippine Science High School (PSHS), students in other special science classes in the Philippines, unlike students from other countries, are not even reaching intermediate benchmark scores in mathematics.
Streaming for a science high school aims to provide students with a challenging learning environment focused on math and the sciences. Unfortunately, a science high school has also been equated to being an elite and prestigious school. Worse, with DepEd's K to 12, the curriculum of Manila Science High School has dramatically changed, the following subjects have been removed according to Isaac Ali Tapar, president of the Manila Science High School Teachers Association:
Grade 8: Biology, Theoretic Research, Physical Sciences (Chemistry and Physics), Geometry and Intermediate Algebra;
Grade 9: General Chemistry, Biotechnology & Research, Physics and Advanced Algebra;
Grade 10, Introductory College Physics, Analytic Geometry and Introductory Calculus as well as Advanced Chemistry and Research.
Without a special science curriculum, a customized instruction, streaming no longer makes much sense. For this reason, a petition has been long filed by the parents of students in Manila Science High School before the Philippines Supreme Court. Sadly, after two years, there is still no response from the court:
Above copied from the Inquirer
The harm that DepEd's K to 12 has done to basic education sadly goes much farther than this. With the introduction of tracks, students are now being segregated within schools. It will just be a matter of time before the effects of demoralization and assimilation materialize. The Philippine basic education system will easily become a school system of self fulfilling prophecies and heightened inequity.
Curriculum Evidence-Based Research Reading
When We Think We Know What We Do Not Know
"I Can Do a Better Job"
Social and Academic Growth in Young Children
Outcome Based Education in Chemistry
A Day Without Women
It Is Not That Easy to Switch to a Growth Mindset
A March for Science
I Miss Classes in College and My Parents Are to Be...
What Do My Grades Really Mean?
Why the Supreme Court in the Philippines Must Scra...
Why Do We Hold Onto Myths in Education
"They're Supposed to Feed Them So They Do Better i...
Why We Need Liberal Arts in College
How Much Do We Know About Learning?
Free Appropriate Public Education
School Feeding Program
Numbers Are Significant
DepEd's K to 12 Ensures Employment for Its Graduat...


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Am/Am
Conditions of Competition
Junior Clinic
Soldier Honored: David A. Wyatt
Branch of Service: Marine Corps
Rank: Staff Sergeant
U.S. Marine Corps Staff Sergeant David A. Wyatt, born November 7, 1979, was assigned to Battery "M", 3rd Battalion, 14th Regiment in Chattanooga, Tennessee. He was killed on July 16, 2015 when a gunman opened fire on the Navy and Marine Support Center.
SSgt Wyatt graduated from High School in 1998 and attended Piedmont Community College in Morgantown, North Carolina, Arkansas Tech in Russellville, and MSU in Missoula, Montana. Following the events of 9/11, he decided to join the United States Marine Corps. This began an eleven-year career that led him to serve in multiple locations including California, North Carolina, Japan, Kuwait, and Korea. He served two tours in Iraq, from October 2007 to April 2008, and from October 2010 to May 2011 during one of the most violent periods of the U.S. military campaign there. He also served one term in Afghanistan.
After returning to the United States, SSgt Wyatt became a pillar of support to his comrades who returned home with physical or emotional scars. "He was a mentor and a leader to a lot of guys," said fellow Marine Matt Bein. "When you talk about selflessness, he would literally give you the last dollar in his wallet if you needed it."
SSgt Wyatt was posthumously awarded the Purple Heart and the Navy and Marine Corps award for non-combat heroism.
SSgt Wyatt's daughter is a Folds of Honor Scholarship recipient.
Complete Soldier Honored Listing


ON THE ROAD BIG TIME!
Canon EF 800mm f/5.6 L IS lens with the 1.4X II TC and EOS-1D MIV. ISO 400. Evaluative metering -1/3 stop: 1/640 sec. at f/10.
The distant blue Pacific is one of my very favorite nature photography backgrounds.
I am driving down to Homestead, FL today for the Canon Everglades Workshop (sold out: 16 folks) this coming weekend, picking up Denise Ippolito at the Fort Lauderdale airport. On Monday we head over to Fort Myers on the west coast of Florida for the sold out SW FLA IPT, FEB 9-14. On February 15 I will be joining James Shadle and a crew of BPN Moderators for a morning with the spoonbills on Alafia Banks. We drive to my house midday on the 15th. On the morning of the 17th I fly to Klamath Oregon for a Canon-sponsored speaking engagement at the Winter Wings Festival. I fly home on the 22nd but do not get into Orlando until late so I will grab a room for the night. That puts me home on the morning of the 23rd. After two whole days in the office I fly to London en route to Thessaloniki, Greece to meet co-leader Robert O'Toole for the sold out DALMATIAN PELICAN EXPLORATORY IPT, FEB 27-MAR 5, 2011. After over-nighting in London on March 6, I get back to ILE midday on March 7. Dizzy yet? Hold on to your seat belts. Then I am home for eight whole days, seeing a hand surgeon on March 8th to schedule trigger finger surgery (middle finger, left hand).
On the evening of the 15th I'll be at the Orlando Courtyard Marriott for my early morning flight on the 17th. I fly to Homer, AK, again to join Robert O'Toole, this time for two sold out HOMER BALD EAGLE IPTs. I fly back to Anchorage on March 28 the to catch a red-eye flight back to MCO on the 29th. Home for 5 full day, then back to the Courtyard Marriott for yet another early morning flight to Honolulu on April 5th. That same afternoon I fly to Hilo to meet and spend four days with Hawaii's top bird photographer Jack Jeffrey. We will be doing some fairly high altitude hiking in search of some of the rare endemics. I fly back to Oahu on April 10th continuing on to Midway late on the 11th arriving at the seabird colony well after dark that same day. Yes, for another sold out trip. We leave Midway late on April 19th getting back to Honolulu at about 3am on the 19th. After a few hours rest I catch an overnight flight to DFW and continuing on to Orlando. I get into MCO at about 10:30 am on April 20. Insane and loving it.
Jim and Jennifer will be at the office to help you with mail order and trip registrations. Please hold onto your gear and other photo-related e-mail questions until the end of April and then feel free to e-mail me. During my prolonged absence you will usually be able to find what you are looking for in the searchable Bulletin Archives here, on the blog, in the original ABP (soft cover), in ABP II (916 pages on CD only), in Digital Basics, in our camera User's Guides, or in our other educational offerings. The various discussion forums at BPN can be a godsend for those seeking good info and BPN's Tutorials & Educational Resources Forum is a greatly under- utilized collection of killer mini-tutorials on a wide variety of subjects most having to do with digital capture and processing.
Canon EF 24-105mm IS lens hand held at 60mm with the EOS-1D MIV. ISO 400. Evaluative metering +2/3 stop: 1/40 sec. at f/22.
We were photographing Marbled Godwits when I noticed these killer patterns as the waves receded. I grabbed my short zoom "B- roll" lens, made a few images and shared them with those of the group who were nearby. You can learn about all of my favorite San Diego spots in the San Diego Site Guide; you can find it (and lots more) by scrolling down here.
Limit twelve photographers; openings: 11). Co-leaders: Arthur Morris & Robert O'Toole. This trip will not confirm until we have 8 deposits in hand. Please see pricing and deposit info below.
Final details for this amazing trip will be sent first to those on the Friends List and then to those on the interested list. If you would like your name placed on the already long Interested List, please e-mail me at samandmayasgrandpa@att.net. If you are a happy camper who has been on an IPT before and would like your name placed on the Friends List, please e-mail me at samandmayasgrandpa@att.net.
The nearly final itinerary includes 3 1/2 days of Snow Monkey (Japanese Macaque) photography, 4 1/2 days of Steller's Sea Eagle photography (including five morning boat trips ice conditions permitting), 3 days of Whooper Swan photography, (2 full and 2 half days), and 4 1/2 days of photographing Red-crowned (Japanese) Crane. In addition we will get to photograph White-tailed Eagle, Black-eared (Black) Kite, and several other species of birds. We will be asking for $5,000 non- refundable deposits quite soon; trip insurance is of course beyond highly recommended.
Though this trip will not confirm until we have 8 deposits in hand, we are fully expecting it to sell out quickly. We expect to be able to price the trip at $15,999 per person. This will include just about everything but your air fare to and from Tokyo, Japan. All lodging, all meals, all ground transportation (most by luxury bus), and the two great leaders. Robert has photographed in Hokkaido several times.
No other photo trip to Japan offers anywhere near the amount of photo time that our trip does. On all other trips you spend half of the trip days traveling only to spend a day or two at each location. If you are gonna go all that way, why risk having bad weather completely wipe out one of more of the great opportunities? Do consider joining us on this amazing trip.
Canon EF 800mm f/5.6 L IS lens with the EOS-1D MIV. ISO 400. Evaluative metering + 112/3 stops: 1/320 sec. at f/6.3.
JJ: Thank you for a wonderful workshop in San Diego–I had a great time, and I learned a great deal.
JJ: I especially benefited from your approach and advice on composition and vision, seeing and setting up opportunities at each location. I get very excited seeing new birds and discovering new compositional styles, and I was able to do both on this trip.
JJ: Thank you also for your kind words in your latest bulletin.
JJ: My skill and success so far in bird photography (I still feel like a newcomer) is due in no small part to the tremendous influence of you and your books. I have a very worn hard cover copy of, "The Art of Bird Photography" and can probably recite several sections of that book by heart. I also have your second edition of that book on CD, which I was able to save to my I-Pad and read for enjoyment just about anywhere. In addition, I have your shorebirds book and your Digital Basics guide. Your contribution to modern bird photography is unparalleled, and your compliments mean a great deal to me.
AM: As do your incredibly kind words to me.
JJ: You had mentioned an interest in drake Green-winged Teal. There is a healthy population of Green-winged Teal which winter at the Gilbert Riparian Preserve each winter. (http://www.riparianinstitute.org/birding.cfm) They can be challenging in that they like to feed in shallow, muddy water, which means the bird is a muddy mess and the backgrounds are ugly. In addition, the water levels at the preserve change daily, so opportunities aren't consistent. January and February are decent months for them, as they start paying more attention to pairing up than constantly feeding. I've attached a couple of images I took in January 2010 when the birds were displaying. By March/April, the birds are usually paired up and feed virtually non-stop to fuel the trip north.
AM: Thanks for the two pix. The one with the still water is the bomb. When I was at Gilbert a while back all that I had was muddy water.
JJ: Thanks again for a wonderful experience in San Diego, and hopefully we will cross paths again.
JJ: I would definitely be interested in the Homer trip if you do it in 2012; please add me to the BAA Friends List, as I am most certainly a happy camper. If you do come down to the Phoenix area, definitely let me know.
AM: Will do all of the above. Not sure about Homer 2012 but if we go it will be the end of March. Robert and I will be in Japan for close to a month before that…. So I will be used to the cold weather.
ps: What do I have to do to get you posting on BPN? Folks there have been loving my pelican stuff.
James obviously has his schwerve on…. Not the perfect exposure, the perfect head angle, and the perfect reflection all with the bird well back in the frame. Likely created with the Canon 800mm and the EOS-1D Mark IV.
Canon EF 70-200mm f/2.8L IS lens (hand held at 125mm) with the EOS-1D MIV. ISO 400. Evaluative metering +2 stops: 1/8 sec. at f/6.3 in Tv mode.
This is another in the series of sanderling blurs from the San Diego IPT. As we teach you to do in A Guide to Pleasing Blurs, I varied my shutter speed every few frames for a different look. Working in Tv mode makes that easy to do.
I am offering the following used Canon gear below for sale. As is usual when I sell my gear, it is priced to fly out of here. Everything that I list sells within minutes of the Bulletin being posted. I do not send photos of the gear. All can be returned at your expense within one week in the original condition no questions asked. Your full purchase price will be refunded less shipping. Unless we know you personally, we will need to wait for your payment to be cleared by our bank as we were beat by a pro who sent a phony Bank of America teller's check a few years back as payment for a used Mark III. Once burned twice wary.
Canon Extender EF 2X II in excellent condition: $170. Buyer pays shipping and insurance. Includes the TC and front and rear covers. No box, no grey pouch.
Canon Extender EF 2X II in very good to excellent condition: $160. Buyer pays shipping and insurance. Includes the TC and front and rear covers. No box, no grey pouch.
Canon EF 70-200 f/4L IS lens in excellent condition: $750. Buyer pays shipping and insurance. Includes all original stuff in the box: protective leather lens hood, front lens cover, plastic hood, and USA & Canada warranty card. Note: this lens does not come from Canon with the tripod collar; that requires a separate purchase.
Canon EOS-7D in excellent condition: $1,200 (with several costly extras; see below). Buyer pays shipping and insurance. Includes all original stuff in the box: CDs, strap, front cover, camera battery & cover, the battery charger, USA & Canada warranty card, and all cables. I cannot at the moment find the camera body manual but that can be downloaded; there is a link to the download in the 7D User's Guide. I will include a copy of that with the sale.
In addition the sale price above includes the vertical grip (in very good condition), an extra Canon battery (with cap), and a second battery charger.
Though I love my 7D I do prefer the images from my Mark IV bodies (with their larger pixels) and having to travel with separate chargers and extra batteries is a hassle with all of the weight-restricted foreign travel that I am doing. The 7D is a fine light weight camera body that has possibly the best AI Servo AF system of any Canon camera body.
New B & H, Hunt's, (or similar) prices for the above: camera: $1479.00, extra battery: $59.95, charger: $54.90, BG-E7 Vertical Battery Grip (allows for two batteries): $179.00. Total for the package new: $1772.85.
Best to call 863-692-2806 immediately.
A Guide to Creative Filter and Effects (pdf) by Denise Ippolito, edited by Arthur Morris was released just two days ago.
"Denise Ippolito is about as creative, as hardworking, and as dedicated a photographer as you will ever come to know. And over the past fourteen months I have come to know her quite well. Her creativity is—as you will come to see as you are reading her Filter Guide—totally amazing. She can look at an average image, a simple snapshot, heck, even a bad photograph, and in seconds know exactly how to turn it into a piece of art using this filter or that effect. And then do just that in minutes. And most of the time she is working with the beautiful images of flowers and birds that she is so good at creating.
Combinations of all of the above!
Some of the filters above require a separate purchase. (The Filter Guide includes links to all available free trial downloads so that you can try before you buy.) Many of the filters can be found in various versions of Photoshop (though most folks–including me before I edited this guide–have no clue that they exist and no clue as to how to use them). Each detailed tutorial section is written in a clear, concise, simple, easy to follow style that can be followed even by someone opening up Photoshop for the first time.
You can order your copy of "A Guide to Creative Filter and Effects" for $38 right now by calling 863-692-0906, by sending a PayPal to birdsasart@verizon.net or birdsasart@att.net, or from the BAA On-line Store here.
Be sure to visit Denise's blog here.
LOL, Artie…Didn't I read from you just a few weeks ago that you were going to slow down? Yeah….right!


Carolina Quiroga-Stultz is a bilingual storyteller, performer, and podcaster who graduated in 2013 with a Masters in Storytelling from the East Tennessee State University (ETSU). Her large repertoire of bilingual stories explores the Native and Afro-Latin American and Hispanic myths, legends, and mysteries ranging from El Río Bravo to La Patagonia. Her bilingual storytelling enchants her audiences with her compelling mannerisms and the passion she brings to each story. She is recipient of the 2016 National Storytelling Network J. J. Reneaux Emerging Artist Grant. In early 2019, Carolina's literary podcast "3Cuentos," dedicated to the myths, legends, and folktales of Latin American and the Hispanic world, was awarded two grants for its continuation.
Tuesday's program will be MUERTOS: THE SOULS OF THE DEAD. Muertos brings to the stage different Latin American tales related to El Día de Los Muertos. Stories rooted in religious beliefs inherited from Catholicism and Native American traditions. Some had left believing that the dead are still around.
This concert will take place in the Storer Ballroom located on the third floor of the Shepherd University Student Center, 210 N. King Street.
Megan Hicks's storytelling credits span The National Storytelling Festival in Jonesborough, Tennessee, small rural venues, regional stages throughout North America, and international programs combining storytelling and origami presented in China, Latin America, Australia, and New Zealand.
Tuesday's program will be Boom! and will include fairy tales and stories about growing up. Megan is a baby boomer, raised in a family where Dad worked, Mom stayed home, and nothing much out of the ordinary seemed to happen. (Yeah. Right.) Like a magician who pulls coins, cards, and critters out of thin air, Megan Hicks reaches into the "normal" of everyday life and BOOM! Behind the suburban picket fence, under the auspices of an average nuclear family with the requisite 2.5 children, extraordinary stories were unfolding, just waiting to take flight.
Judith Black is a professional storyteller, story maker, and teacher/coach with an international following. Originally trained at Wheelock College as an early childhood educator, Judith leapt from the classroom to the stage after training at London's Royal Academy of Dramatic Arts. Ultimately she bound these two passions with storytelling and for 35 years has been using story to motivate, humanize, entertain, and teach. Most recently she has turned her attention to the climate crisis and in June of 2016 gave a TEDX talk on the link that can bind storytelling and climate.
Tuesday's program will be Bug Girl. "For as long as anyone could remember Bettina was always known as Bita the bug girl." Come and meet the shy entomologist Bita and her quirky Akron, Ohio, family and take a journey with them from grilling burgers in the yard to fending off a full neighborhood attack when they inadvertently bring zika back from Puerto Rico to their suburban enclave. This story will engage your heart and mind and take you into one of the many side effects of our climate crisis.
Adam Booth's storytelling blends traditional folklore, music, and an awareness of contemporary Appalachia. His original cinematic style, both humorous and touching, is influenced by generations of diverse storytellers from West Virginia. His telling appearances have included Teller-In-Residence at the International Storytelling Center (three times), New Voice at the National Storytelling Festival, Timpanogos Storytelling Festival, resident at the Banff (Alberta) Spoken Word program, multiple events in twenty-three states, and collaborations with the West Virginia Dance Company, Goose Route Dance Company, Frederick Chorale, and Hagerstown Choral Arts Society. He is a member of the Recording Academy and his stories and recordings have been honored with a Parents' Choice Gold Award, two Parents' Choice Silver Honors, five Storytelling World Awards and Honors, the NSN's J.J. Reneaux Mentorship Grant, and four West Virginia Liars' Contest wins. Adam is most at home sharing stories and music with the next generation of listeners and tellers throughout Appalachia.
Irish born Storyteller Clare Muireann Murphy has been telling stories since 2006 on stages all over the world. She has performed at The Globe and the National Theatres in London, National Storytelling Festival USA and Boca du Ceu Brazil to name a few. Her work ranges from the political folkloric work such as her Syrian piece "The King of Lies" to playful pieces like UniVerse which explores where quantum physics, philosophy and mythology meet. Her work has taken her to some pretty unusual places from telling to President Mary Robinson of Ireland to performing at the Writers Room of the Royal Shakespeare Company. She is also a storytelling consultant for Jet Propulsion Laboratory, NASA.
Tuesday's program will be UniVerse. Where does myth meet science? Is it only in the middle of the night when we half wake and half sleep? In this eternal place of wonder and insight, time stretches and a fissure opens that builds a dream bridge between many worlds… Performance storyteller Clare Murphy dances into this liminal space; merging myth, deities, science and a hefty amount of turtle, in a playful exploration of the beginnings of the universe.
Tim Tingle is an Oklahoma Choctaw and an award-winning author and storyteller. His great-great grandfather, John Carnes, survived the Trail of Tears as a ten year-old, and his grandmother attended rigorous Indian boarding schools in the early 1900's. In 1992, Tingle retraced the Trail of Tears to Mississippi and began recording stories of tribal elders.
His first children's book, Crossing Bok Chitto, was an Editor's Choice in the New York Times Book Review. Tingle was a featured author and speaker at the 2014 National Book Festival in Washington, D.C., based on the critical acclaim for How I Became a Ghost, which won the 2014 American Indian Library Association Youth Literature Award. He has spoken numerous times at the Library of Congress and performed stories from his books at the Kennedy Center and the National Museum of the American Indian in Washington, D.C. For younger students audiences, Tingle shares fun Choctaw Indian folktales and audience-participation stories, while playing his Native flute, drum, and offering students the opportunity to play tribal rattles.
Bill Harley is well‐traveled, well‐read, well‐educated, well‐spoken and well‐loved. Accompanied by his guitar, his narrative songs and stories, both original and traditional, are a celebration of our common humanity. Best known for his work with children and families, his ability to navigate through a confusing world with humor and wisdom is evident in his masterful storytelling as well as his numerous award‐winning recordings and books. A two‐time Grammy winner, he is vibrant, outrageous, unpredictable and genuine with songs and stories about growing up, schooling and what it is to be human — our connections with one another and with the planet we share. Recognized by audiences and peers as one of the finest performing storytellers in the country, his work has influenced a generation of children, parents, performing artists and educators. Bill tours internationally as a performing artist, author and keynote speaker from his home in Seekonk, Massachusetts.
Tuesday's Program will be Growing Up Is A Full-Time Job: stories about childhood from an adult who survived it.
Japanese-Korean storyteller Alton Takiyama-Chung grew up with the superstitions and the magic of the Hawaiian Islands. He tells stories of Hawaii, of WWII Japanese-Americans, and Asian folktales and has performed at the Timpanogos Storytelling Festival, the National Storytelling Festival, and at international storytelling festivals in the Cayman Islands, Singapore, Vietnam, and Thailand.
Tuesday's program will be Pineapples and Kimchee: a program of Korean folk tales and personal stories about the Korean experience in Hawai'i. It is a join presentation with the Shepherd University Common Reading Program.
Sunday April 7 Workshop from 2:00 - 5:00 in the Cumberland Room of the Shepherd University Student Center. $20. To register, use our contact form here.
Michael and Carrie Kline weave West Virginia stories and folklore with spine tingling harmonies on voice and guitar. To hear them and be invited to join in on a chorus is to be transported to a country church, a one-room school, or grandma's kitchen. The Klines present their music both as entertainment and social history, with engaging ease and hard-hitting passion. They have spent years recording music and spoken narrative in Cherokee, North Carolina, the Appalachian coalfields and mountainside farms, along with industrial cities from Cincinnati to New England.
Tuesday's program will be Granny Get Your Stick and Come and Walk with Me: Old Time Songs and the Stories They Tell.


Is it possible to have transparent background instead of full black under where it says "tjenester og priser" ?
Why does it matter if its not on the BeTheme? Its the same approach.
Im asking if its possible to have a wrap with a transparent background.
Its a section with a parallax background and 2 wraps with black background. I want the black background to be transparent.


2. Beloved, I pray that in all respects you may prosper and be in good health, just as your soul prospers.
3. For I was very glad when brethren came and testified to your truth, [that is], how you are walking in truth.
4. I have no greater joy than this, to hear of my children walking in the truth.
6. and they have testified to your love before the church. You will do well to send them on their way in a manner worthy of God.
7. For they went out for the sake of the Name, accepting nothing from the Gentiles.
8. Therefore we ought to support such men, so that we may be fellow workers with the truth.
9. I wrote something to the church; but Diotrephes, who loves to be first among them, does not accept what we say.
10. For this reason, if I come, I will call attention to his deeds which he does, unjustly accusing us with wicked words; and not satisfied with this, he himself does not receive the brethren, either, and he forbids those who desire [to do so] and puts [them] out of the church.
11. Beloved, do not imitate what is evil, but what is good. The one who does good is of God; the one who does evil has not seen God.
12. Demetrius has received a [good] testimony from everyone, and from the truth itself; and we add our testimony, and you know that our testimony is true.
14. but I hope to see you shortly, and we will speak face to face.


text:
Home Sports Pádraig Amond and Newport hoping to raise spirits with latest FA Cup...
Pádraig Amond and Newport hoping to raise spirits with latest FA Cup scalp
Reluctant as he seems to say it when so much is going wrong around him, times are good just now for Pádraig Amond, the Newport County striker from Carlow for whom the start of each new year comes with added media responsibilities these days.
The 32-year-old feels slightly guilty about coming across as so content in the time of coronavirus. But after traipsing around England for much of his career, Amond is well settled these days in Wales with his long time partner, now wife, Caoimhe and their newborn baby boy Eóghan with whom, it is all too apparent, he is profoundly smitten.
He has been juggling training, child minding and a fair few calls from journalists this week for his record in the FA Cup over recent years makes him an obvious choice for an interview before the third round. And Newport's reputation as potential giantkillers, which he has helped to establish, is a large part of the reason Sunday evening's game at home to Brighton will be one of the weekend's more prominent televised games.
Pádraig Amond scores against Spurs in 2018. Photograph: Michael Steele/Getty
It is important stuff, more so than ever in these testing times for lower league football clubs. Newport have beaten Leeds, Leicester and Middlesbrough in the competition since Amond signed in August 2017 and had Manchester City and Tottenham round to their place, not bad for a side that has to win a couple of games just to get into the same hat as the big boys. The Irishman has scored 10 FA Cup goals during that time, several of them decisive in terms of securing a replay or progression.
In more normal times, a big name trebles the crowd at Rodney Parade and there is even more money to be made from the 45 per cent of gate receipts a visiting side gets from a game at a Premier League stadium. The competition's prize money has been adjusted to make up for the absence of a crowd this year but the bigger pay-off inevitably comes in the form of TV money with Newport due around €160,000 for Sunday night's appearance. That amount doubles for rounds five and six.
It might all be small beer to those in the top flight but when Leyton Orient had a good run a decade ago, the £1.4 million they made represented a third of turnover for the year. Amond is not sure about those sorts of specifics at Newport, but while friends at other clubs have seen their terms reduced during contract renewals during the summer or been obliged to take pay cuts, he and his team mates have emerged unscathed so far, the result he suspects of the rainy day fund amassed thanks to those recent cup runs.
"I've spoken to lads who have signed for clubs but had different clauses (mainly relating to crowds being allowed back into games) put in their contracts," he says. "Other players have had to take wage cuts until the supporters are back. We were one of the lucky ones because we had safeguarded the club's immediate future; let's put it that way."
The cup, though, is not all about the money to a club like Newport, though, far from it. The week leading up to a home game like Sunday's would normally inject huge interest into the local community with less regular fans scrambling for tickets and everyone would want a word with the players as they go about their daily lives. All of that has been impacted by Covid-19 and the current restrictions.
"Look, it's a different kind of buzz," he says. "Before, you'd be going in to pick up a few things in the shops or whatever and you'd have supporters in their jerseys. You'd see the excitement and then they want to talk to you. But obviously at the moment you can't be having interactions with people face-to-face."
The players, Amond says, are relatively unaffected. Training and other club activities are more regimented and socialising is severely restricted with some of the usual dressing room banter moving online to WhatsApp groups. Yet the core group of players that have been involved in those other big cup games are keen to do it all again while for some of the newcomers, these are the sorts of occasions on which they were sold the attractiveness of moving to the club.
Newport County fans at a packed Rodney Parade for their fifth round clash with Manchester City in 2019. Photograph: Michael Regan/Getty
"It gives us an opportunity to go up against a Premier League team on TV, put in a good performance, and hopefully win because you'll get another one in the next round. But also it's a chance to kind of get momentum going in the league (in which, despite a recent blip, both he and the team have been going very well). And it's a nice distraction as well. Maybe there's a few more that expect us to win now after last couple years but as players we just expect to go and put in a good performance. There's no pressure on us."
Things will be that little bit trickier without a full house cheering them on but Amond is still convinced of the value of home advantage, especially when things are that little bit more rough and ready than the visitors might be used to and the Irishman doesn't need 10,000 people in the place to know how much the game still matters to the locals; just now, more than ever perhaps.
"There are a lot of people out there who maybe their mental health has been affected by it, or maybe they just miss the fact that for 30 years or 40 years, every second Saturday, they were used to going to a game and now they can't do it. You get feedback on the games through social media so there's still a real sense that there are people out there are watching on iFollow and the like but people are suffering.
"So as a club we've made a really conscious effort to be proactive, to keep them involved and make them feel that we value them as supporters every bit as much as they value us as players."
Pádraig Amond celebrates scoring against Manchester City in February 2019. Photograph: Geoff Caddick/Getty/AFP
The sentiment suggests that Newport is a club with a real sense of its place in the community and Amond is clearly happy to have started his family there, even if he reacts with exaggerated horror to the suggestion that he is showing early signs of developing a bit of a Welsh accent.
There is some sadness, he admits, that Eóghan has not yet made the acquaintance of any of his wider family back home but, he says, "that's the only really downside we've had and compared to what other people have gone through it's not is not a huge thing to complain about, last year was actually a really good one for me."
And beating Brighton, he knows, would brighten up the start of 2021 well beyond the walls of his own south Wales home.
Amond's FA Cup dozen:
R1 Grimsby 5 St Albans 1 (two goals)
R4 Newport County 1 Tottenham 1
R1 Met Police 0 Newport County 2
R2 rep Newport County 4 Wrexham 0
R3 Newport County 2 Leicester City 1
R4 rep Newport County 2 Middlesbrough 0
R5 Newport County 1 Manchester City 4
R1 Grimsby Town 1 Newport County 1
R1 rep Newport County 2 Grimsby Town 0
R2 Maldon and Tiptree 0 Newport County 1
R2 Newport County 3 Salford 0
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text:
ChessBanter » Chess Newsgroups » rec.games.chess.computer (Computer Chess) > When did Linus Torvalds first own a trademark on the word "Linux?" -Guy Macon
August 21st 07, 12:11 PM posted to rec.games.chess.computer
When did Linus Torvalds first own a trademark on the word "Linux?" -Guy Macon
Ralf Callenberg wrote:
The point is, you called yourself as a first class expert in trademark
issues. Telling Pascal you had forgotten more about this topic, than he
ever would learn about it. A quite bold statement. Well, and than you
missed such a basic fact about trademarks.
The claim that I missed a basic fact about trademarks has yet to
be established. I presented what I believe to be a valid argument
that it is Kenneth Sloan who is wrong when he claims "trademarks
have to be claimed" and "Nothing is trademarked unless you explicitly
say that it is." He chose to reply with a personal attack rather
than respond to the content of my argument.
Since you appear to agree with Mr. Sloan, perhaps you can comment
on the following argument. I am competely open to the possibility
that I may be wrong, but I am unlikely to be convinced by insults.
WHEN DID LINUS TORVALDS FIRST OWN A TRADEMARK ON THE WORD "LINUX?"
Kenneth Sloan claims that "Trademarks have to be claimed" and
that "Nothing is trademarked unless you explicitly say that
it is." It is my understanding that one can own a trademark
before even knowing what a trademark is, because trademarks are
established by use in commerce, not by making claims.
uspto.gov/web/offices/tac/doc/basic/appcontent.htm#basis
does not mention anything about explicitly saying that
it is a trademark or making any particular claim. It
simply says
"the mark must appear on the goods, the container for the
goods, or displays associated with the goods, and the
goods must be sold or transported in commerce."
It is my contention that, if Kenneth Sloan is right, then
Linus Torvalds does not own a trademark on the word "Linux."
It is also my contention that Kenneth Sloan *is* wrong and that
Linus Torvalds *does* own a trademark on the word "Linux."
It all hinges on how and when Linus Torvalds gained ownership;
when he claimed that it was a trademark or when he first used
the word "Linux" in commerce?
You may wish to refer to [ http://lwn.net/Articles/148228/
and [ http://lwn.net/Articles/147941/ ] as you examine my
reasoning.
Consider the following timeline:
Linus Torvalds created Linux in 1991. At that time and for
years afterward he made no trademark claims.
In 1994 one William R. Della Croce Jr. of Boston made what appears
to be the first claim that "Linux" is a trademark, and in 1996
started demanding 10 percent royalties on sales from Linux vendors.
In the resulting lawsuit, R. Della Croce's claim was nullified
and the Linux trademark was legally assigned to Linus Torvalds.
See [ http://www.linuxmark.org/ ] ("This is the official website
of the Linux Mark Institute, exclusive licensor of the Linux
trademark on behalf of its owner, Linus Torvalds.")
Especially instructive is the Petition to Cancel filed by
Linus Torvalds and others: [ http://lwn.net/Articles/148228/ ].
Nowhere in that document is there any claim that anyone other
than Croce was the first to claim the trademark, only that it
was in use in commerce long before he did so.
It is my belief that "Linux" became a trademark when the first
copy was sold -- even though nobody at the time explicitly
claimed that it was a trademark.
I am open to being shown that I am wrong, but doing so requires
something a bit more convincing than shouting "you are stupid!"
The Linux Trademark - Tempest in a Teapot
http://www.groklaw.net/article.php?s...50816092029989
Jon "maddog" Hall on Linux Trademarks
http://lists.linux.org.au/archives/l.../msg00084.html
wtfai
First recorded activity by ChessBanter: Aug 2007
When did Linus Torvalds first own a trademark on the word"Linux?" -Guy Macon
On Tue, 21 Aug 2007 11:11:17 +0000, Guy Macon wrote:
From my understanding of trademarks it's a mixture of the two. You have a
trademark as soon as you first use a unique term or phrase to describe
your product (or at least unique to that area), but if you want to have a
registered trademark it must be formally registered in each country in
which you want to use the trademark. The main advantage of registering is
that it makes it much easier to win court cases. So I'd agree with you
that Linus had a trademark as soon as he called it Linux, but he doesn't
get to use the funny r symbol and it's not on quite such solid foundations
as something like Microsoft.
There are two important differences between SCID and Linux that may be
relevant. The first is that you can lose a trademark through abandonment,
and with Shane being so quiet for the past two or three years it could be
considered that he has abandoned his trademark. The second is that
trademarks must be defended, and with Pascal having used SCID for a few
months now, apparently with Shane's knowledge it would seem that he isn't
defending it.
I should point out that I'm not a lawyer, and that whether or not it's
legal doesn't have much to do with whether it's moral or ethical.
wtfai wrote:
That is my understanding as well.
If I understand David Richerby correctly, he believes that it
doesn't actually become a trademark until you claim it does,
and that the first use in commerce is used to establish your
rights when and if you first claim that you have a trademark.
I am not a trademark lawyer, and his arguments seem plausible
based on the wording of the various uspto.gov documents; I can
see reading them either way.
David, does the above accurately describe your understanding of
Trademark law? If not, please correct me. If so, I would like
to post the two different understandings in misc.int-property
and see what the lawyers have to say.
I agree. Trademarks are really just a basis for a lawsuit.
If Pascal infringes and Shane doesn't complain, the lawsuit
never happens. If Shane knew of Pascal's infringement and
did nothing, the courts would not look kindly on Shane waiting
until Pascal's use was well-established and suddenly sucker-
punching Pascal with a lawsuit.
If, on the other hand, Shane doesn't know about the infringement
or for some reason such as sickness cannot possibly respond and
Pascal takes advantage of his sickness to infringe, I suspect that
Shane might be able to win a lawsuit after he got well. While we
all tend to notice when the law is arbitrary and unfair, in most
cases fairness really does triumph.
Here is another twist; it sure does seem to me that for many,
many years Linus Torvalds *didn't* defend the name Linux. He
charges a fee now, but for years he pretty much let anyone use
it as they pleased. Obviously the court didn't even consider
ruling that he lost the trademark through abandonment or through
not defending it in the way that he is defending it now. Clearly
there are subtleties here that I am ignorant of.
Kenneth Sloan
When did Linus Torvalds first own a trademark on the word "Linux?"-Guy Macon
Guy Macon wrote:
Linus Torvalds didn't have to "defend" the trademark as long as other
people didn't use it for different products and didn't ask third parties
to pay royalties for the privilege.
when they did, he filed suit.
This seems to be a much saner approach than the one taken by (say)
Disney's lawyers.
Computer and Information Sciences +1-205-932-2213
University of Alabama at Birmingham FAX +1-205-934-5473
Birmingham, AL 35294-1170 http://www.cis.uab.edu/sloan/
David Richerby
First recorded activity by ChessBanter: Apr 2005
Yes. (You can also claim and register a trademark in advance of using
it but that's not relevant to the situation that spawned this
discussion.)
The following is all based on the assumption that Shane owns a
trademark on the name Scid.
If Shane knew of Pascal's infringement and did nothing, the courts
would not look kindly on Shane waiting until Pascal's use was
well-established and suddenly sucker- punching Pascal with a
lawsuit.
I believe that to be the case.
Shane might be able to win a lawsuit after he got well.
This is not necessarily the case. I don't know how Shane's incapacity
would play out in any hypothetical lawsuit. Ignorance of previous
infringements isn't necessarily an argument, though -- the court might
say that, if the trademark was truly valuable to the owner, he should
have taken more effort to find out about breaches.
it as they pleased.
Well, he let anyone use it to refer to the system we know as Linux.
Obviously the court didn't even consider ruling that he lost the
trademark through abandonment or through not defending it in the way
that he is defending it now.
Well, the court may have *considered* it but it didn't rule that way.
David Richerby Generic Transparent Tool (TM): it's
www.chiark.greenend.org.uk/~davidr/ like a hammer but you can see right
through it and it's just like all
the others!
Blitz rules question [email protected] rec.games.chess.misc (Chess General) 53 June 30th 07 03:05 PM
Please Help Guy Macon with his Tablebase Size Estimates Guy Macon rec.games.chess.computer (Computer Chess) 5 June 28th 07 06:41 AM
Please Help Guy Macon with his Tablebase Size Estimates Guy Macon rec.games.chess.misc (Chess General) 3 June 28th 07 06:41 AM
Please Help Guy Macon with his Tablebase Size Estimates Guy Macon alt.chess (Alternative Chess Group) 3 June 28th 07 06:41 AM
Guy Macon on "What Programming Language for writing a chess engine?" Guy Macon rec.games.chess.computer (Computer Chess) 0 June 15th 07 09:10 AM


text:
Historical Events & Eras
All in the Mind? The psychological effect of Tiger Tanks and 88's
Previous 1 2 3 4 5 6 7 8 9 10 11 12 13 template Next
14 Sep 18, 11:22
There was the equivalent of about 1 or half a battalion operational at any time in that sector. Still, they were dwarfed by other AFV types.
Tigers are prevalent in American accounts and it comes to me as just a "catch all" term for "tank". They see a german tank and just call it a tiger.
lodestar
Originally posted by the ace View Post
Considering it took the Western Allies AND the Soviet Union 6 years to beat them, I think we can take that as read.
Well of course we should.
However some posters and WWII pundits still aren't (and probably never will be) comfortable with the idea.
Witness attempts to minimise Wittmann's outstanding achievements in the East and West (and for the umpteenth time he served a vile cause!) and the ignoring of the reality that the Germans were vastly under resourced.
Regards lodestar
Von Richter
What the fook's 'outstanding' about cabbaging a dozen Bren Gun Carriers then...getting the best tank in Normandy blown out from under yer...
by a PIAT bomber!!!???
The long toll of the brave
Is not lost in darkness
Over the fruitful earth
And athwart the seas
Hath passed the light of noble deeds
Unquenchable forever.
lcm1
Regimental Sergeant Major of the Forums
Originally posted by Cult Icon View Post
HI CI, as I remember, it did not matter one bloody bit what brand of tank it was, if it was German you fired at it or got out of the way of it, depending on the circumstances. Light infantry were not always prepared to take them on. It is only the post war experts with their books that have made a big thing of it. lcm1
'By Horse by Tram'.
I was in when they needed 'em,not feeded 'em.
" Youuu 'Orrible Lot!"
Originally posted by Von Richter View Post
I agree with the 'Dead horse'! Von, all the German tanks were nasty buggers anyway, they were inclined to shoot at you, whatever there brand!! lcm 1
Nick the Noodle
Last quote appears spot on.
Concerning Tigers, I spoke to David Fletcher, one time curator and librarian at the Bovington Tank Museum, and he stated that while the British tank crews DID think German tanks were better, "they simply got on with it." There was never any mention of Tigers preventing Allied tank crews from doing their job.
How to Talk to a Climate Skeptic: http://grist.org/series/skeptics/
Global Warming & Climate Change Myths: https://www.skepticalscience.com/argument.php
Originally posted by lodestar View Post
Wittmans exploits may well be true, but when the main source of reference is the Nazi propaganda machine, they may not.
Wittmans attack at Villars Boccage was an excellent surprise attack, one which any veteran German officer could have achieved. That said, he did achieve an outstanding tactical victory. He did inflict severe damage on the HQ element of an armoured division, debilitating it in the very short term.
The Germans were vastly under resourced, but whose fault is that? Although the W Allies were vastly greater resourced, it did not prevent them from running out of fuel, hence the reason for Market Garden. Further, from British cabinet records, it is clear from the supply side, they thought VE Day would be in June 45. While Nazi defeat was inevitable, it actually ended slightly sooner than the Allies hoped and planned for.
Originally posted by Nick the Noodle View Post
Half of Eastern Europe tainted by the German war machine was starving and it had finally caught up with Germany itself both at home and in the forces and there was only one thing that would save thousands of men women and children starving to death and that was defeat for that would bring aid from the Western Allies, which I saw personally on a minor scale, being handed out by the victorious men of the Allied Armies. lcm1
G David Bock
The Mark IV with the extra 'skirt' armor tends to look a bit bulkier and from a distance has some similarity in appearance to a Mark VI Tiger. Perhaps part of that American tendency was confusion ...
TANSTAAFL = There Ain't No Such Thing As A Free Lunch
I think Mr. Bock's nailed it. How many books have you seen where a 'General', safe and sound in his 'Armchair', has captioned a Mk. IV as the dreaded Tiggy?
Seems an easy mistake for the PBI to make in much more stressful situations!
You may be right for early reports, but later on, Tiger appears to be a catchall name for most enemy tanks, if not most afv's. I presume you've seen the difference in size being any Cat and a IV, it is huge.
Saw a you tube clip by the 'Chieftain' saying that the Sherman was pretty much fine against the German Cats particularly the 76mm Shermans.
"To be free is better than to be unfree - always."
Kurt Knispel
The western front of 1944 compared to the eastern front in late 1942 and early 1943 when the first Tiger 1's were introduced on the eastern front and later in North Africa, was a totally different situation. Its like comparing apples to oranges.
The Tigers had a high rate of success on the eastern front initially (all of 1943-44) and even in when they were used as fire brigades to help the retreating Wehrmacht in 44-45. Also in defense of the "designated fortresses" by Hitler.
On the western front the Tigers, along with the whole of the German panzer arm, failed miserably. This was due to a myriad of reasons one of the main ones being complete air superiority of the allies. One example would be the s.Pz.Abt 503 consisting of Tiger 2 tanks which on July 18 1944 were virtually wiped out by the allied carpet bombing preceding operation Goodwood. The offensive was started with over 2000 allied bombers dropping over 3000 tons of ordnance on various German positions. Some of the 65 ton Tiger 2 tanks were actually lifted and turned upside down by the intensity of the bombing.
Also the allied tactics when engaging the German tanks was much better then their Soviet friends. Combined with the Germans trying to use the same tactics they used with success on the eastern front on the western front, coupled with the fact that their reconnaissance was extremely limited owing to the allied air superiority and you have disaster.
Sure the Germans, who were always a disciplined and determined foe made the best out of their dismal situation and had success here and there but ultimately they had to retreat by the masses after almost being annihilated in the Falaise pocket.
The Americans and British, although they were probably awestruck when they saw the size of the Tigers and the damage they could do, continued unabated with their business of breaking out of Normandy.
The Soviets, on the other hand, definitely saw the Tigers as the "boogie man" as they were highly successful and destructive on the eastern front. At Kursk the Soviets reported "hundreds" of the beasts. One commander reported spotting 500 in his sector alone!!. There was just one complete s.Pz.Abt., the 503, consisting of 45 Tiger 1 tanks attached to the Third Pz. Corps in Army detachment Kempf situated on the right flank of the 2 SS Pz. Corps in which each of these 3 divisions were allocated 15 Tigers. So there were actually less then 100 Tigers in the southern "pincer group" of E. Manstein where these Soviet reports of groupings of hundreds of Tigers was taking place.
Last edited by Kurt Knispel; 02 Oct 18, 15:57.
Theo mir ist die munition ausgegangen ich werde diesen ramman auf wiedersehen uns in walhalla
17thfabn
07 Oct 18, 11:20
Shifting back to the towed 88 mm AAA and anti tank guns.
I've seen accounts of these guns holding up allied armored columns from North Africa and into France. I've never understood it.
I'm thinking of it from an artillery mans prospective. Typically an attacking unit would have a field artillery observation team with them.
An allied armored tank column advances accompanied by infantry. This could be an American or British force. Hidden 88's open up quickly knocking out several tanks. The tanks start to return fire and seek cover. The infantry join in, returning fire with rifles, machine guns and mortars. The artillery observation team (for U.S. forward observers, FO for short) brings in a fire mission. High explosive projectiles are adjusted onto the enemy position. As a final measure they are hit with white phosphorus.
The German gun positions and their supporting infantry have taken casualties. Maybe even some of the guns are knocked out. They are stunned by the high explosives and blinded by the white phosphorus. The allied force continues to pour fire onto the German position. Infantry close in and finish off the German defenders.
Alternatively to closing with the German position Allied mortars and artillery continue to bring fire on it suppressing it. The Germans are stunned by waves of high explosives and blinded by white phosphorus . The allied column moves on.
The mathematics of war is brutal. A few tanks are lost, a defensive position is lost. The offensive rolls on.
For anti tank work the 88 on a AAA mount is much more vulnerable due to its high platform.
Last edited by 17thfabn; 07 Oct 18, 11:44.
"I disapprove of what you say, but I will defend to the death your right to say it" Beatrice Evelyn Hall
Updated for the 21st century... except if you are criticizing islam, that scares the $hii+e out of me!
Originally posted by 17thfabn View Post
There weren't enough M7/ Priest SPGs to go around at first. Later your scenario would be more likely


text:
Ewa Hanulanka ps. "Jola" (ur. 14 sierpnia 1923 w Warszawie, zm. 16 sierpnia 1944 tamże) – sanitariuszka w batalionie "Parasol", uczestniczka powstania warszawskiego

Była harcerką 3. WŻDH przy Gimnazjum im. Juliusza Słowackiego. Następnie służyła w Szarych Szeregach skąd przeszła do batalionu "Parasol". W okresie okupacji niemieckiej studiowała również medycynę na tajnych kompletach.

Podczas powstania warszawskiego była sanitariuszką III kompanii 3. plutonu batalionu "Parasol". Brała udział w jego walkach na Woli i na Starówce, gdzie zginęła 16. dnia powstania. Pochowana w kwaterach żołnierzy baonu "Parasol" na Powązkach Wojskowych w Warszawie (kwatera A24-8-6).

Odznaczona została Krzyżem Walecznych.

Przypisy

Zobacz też
 Polegli w powstaniu warszawskim po stronie polskiej

Odznaczeni Krzyżem Walecznych
Pochowani na Powązkach-Cmentarzu Wojskowym w Warszawie
Polegli w powstaniu warszawskim
Sanitariuszki Armii Krajowej
Sanitariuszki w powstaniu warszawskim
Urodzeni w 1923
Zmarli w 1944
Żołnierze batalionu "Parasol" w powstaniu warszawskim
Ludzie urodzeni w Warszawie

redpajama_set_name: RedPajamaWikipedia