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West Riding, Parishes
Bolton By Bowland
West Riding, Yorkshire
Memorial Inscriptions
The Ancient Parish of BOLTON BY BOWLAND
[Transcribed information mainly from the early 1820s]
"BOLTON BY BOWLAND, a parish-town, in the west-division and liberty of Staincliffe; (Bolton Hall, the occasional residence of John Bolton, Esq.) 4 miles W. of Gisburn, 10 from Settle, 12 from Colne, (Lanc.) 14 from Skipton, 55 from York. No Market. Fairs, June 28, 29, and 30, or horned cattle, pedlary, &c. Pop. 1,205. The Church is a rectory, dedicated to St. Peter, in the deanry of Craven, value, £11. 13s. 4d. p.r. £123. 12s. Patron, John Bolton, Esq.
Bolton Hall the ancient residence of the family of Pudsay, says, Dodsworth, "stands very pleasantly among sweet woods and fruitful hills." Here Sir Ralph Pudsay sheltered his persecuted sovereign Henry VI. after the battle of Hexham: and where still are preserved a pair of boots, a pair of gloves, and a spoon, which the unfortunate Monarch left, either from haste and trepidation, or as tokens of regard for the family. An adjoining Well still retains the name of "King Harry," who is said to have directed it to be dug and walled, in its present shape, for a cold bath. In the church, which is a plain building of late Gothic architecture, is the famous monument of Sir Ralph Pudsay, with his three wives and twenty five children, all engraven in relief, upon a slab of grey Craven limestone. --Whitaker's Craven. The manor and advowson were purchased for £42,000. by John Bolton, of Liverpool, Esq. its present owner."
"HOLDEN, in the township and parish of Bolton by Bowland, liberty of Staincliffe; 5 miles from Guisburn, 10 from Settle, 13 from Skipton,"
"HUNGRILL, a farm-house in the township and parish of Bolton by Bowland, liberty of Staincliffe; 5 miles from Gisburn, 10 miles S. of Settle.
This was, for many generations, the residence of the Walkers; and now of Edward King, Esq., Vice Chancellor of the duchy of Lancaster."
"MONUBENT, a farm-house in the township of Gisburn Forest, and parish of Bolton by Bowland, liberty of Staincliffe; 6 miles from Gisburn, 9 from Settle."
"SKIRDEN, a farm-house in the township and parish of Bolton by Bowland, liberty of Staincliffe; 4½ miles from Gisburn, 9 miles SSW. of Settle."
[Description(s) edited from various 19th century sources by Colin Hinson © 2013]
Here is a photograph of St. Peter and St. Paul's Church, Bolton by Bowland.
Internal view looking down the nave
A transcription of the Holden Congregational Church History
Transcript of the entry for Bolton by Bowland in the "Collections relative to Churches and Chapels".
Craig Thornber has transcribed the records for Holden Chapel.
The whereabouts and dates of the Registers etc. for the Parish of Bolton by Bowland.
The list of Rectors for the parish.
Transcript of the entry of "professions and trades" in the Baines's Directory and Gazetteer, Vol I, West Riding.
There is further information about this parish from the National Gazetteer 1868, Yorkshire extracts.
There is further information about this parish from the Lewis's Topographical Dictionary of England, Yorkshire extracts.
There is further information about this parish from the Stephen Whatley's Gazetteer 1750, Yorkshire extracts.
Ask for a calculation of the distance from Bolton By Bowland to another place.
For a detailed map of this parish see this parish boundaries map.
For a more detailed map of the parishes in the riding please see the Yorkshire parish maps page.
For a more detailed map of the county please see the Yorkshire map page.
Here is a map showing the wapentakes for the county.
You can see maps centred on OS grid reference SD787495 (Lat/Lon: 53.941168, -2.325966), Bolton By Bowland which are provided by:
The war memorial to those who fell in the two world wars.
The memorial plaque in the church to those who fell in the 1914-18 war.
This parish is covered by the following Society:
Airedale & Wharfedale FHS
A list of those paying the 1379 Subsidy Rolls (Poll Tax) for this parish.
This page is copyright. Do not copy any part of this page or website other than for personal use or as given in the conditions of use.
If you have any suggestions for links to other sites that may be useful to other researchers, please use this User Links page
Web-page generated by "DB2html" data-base extraction software ©Colin Hinson 2017
[Last updated at 10.59 on Saturday, 12 December 2020, by Colin Hinson. ©2020]
Last updated Sat, 12/12/2020 - 11:38 - maintained by Colin Hinson


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The Deadliest Fires in California History Aren't Over Yet
Bob Henson
Search and Rescue personnel look for human remains in the Journey's End Mobile Home park following the damage caused by the Tubbs Fire on Oct. 13, 2017 in Santa Rosa, California. Photo: Elijah Nouvelage, Getty Images
The death toll from the North Bay fires had risen to 32 as of Friday, making the weeklong event the deadliest fire sequence in California history, and the toll is expected to rise as more victims are discovered. The previous record was held by the Griffith Fire in Los Angeles on October 3, 1933, which spread across just 47 acres of Griffith Park but killed at least 29 civilian firefighters. As of Friday, this week's fires had scorched more than 212,000 acres. Although one victim was just 14, many of those killed this week were 70 or older, including a 98-year-old woman and her 100-year-old husband. Sonoma County Sheriff Robert Giordano said: "We have recovered people where their bodies are intact, and we have recovered people where there's just ash and bone."
The acreage burned this week isn't yet a record: several other California fire events have covered more than 200,000 acres. However, the week's fires are the most destructive by far in state history, with an estimated 3500 structures lost as of Friday. The previous record-holder was the infamous Oakland Hills firestorm of October 1991, which consumed roughly 2900 structures.
As our climate warms, temperatures are rising especially quickly during droughts, where most of the sun's heat can go into warming the land and air as opposed to evaporating moisture. California is a classic example of this phenomenon. Temperatures smashed countless records during the state's vicious five-year drought that began in 2011. Droughts are not always unusually warm, but that's more and more becoming the case in our warming climate. In a 2015 study, Noah Diffenbaugh (Stanford University) and colleagues found that human-produced climate change had raised the odds that a drought year in California would also be an exceptionally warm year. The authors added: "A large ensemble of climate model realizations reveals that additional global warming over the next few decades is very likely to create ∼100% probability that any annual-scale dry period is also extremely warm."
California's drought ended in spectacular fashion in late 2016 and early 2017, when the state experienced its second-wettest winter on record. The moisture led to a mammoth burst of vegetation that promptly dried out in the summer. This is a normal happening in California's Mediterranean climate (wet, mild winter and dry, hot summer), but in this case a very wet winter segued into the hottest summer on record. The first two weeks of September were also extremely hot. As NOAA's Rebecca Lindsey put it in a climate.gov analysis this week: "Baked to tinder in the extreme heat, the abundant vegetation of spring became the kindling for these autumn fires."
Winter (December–February) precipitation (top) and summer (June–August) average temperature in California for the period 1896–2017, including the exceptional readings from winter 2016-17 and summer 2017. NOAA Climate.gov graphs, based on data from NCEI's Climate at a Glance tool. Image credit: climate.gov (NOAA)
California Wine Country Fires October 2017

redpajama_set_name: RedPajamaCommonCrawl


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Inflammatory bowel disease is an ailment on the rise. A European study found that the incidence of IBD roughly doubled from 1990 to 2001, and even larger surges in IBD cases have been observed in areas of the United States and Europe studied since 1965. But intriguingly, this epidemic of IBD appears to be localized only to particular parts of the globe, appearing more commonly in developed or "Westernized" countries, with the highest rates seen in Northern Europe, the United Kingdom, and North America. While a heightened risk for IBD has been traced back to genetic factors, an increase of this magnitude and selectivity would suggest an environmental trigger for the disease.
This week, a study published in Nature by University of Chicago researchers points the blame at the Western diet as a driver of this increase in IBD and other immune disorders. Only in this case, the concern is not packing on the pounds. The researchers linked the high amounts of certain saturated fats in the food preferred by modern Americans and Europeans to a disruption of the bacterial ecosystem in the human gut that can have dangerous consequences for health. The finding helps explain why once-rare immune-mediated diseases have become more common in westernized societies in the last half century, and provides insight into why many individuals who are genetically prone to these diseases are never affected and how certain environmental factors can produce inflammation in individuals already at risk.
The researchers worked with a mouse model that has many of the characteristics of human IBD. Genetically deleting a molecule, interleukin 10, which acts as a brake on the immune system's response to intestinal bacteria, caused about 25 percent of mice to develop colitis when fed a low-fat diet or a diet high in polyunsaturated fats. But when exposed to a diet high in saturated milk fats, the rate of disease development within six months increased to more than 60 percent. In addition, the onset, severity and extent of colitis were much greater than that observed in mice fed low-fat diets.
Why would milk fat — a powdered substance that remains when fat has been separated from butter and dehydrated — trigger inflammation when polyunsaturated fat did not? The researchers traced the answer to the gut microbiome, the complex mix of hundreds of bacterial strains that reside in the bowels. The researchers found that an uncommon microbe called Bilophila wadsworthia was preferentially selected in the presence of milk fat. Previous studies had found high levels of B. wadsworthia in patients with appendicitis and other intestinal inflammatory disorders, including inflammatory bowel disease.
Why do patients suffer scratched corneas during robotic hysterectomies?


Lee Hickin, AWS IoT business development leader, APAC, says AWS will use its Sydney Summit to help customers realise the potential for IoT in real world, industrial use cases.
To cater for the growing need for processing at the edge of IoT networks, AWS also offers Amazon FreeRTOS. "It's an operating system for microcontrollers that makes small, low-power edge devices easy to program, deploy, secure, connect, and manage," Hickin said.
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Hickin said both AWS Deeplens and Amazon SageMaker were recently released technologies, announced at its ReInvent 2017 conference.
"This session will highlight how customers can leverage the power of Amazon SageMaker, which is a fully managed end-to-end machine learning tool that enables users to quickly build, train and deploy machine learning models," Hickin said.
"We'll demonstrate how to deploy a machine learning L model down to an AWS DeepLens device — a custom built HD video camera designed to run complex machine learning models for video and object recognition — in just a few clicks.


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Home Events Fine art Artist Felice House Reimagines Scenes from Classic Western Films with Female Cowboys...
Artist Felice House Reimagines Scenes from Classic Western Films with Female Cowboys as Leads
Angered by the gendered division perpetually seen in classic Western films, painter Felice House decided to create her painted series Re-Western. The collection of works are a re-imagining of her favorite Western films cast with female leads instead of the traditional male cowboys, painting females in place of actors such as James Dean, John Wayne, or Clint Eastwood. The women in her paintings are strapped with shotguns riding horses, fiercely looking out onto a deserted plain, and strongly staring into the eyes of the audience clad in plain button-downs and bright red cowboy boots.
"The western movie tradition is so established; so accepted, so mythologized that it spans the globe," said House to Colossal. "I love the genre, and at the same time when I sit down to watch a Western movie, I start to feel angry. For the most part, the roles in Westerns are totally inaccessible to me."
Deciding to start a conversation with this frustration, House choose to paint these reimagined Westerns to ask straightforward questions to a society that continuously handed over these roles to males.
Liakesha Dean in "Giant", 2013. Oil on canvas, 36″ x 48″.
Julia Dean Portrait, 2013. Oil on canvas, 24″x 20″.
"I would argue that in today's culture portraying women without objectifying them is an intentional and political act," said House. "The art historical and current cultural norm is to portray women to extol their sexual beauty and to encourage possessiveness. For centuries men have painted images of women for men. Now that women have access to education and training, women are painting women as we see ourselves."
House uses her female gaze and voice to create strong, female heroes in environments we all know, reestablishing our connection to the well-known historical settings. Working with the idea of a hero, House paints her portraits larger than life. She encourages the viewer to look up and become dwarfed by the women and their power, hoping this change in physical perspective might encourage a change in mental perspective as well.
Several of House's female portraits are currently in the group exhibition Sight Unseen at Abend Gallery in Denver through March 25. Pieces from her Re-Western series will be included the upcoming exhibition Woman as Warrior at the Zhou B Art Center in Chicago in August.
Karan and Nanc in Open Range, 2015. Oil on canvas, 36″ x 60″.
Virginia Eastwood in "The Good, the Bad and the Ugly", 2013. Oil on canvas, 62″ x 80″.
Rebekah Wayne in True Grit (Study), 2014. Oil on canvas, 30″ x 24″.
Krimmie Wayne in "The Searchers", 2013. Oil on canvas, 60″ x 40″.
Liakesha Cooper in "High Noon", 2013. Oil on canvas, 36″ x 48″.
Virginia Wayne Portrait, 2013. Oil on canvas, 30″ x 24″.
Previous articleSurreal Paintings or a Vision of the Future?
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Are they both valid to use in this situation OR I should use only one of the these two?
Both are valid and appropriate in terms of time reference, and both are grammatically correct. The second is far too florid for everyday discourse, though; in normal speech, the perfect is seldom used unless it is absolutely necessary.
Not the answer you're looking for? Browse other questions tagged grammar conditional-constructions or ask your own question.
Is the "doubly remote" conditional construction optional?
Mixed conditionals/ 2nd conditional/3rd conditional— which should be used in the sentences given below?


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Rob talks about his Awesome Team splash page
February 26, 2021 by Shane Syddall
Rob (00:06):
Hey Nance. Uh, I'm Rob Lyle, AKA Spedsy and creator of The Devil's Toilet. I am here with Shane, from ComX. Who's putting together an awesome calendar to support, not only me, but a whole bunch of Australian artists. Um, so support Shane by supporting us so he can support just everyone's support everyone. Let's make some cool stuff. All right, Shane, let's talk about that.
Shane (00:32):
So this is a cool picture. What is it you like about it the most? Uh, yeah, so this is the debut of Awesome Team in, uh, Devil's Toilet 2, which I think is page three. It's the sort of first splash page. Um, the idea here was to basically show off these characters as big as I could. Um, and really I wanted to take Devil's Toilet 2 to the next level. Um, my drawing had improved between Devil's Toilet 1 and Devil's Toilet 2.
And so I kind of wanted to do something that showed that off. Um, I was introducing characters that I've had for a long time and yeah. So at one point Devil's Toilet 1 hadn't been released, this is in Devil's Toilet too. Uh, and I wasn't sure if, if Devil's Toilet One was ever going to come out. So I just started, there was Devil's Toilet 2, just for my own fun. And so I wanted to, if this was my sort of last hurrah of like, just making a comic, I just wanted to put all my characters into it. So I wasted no time with that Awesome Team on page three.
Awesome, they seem like awesome. Yeah. So, um, is there anything that inspired this piece, like the look of it or the, characters, that sort of thing?
Yeah, so I wanted sort of like a Kitty Pryde and I didn't really get it here, but like Kitty Pryde coming out of, you know, how she phases through a wall later in the issue, um, they go back through a portal and it's more sort of like that half phasing through, but the idea of this was a big "Holy sh*t, who are these guys jumping through the – jumping through a portal.
And I mean, the whole reason Devil's Toilet exists is because he's easy to draw. Um, when I wanted to make a comic book and you've got to draw the same characters over and over and over, I was like, what's easy to draw on a square.
What's something that's square and a toilet came to mind and that's why the three main characters, according to kind of very simple, simple designs, whereas Awesome Team, uh, more people, more peopley sort of Simpsons Rick and Morty issue or something, um, which was a challenge in itself. But, um, that's why this page is also important to me because when I finished it, I was very, very proud of this because I don't think I'd ever drawn anything that good up until then. Um, so when I first did it, like, I was like, "Whoa, I actually don't hate that. So yeah,"
Which I hear is very common with artists. Um, yeah. Yeah. I like it. It's a good page. So, um,
Did you do the, the effect of the portal as well?
Yeah. Yeah. Everything there is, is me.
Did you have to learn that or like the new technique to do that portal or different than other art you've done?
Yeah. So, um, I did have to learn that and I just sort of, I mean, I just found a cool brush that I thought was awesome. And, um, it just lent itself to that sort of idea and layer upon layer upon layer. I've got sort of the effect I was looking for. Yeah.
Well it works, it works. It's, it's very easy to see the coming through a portal, so.
Oh, cool. Awesome.
Um, so I guess my next question will be, how do you feel this will connect with your fans in your best piece?
Well, so I put this on Twitter like six months or so ago. Um, and I did get a few comments about people saying that, "Oh, wow, that looks fun. What is that? I want to see more." And that just made me happy. That was like totally the vibe of the Devil's Toilet. And Vamoose for that matter is just fun.
Like, um, yeah, like there are stakes and there is emotions and whatever, but it's just meant to be fun. And the fact that someone saw this image and thought it looked fun and I'm like, that's exactly what I kind of, that's exactly what I'm looking for. So if, if people look at that and think it looks fun and then that's exactly what I hope for.
Excellent. Well, yeah, that's what I see. I see a lot of fun. I definitely want to pick this up myself now.
So yeah, if you, if anyone's interested in grabbing, uh, Devil's Toilet One and Two, or even Vamoose, number One, uh, the Devil's Toilet is currently on sale at All-Star comics, Alternate World and Dee's Comics, um, and hopefully a handful of others coming up. Otherwise you can grab all my [email protected] or on at Spedsy on Instagram, Facebook, Twitter, all that good stuff. Yeah. Thanks for checking it out.
Thanks very much, Rob. It was great to talk to you today. Um, it was good to learn about your art. Um, so, um, catcher either in the next figure, or you can check out the next person's video.
New Speaker (05:34):
Yeah. Cheers man. Thanks for having me
Speaker 3 (05:40):
Find out more about the calendar that Rob is contributing to go to ComX.link. This will take you to the Kickstarter pre-launch page, where you can register your interest or get notified of when the, um, Kickstarter starts. So, yeah, go on over there, click the button and, um, give, given your email. Thanks for that. Um, have you all have a good day.
Shane Syddall
Hero is Training. Fearless Leader of ComX: Doing all I can to promote the Australian Comic Community and Industry. Brought up on continual rations of Team based comics, from West Coast Avengers to the Legion of SuperHeroes to New Mutants to JLA to Gen13 to New Men to DV8 to Titans to Young Justice to ALL things X. I've happily dropped all those to explore the wonderous world of Australian Comics.
Categories Interview Tags Awesome Team, Devils Toilet, Reverie, Rob Lisle
Peter Lawson talks about his Wonder Woman illustration
Let's talk Vamoose issue 1 cover with it's artist Rob Lisle


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Programme and speakers
Programme highlights
Welcome by Mr Richard Kerr, RCS Council member and Chair of the Commission on the Future of Surgery.
Innovation in surgical education: what are we doing now?
virtual reality and its place in surgical education
augmented reality - Hololens, delivered by Microsoft
the use of technology in surgical education, haptics and VR.
Horizon scanning: what does the future hold?
the future of RCS education - Louise Goldring, Director of Learning
personalised learning and AI - Chris Munsch, clinical lead for the HEE Technology Enhanced Learning Programme
horizon scanning panel featuring key leaders in surgical innovation, including Microsoft, Tamzin Cuming, Consultant Colorectal Surgeon and Nadine Hachach-Haram, surgeon and co-founder of Proximie. More exciting names to be announced!
Breakout sessions:
designing a surgical teaching episode - RCS education
influencing the future round table - Microsoft partnership team
using your non-technical skills to improve your teaching - Ken Spearpoint, Principal Lecturer and Simulation Lead, University of Hertfordshire
cognitive training: thinking and performing like an expert surgeon - Kartik Logishetty, Clinical Research Fellow and Orthopaedic Surgeon, Imperial College London
training a functional team - Sunjay Jain, Consultant Urologist, Leeds and his wider team.
Book your place by 28 April to get an early bird discount.
Speaker biographies
Professor Shafi Ahmed
Professor Shafi Ahmed is a multi award winning surgeon, teacher, futurist, innovator, entrepreneur and an expert in augmented and virtual reality. He is a cancer surgeon at The Royal London and St Bartholomew's Hospitals and as a dedicated trainer, educator, and Associate Dean of Bart's Medical School, he was awarded the Silver Scalpel award in 2015 as the best national trainer in surgery by the Association of Surgeons in Training. He is currently serving as an elected member of council of the Royal College of Surgeons of England.
Mr Richard Kerr
Richard Kerr is a consultant neurosurgeon at Oxford University Hospital NHS Foundation Trust where he specialises in general neurosurgery, skull base surgery and vascular neurosurgery. Mr Kerr is the immediate past president of the Society of British Neurological Surgeons, RCS Council member and chair of the RCS Commission on the Future of Surgery. He was Co-Principal Investigator in the MRC-funded International Subarachnoid Aneurysm Trial (ISAT). The publication of this trial has led to a global change in the management of aneurysmal subarachnoid haemorrhage, with invitations to speak to learned societies from all over the world.
Ken Spearpoint
Ken Spearpoint trained as an intensive care nurse, he has worked in the NHS for 33 years. For the last 12 years, he has worked as the consultant nurse in resuscitation at Imperial College Healthcare NHS Trust. In 2016 Ken was appointed as principal lecturer at the University of Hertfordshire where he directs the MSc Health & Medical Simulation.
Ken has an established research interest in improving patient outcomes from cardiac arrest, and his current research interests include the integration of human factors/ergonomics with simulation based medical education.
Kartik Logishetty
Kartik Logishetty is an orthopaedic surgical trainee, specialising in hip surgery. He runs the MSc in Surgical Innovation at Imperial College London, and his research – funded by the Royal College of Surgeons – is focused on assistive technologies in surgery. As an Academic Foundation Doctor at the University of Oxford, he worked on developing an arthroscopic simulation programme for surgical training. As an NIHR Academic Clinical Fellow and PhD candidate at Imperial, Kartik has shown how virtual reality, augmented reality, cognitive task analysis and 3D-printing can enhance surgical training and intraoperative performance.
Nadine Hachach-Haram
Nadine Hachach-Haram is the co-founder of Proximie and a curious surgeon, lecturer and clinical entrepreneur. She has a passion for technology and innovation and a desire to make a difference in the world. Nadine drew on her passion for innovation, education and global surgery to co-found Proximie, an augmented reality platform that allows doctors to virtually transport themselves in to any operating room anywhere in the world to visually and practically interact in an operation from start to finish. Dubbed by CNN the 'Future of Surgery', Proximie has gone from strength to strength and won multiple awards including Foreign Press Association Science Story of the Year. When she isn't working, Nadine spends her time with her husband and three children in London.
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Unlike our last three songs that went number one, we have is an instrumental, so at least we know nobody dies.
I will go out on a limb and say that I am probably not the only person who first became aware from "A Theme From A Summer Place" from its use in National Lampoon's Animal House and not from the film, Summer Place.
I have never seen the film, A Summer Place (I can't say I intend to), but although its "theme" is not really in my musical wheelhouse, I couldn't help but then, like I am now to be transfixed by the instrumental by Percy Faith and his Orchestra. Without words, Faith's lush arrangement tells a story of love, beauty and reminiscing and though it does not have an overpowering note, it has in time "overpowered" the film, as it has been one of those rare cases where three minutes of music is exponentially more remembered than ninety minutes of movie. The song was such a smash that it would be Billboard's number one song of 1960, the first and to date only song from a movie to win the Record of the Year Grammy, and also is the longest topping instrumental on the Hot 100.
Most of that I already knew before, but as much as I pride my self on my knowledge of 40's and early 50's Jazz and Blues, I have to acquiesce that I know so little about the mainstream of that era that I was oblivious to the fact that Faith had reached the top of the chart in 1952 (Delicado) and in 1953 (The Song From Moulin Rouge), the latter of which was also a number one song of the year according to Billboard. This makes Faith one of three acts (the others being the Beatles and Elvis Presley) to have reached the top in two different decades and the only musician ever to have done so in both the pre-rock and rock era, a feat that is impossible to duplicate.
It has also been stated that Percy Faith is the originator of the genre of "Easy Listening", and while I am not certain that is true, there is something about listening to his music, especially "A Theme From Summer Place" that is soothing, and one of those songs that you could listen to in the dentist chair and does calm you.
You know what, let's just call Faith the "Godfather of Calm", because with the amount of research that I have done thus far, investigating the history of elevator music is not high on my to do list.
While Faith generally had success arranging pop standards he would later try his hands at doing the same with rock & roll acts in the 1960's. While it wasn't bad, it couldn't help but feel watered down, and though Percy was not exactly considered an innovator in his day, he had without question become a follower. Faith would die in 1976 and was recording to the end, the last of which would be Summer Place '76, a disco remake of his most enduring hit.
Oh…one more thing. He is also a Canadian. How did I miss that?
Other Notable Songs that charted but did not go to number one in this time period: February 22, 1960 – April 24, 1960.
2/22/60: Let Them Talk by Little Willie John went to #100 but went to #11 on the R&B Chart.
2/22/60: Sweet Sixteen by B.B. King did not chart in the Hot 100 but did go to #2 on the R&B Chart.
2/29/60: Handy Man by Jimmy Jones climbed to #2 and went to #3 on the R&B Chart.
3/7/60: He'll Have to Go by Jimmy Reeves reached #2 and hit #1 on the Country & Western Chart.
3/14/60: Just to be With You by The Passions hit #69.
3/28/60: This Magic Moment by The Drifters went to #4 and went to #16 the R&B Chart.
4/4/60: Puppy Love by Paul Anka hit #2.
4/4/60: Baby What You Want Me To Do by Jimmy Reed climbed to #37 and went to #10 on the R&B Chart.
4/18/60: Sweet Nothin's by Brenda Reed reached #4 and hit #12 on the R&B Chart.
4/18/60: Money (That's What I Want) by Barrett Strong went to #23 however climbed to #2 on the R&B Chart.
 Technically, it wasn't the theme from the movie as it was initially a love theme for the two main characters played by Troy Donahue and Sandra Dee.
I turned six that April of 1960 and have written about "Theme from a Summer Place" elsewhere. For those of us of a certain age, the appeal of the song is intermixed with the remembered joys of being young and feeling little else but joy and gratitude toward our parents, sibs, grandparents , et al. It was such an innocent age that Faith perfectly, I think uniquely, captured in this Theme, an age that we all remember would soon change irrevocably for the nation as we grew from little boomers into self-aware teens. The song's composer also deserves credit, for the melody is haunting and ineffably lovely as so few others are. Imagine being six that spring and watching on the new TV a presidential campaign between two men the same age as your father, both with children your age. We found it impossible not to think the world revolved around us. That's why we've been so difficult to please. But most of us look back fondly and a bit wistfully at the spring of 1960 and "A Summer Place".


The design solution is a direct response to the organizations mission "… to live in peace with our planet".
This facility will serve as a model for the relationship of beauty, function, and environmental responsibility. As such, it will be used as an educational tool for clients, staff, and interested individuals wishing to learn more about green building or that are seeing it demonstrated for the first time. Along with teaching about the building design and systems employed, the education program will also encompass behavioral changes that we can integrate with our daily actions that are healthier and environmentally responsible.
The design seeks to find synergies by incorporating strategies that provide multiple benefits in terms of aesthetics, function, budget constraints, and sustainable design objectives. For instance, the planted roof provides a beautiful element to the exterior while enhancing the thermal envelope, protecting the roof membrane from wear, reducing stormwater runoff, and creating habitat for birds and insects. On the interior, the decision to expose and finish the concrete slab eliminates the need for additional finish material. This creates a durable and easily maintained surface, works in conjunction with the spaces' radiant heating and cooling system, and provides thermal mass for the passive solar strategies. Daylight is provided to all occupied spaces as well as corridors to reduce energy demand from lighting while promoting occupant health and productivity. The lighting design works in conjunction with this strategy by incorporating daylight and occupant sensors, light level controls, and task lighting throughout.
The site was selected for the ease of access for clientele. It is conveniently located on a previously developed site near a freeway off-ramp, between two park and ride lots, and on multiple bus routes which connect to the local community and universities. This visible and accessible location will expand the impact of the organization in providing for a broader base of clientele. The building is configured to optimize solar control with the long axis north-south. It is positioned on the site to maximize open space and naturally vegetated areas to the south which will serve to protect solar access as the neighboring property is developed.
Climatic landscape design with native, xeric plantings is incorporated in the design. The building's roof design is configured to capture all precipitation on a planted roof to substantially reduce stormwater runoff. Paved areas are minimized and stormwater from this area will be managed on site through landscape designs incorporating vegetated swales. The building will minimize water use through high-efficiency plumbing throughout as well as controls and automated systems that will reduce waste while providing a hygienic easily maintained facility.
A groundsource heat pump coupled with solar thermal will provide radiant heating and cooling within the exposed slab floor. This strategy is anticipated to provide over 40% savings over conventional HVAC systems for this building type. The space will be both heated and cooled through the slab, reducing equipment sizing while improving indoor air quality and comfort. A thermally efficient glazing system will be incorporated which couples high-performance glazing with a thermally broken window frame system.
In an effort to drive the local market toward sustainable design, we incorporated local resources wherever feasible and anticipate achieving at least 20% regional materials per the LEED credit. In addition, local labor was employed as a means to educate and provide market opportunities in a new area for sustainable construction. The main construction method for the facility is ICF (insulated concrete forms) which provides superior insulation as well as a durable, fire-proof system. All materials and components for this system are sourced and manufactured locally. Products and finishes were selected for their energy performance, durability, healthfulness, and environmental responsibility.
As a healthcare organization, occupant health as well as the health of all others involved with the project is of utmost concern. As such, we anticipate achieving all but two EQ LEED credit in this project. Within the building, materials and equipment systems were selected to provide optimum occupant health through elimination of harmful chemicals and pollutants in specified products and control the intrusion of outside pollutants post-construction. In a broader context, materials and construction systems were selected with the health of those harvesting, manufacturing, and constructing in mind.


I knew about Skritter for some time now, but never really got around to actually checking it out. After Sara's recommendation I couldn't resist anymore and signed up for the trial. Another factor was that the lab that I'm working in now had a Wacom Bamboo tablet lying around. I installed it and never looked back.
I've used Anki before as a way to learn some extra vocabulary while I study. Now that I don't have formal class anymore, I needed to find a way not only to pickup new words, but keep the old words there. Skritter not only helps me learn words, but it helps me write them. My Chinese writing usually occur on the PC, but I love writing Chinese characters, but sometimes I just can't find the proper motivation. Skritter offered me that.
One thing that I noticed with Skritter is the ease of use of the program. I immediately understood everything. I'm currently learning to write HSK 1 & 2 again. Most of the words I know, but forgot how to write. Those lists are there, ready to be learned. Secondly, I found using a kinesthetic way of learning vocabulary a refreshing method to other SRS programs. Using a tablet itself is more active and does not feel as boring and monotonous as other SRS programs.
I highly recommend Skritter not only as an SRS alternative, but as a great way to learn how to write words (I'm finally training myself proper stroke order), but as an all inclusive Chinese learning program for tones and definitions as Skritter handles all those aspects as well.


text:
5.31.19 7:18AM
Barbara Brody
This Biomarker Score Can Predict Which RA Patients Will Stay in Remission — Even After Stopping DMARDs
Many patients hope to be able to stop medication once they enter remission. Ongoing research can provide some clues as to who can do so successfully.
If you have rheumatoid arthritis (RA), you may have been told that you're "seronegative" or "seropositive." Seronegative RA patients — who do not have antibodies for rheumatoid factor and/or anti-CCP in their blood — tend to have less severe symptoms and a better prognosis, but that's not always the case. Some seronegative patients are able to use disease-modifying antirheumatic drugs (DMARDs) for a period of time, stop them, and remain in remission. Others aren't as lucky.
Could a test designed to measure disease activity — the Vectra MBDA (multi-biomarker disease activity) test — also be used to predict which seronegative patients will stay in remission despite stopping treatment? It seems likely, according to a new study published in the journal Arthritis Research & Therapy.
The study followed nearly 300 Dutch rheumatoid arthritis patients who were part of the Leiden Early Arthritis Clinic Cohort between 2010 and 2015. Blood samples were taken before any treatment began and the Vectra MBDA, manufactured by Crescendo Bioscience, was administered. The test checks for 12 different biomarkers and generates a composite score that factors them all in. Researchers then used that score to divide the study participants into low, moderate, and high score groups. A high Vectra score means worse disease activity.
All of the study participants started treatment with methotrexate, but those who didn't fare well enough began taking other traditional DMARDs or biologic drugs. As expected, seropositive patients were more apt to need biologics than seronegative patients.
In accordance with official treatment guidelines, patients whose disease activity improved sufficiently (disease activity score, or DAS, was less than 2.4) tapered off of DMARDs. About four years later, 7 percent of seropositive patients and 34 percent of seronegative patients who had stopped DMARDs were still in remission.
For the small group of seropositive patients who achieved and stayed in remission without drugs, the results of the Vectra MBDA test didn't seem to matter.
But among seronegative patients, there was a clear pattern: "Moderate or high MBDA scores were strongly associated with achieving DMARD-free remission," the authors wrote. In contrast, sustained drug-free remission "was almost absent in the [seronegative] group with low MBDA scores."
In general, a higher MBDA score is worse because it means you have high levels of disease activity. So why would seronegative patients with higher scores be more apt to stay in remission after stopping treatment?
"One important note is that we measured the MBDA score only at disease presentation, and not during the disease course," says lead study author Debbie Boeters, MD. "We think that the subgroup of [seronegative] patients who are able to achieve remission have an acute onset, with high inflammation, but for some reason we don't understand yet have a better prognosis. The pathogenesis of this subgroup of patients might be really different from other RA patients."
Crescendo is a corporate sponsor of GHLF.
Use Our ArthritisPower App to Track Your Disease Activity
Join CreakyJoints' patient-centered research registry to track your symptoms, disease activity, and medications — and share with your doctor. Learn more and sign up here.
Remission and Low Disease Activity: What It Actually Means
4 Factors That Affect Hitting Remission in RA
88% of Arthritis Patients Say Achieving Remission Is a Goal, According to a New Poll
6 Simple Diet Lessons from Nutritionists with Rheumatoid Arthritis
Webinar: How to Benefit from Shared Decision Making


This Traditional Cream tea is the real deal and serves up to 4 people. Consisting of our delicious Devon scones that are baked on the day of dispatch, clotted cream from our local farm, all accompanied by our own fruity strawberry Devon jam and refreshing Westcountry tea - and a cute "New Home" wooden chicken!. This delight will be wrapped in our signature wax paper, and will arrive snuggled in wood wool in a bespoke rustic gift box.


DOMINOES BECOME MY PATRON! = http://www.patreon.com/Caddicarus , and check out Hidden Block for more! = http://www.hiddenblock.com And do you want to see what games I've been buying and playing? What games are in my collection, and are sitting on my shelves right now? What video equipment I use? Well then - go down to http://bit.ly/1gp8o5q to see and possibly buy exactly what I have got! I ALSO HAVE T-SHIRTS FOR SALE! http://www.rodeoarcade.myshopify.com/collections/caddicarus MY TWITCH CHANNEL! = http://www.twitch.tv/Caddicarus LIKE! = http://www.facebook.com/Caddicarus FOLLOW! = http://www.twitter.com/Caddicarus SUBSCRIBE! And remember to stay beautiful. Much loves! DISCLAIMER - I don't own ANYTHING copyrighted from this video. Please support the world's industries and check them all out yourself!
My Thoughts on 'Mad Max: Fury Road' - Caddy's Film Fridays!


text:
"""
    lantz.ui.chart
    ~~~~~~~~~~~~~~

    A chart frontend.

    :copyright: 2015 by Lantz Authors, see AUTHORS for more details.
    :license: BSD, see LICENSE for more details.
"""

from lantz import Q_

# Import Qt modules from lantz (pyside and pyqt compatible)
from lantz.utils.qt import QtGui

# These classes simplify application development
from lantz.ui.app import Frontend

class ChartUi(Frontend):
    """A frontend with a x,y plot (powered by pyqtgraph)
    """

    # a declarative way to indicate the user interface file to use.
    # The file must be located next to the python file where this class
    # is defined.
    gui = 'placeholder.ui'

    # connect widgets to instruments using connect_setup automatically.
    auto_connect = True

    _axis = {'x': 'bottom',
             'y': 'left'}

    def __init__(self, xlabel='', xunits='', ylabel='', yunits='', *args, **kwargs):
        self._labels = {'x': xlabel, 'y': ylabel}
        self._units = {'x': xunits, 'y': yunits}

        self._x = []
        self._y = []

        super().__init__(*args, **kwargs)

    @property
    def xlabel(self):
        """x-axis label.
        """
        return self._labels['x']

    @xlabel.setter
    def xlabel(self, value):
        self._labels['x'] = value
        self._relabel('x')

    @property
    def ylabel(self):
        """y-axis label.
        """
        return self._labels['y']

    @ylabel.setter
    def ylabel(self, value):
        self._labels['y'] = value
        self._relabel('y')

    @property
    def xunits(self):
        """x-axis units as a string.
        """
        return self._units['x']

    @xunits.setter
    def xunits(self, value):
        self._units['x'] = value
        self._relabel('x')

    @property
    def yunits(self):
        """y-axis units as a string.
        """
        return self._units['y']

    @yunits.setter
    def yunits(self, value):
        self._units['y'] = value
        self._relabel('y')

    def _relabel(self, axis):
        """Builds the actual label using the label and units for a given axis.
        Also builds a quantity to be used to normalized the data.

        :param axis: 'x' or 'y'
        """
        label = self._labels[axis]
        units = self._units[axis]
        if label and units:
            label = '%s [%s]' % (label, units)
        elif units:
            label = '[%s]' % units

        self.pw.setLabel(self._axis[axis], label)

        if units:
            setattr(self, '_q' + axis, Q_(1, units))

    def setupUi(self):
        import pyqtgraph as pg

        pg.setConfigOptions(antialias=True)
        # This method is called after gui has been loaded (referenced in self.widget)
        # to customize gui building. In this case, we are adding a plot widget.
        self.pw = pg.PlotWidget()

        self.curve = self.pw.plot(pen='y')
        layout = QtGui.QVBoxLayout()
        layout.addWidget(self.pw)
        self.widget.placeholder.setLayout(layout)

    def plot(self, x, y):
        """Add a pair of points to the plot.
        """
        x = float(x / self._qx)
        y = float(y / self._qy)
        self._x.append(x)
        self._y.append(y)
        self.curve.setData(self._x, self._y)

    def clear(self, *args):
        """Clear the plot.
        """
        self._x.clear()
        self._y.clear()

redpajama_set_name: RedPajamaGithub


text:
Home » News » Urology » Kidney Cancer
Immunotherapy Superior to Sunitinib for Front-Line mRCC Treatment
Checkpoint inhibitor combination of nivolumab plus ipilimumab improved progression-free and overall survival compared with sunitinib.
Clinical trial findings presented at European Society for Medical Oncology (ESMO) 2017 Congress in Madrid, Spain, could signal a major shift in the front-line treatment of metastatic renal cell carcinoma (mRCC).
The CheckMate-214 trial demonstrated that combined immunotherapy with the checkpoint inhibitors nivolumab and ipilimumab results in superior outcomes—including significantly better objective response rate (ORR), progression-free survival (PFS), and overall survival (OS)—compared with sunitinib among patients with previously untreated intermediate- and poor-risk mRCC. Sunitinib is the current standard of care for this patient population. Bernard Escudier, MD, of Institut Gustave Roussy, Villejuif, France, who presented the study's findings, said nivolumab/ipilimumab will rapidly become the new standard of care for the front-line treatment of these patients.
The trial included 1096 patients randomly assigned to receive nivolumab/ipilimumab (550 patients) or sunitinib (546 patients). With a minimum follow-up of about 17.5 months, the ORR was 41.6% in the nivolumab/ipilimumab arm compared with 26.5% among sunitinib recipients among patients with intermediate- and poor-risk disease. In addition, 9.4% of patients in the combination therapy arm achieved a complete response compared with 1.2% of patients in the sunitinib arm. Median PFS was 11.6 months in the immunotherapy arm compared with 8.4% in the sunitinib arm. Compared with sunitinib, the nivolumab/ipilimumab combination decreased the risk of disease progression by a significant 18%.
The beneficial effect of nivolumab/ipilimumab over sunitinib was more pronounced among intermediate- and poor-risk patients having baseline PD-L1 expression of 1% or greater. In these patients, the ORR was 58% in the combination arm versus 25% among sunitinib recipients, and the median PFS was 22.8 months versus 5.9 months. The combination therapy decreased the risk of disease progression by 52% compared with sunitinib.
Of the 550 patients treated with nivolumab/ipilimumab, 159 (28.9%) died during follow-up compared with 202 (36.9%) of the 546 sunitinib recipients, Dr Escudier's group reported. Among intermediate- and poor-risk patients, median OS was 26 months in the sunitinib group and not yet reached in the combination arm. Among patients in all risk groups, median OS was 32.9 months among sunitinib recipients and not yet reached in the combination arm.
Upfront Cabozantinib for Advanced RCC Improves Outcomes
Sunitinib Dose Escalation May Benefit mRCC Patients
RCC Patients May Benefit from Nivolumab After Disease Progression
Moshe Ornstein, MD, a genitourinary oncologist at the Cleveland Clinic Taussig Cancer Institute, who was not part of the Checkmate-214 research team, noted that the results of the study presented at the ESMO congress "represent the first phase 3 data to support the use of checkpoint inhibitors in the front-line setting for metastatic renal cell carcinoma."
"The superior objective response rates and overall survival of combined ipilimumab and nivolumab compared to sunitinib in patients with intermediate- and poor-risk mRCC will likely usher in an era in which this combination of checkpoint inhibitors become the standard of care for front-line mRCC," Dr Ornstein told Renal & Urology News.
The ORR and OS rates also favored the nivolumab/ipilimumab combination in the intention-to-treat population (patients with favorable-, intermediate-, and poor-risk disease), suggesting that this combination also may become a new standard of care as front-line mRCC treatment for all patients, regardless of risk group.
A primary concern of the nivolumab/ipilimumab combination is the perceived toxicity, Dr Ornstein said. Although the combination was very well tolerated overall, 25% of patients who received the treatment discontinued it because of drug toxicity compared with only 12% of sunitinib-treated patients. He pointed out, however, that 79% of the patients in the ipilimumab/nivolumab arm successfully received all 4 doses of ipilimumab as called for in the trial protocol.
Escudier B, Tannir N, McDermott D, et al. CheckMate 214: Efficacy and safety of nivolumab + ipilimumab (N+I) v sunitinib (S) for treatment-naïve advanced or metastatic renal cell carcinoma (mRCC), including IMDC risk and PD-L1 expression subgroups. LBA5. Presented at the European Society for Medical Oncology 2017 congress in Madrid, Spain.
From the October 03, 2017 Issue of Renal and Urology News
Kidney Cancer Renal Cell Carcinoma
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Jazz And Blues Love Songs is an excellent collection of over thirty classic sultry jazz and beloved blues numbers in the After Midnight series, all arranged for Piano and Voice, as well as including Guitar chord symbols and boxes.
There are no better love songs that have ever been written than those from the jazz and blues tradition. These tunes were composed when people's emotions were real, raw and their performances were in those dark, smoky jazz bars of yesteryear. The times may have been tougher, but the romance was genuine, and with this collection of Jazz And Blues Love Song sheet music, you can revisit those lovelorn and heartfelt ballads that make us so nostalgic about those times.
Featuring classic Jazz And Blues Love Songs like Can't Help Lovin' Dat Man, I'm Getting Sentimental Over You, Midnight Sun and The Way You Look Tonight, if you're perchance In A Sentimental Mood, you'll be able to relax and play the Piano along to these beautifully timeless tunes. Isn't It Romantic when a song is written purely from the heart by a brilliant songwriter, and countless other musicians for years after are inspired to learn and play the songs that say how they feel so well.
If you are looking for a collection of love song sheet music that is not merely full of the heartless and emotionless songs of today, why not try looking a little further back at the Jazz And Blues Love Songs of the past? This After Dark collection features all of those sensuous songs from a time of brilliant songwriters and even better singers.


As discussed in Chapter 1, these objectives contributed to the overall aim to make an opera that evoked some sense of spoken-word theatre, with semantic/linguistic immediacy; an opera in which Kane's text was equally present alongside the music.
In terms of this practice-led research, the success of the operatic adaptation of must be measured against these objectives. To that end, Chapters 4 to 8 discussed five specific approaches to non-sung text (notwithstanding other objectives and approaches that appear in the opera but which lie outside this research commentary). These included spoken-word techniques: 'the opera thought-bubble', voiceover, mid-phrase switching and tape-cutting techniques, and one approach to visually-presented text in the percussion dialogue scenes. The dramaturgical implications of each technique were discussed, showing that such dramaturgy often became the decisive factor when modifying compositional approaches as a result of workshops, rehearsal or discussions with the creative team. I will summarise each objective in turn.
Voiceover techniques were covered in Chapter 4 – 'the Opera Thought-Bubble' and Chapter 5 – Voiceover. The former looked at a voiceover technique that attempts to articulate the inner monologue of a performer on stage by juxtaposing that performer's pre-recorded spoken voice with their live sung voice. The necessary synchronisation of the spoken and sung components was established in Scene 5A and then countered in Scene 18, which tested what level of synchronicity was required for the effect to work. Chapter 5 looked at voiceover techniques that may be more commonly associated with the 'third-party narrator' seen in films or theatre, whereby the pre-recorded spoken voice is not connected to a live vocal performance on stage. This was useful to deal with the difficult dramaturgy of Scene 14, which was written from a third-party viewpoint and therefore problematic to portray live with a member of the 'hive-mind' cast. Voiceover techniques also solved practical problems of vocal delivery in Scene 16, where a non-singer was able to record a screamed/shouted version of the text. In Scene 11, voiceover was used to reinforce a sense of ambiguity of point-of-view – was the voice that of the main character or a lover?
Chapter 7 discussed a 'stream-of-consciousness' effect, following earlier work in Unleashed and Illusions, achieved by collaging techniques (fragmentation, repetition and re-ordering) with Kane's text in Scene 5B. This was attempted first in a live form, but following a series of workshops was re-made using tape-cutting techniques applied to pre-recorded speech. This enabled us to create an immersive surround-sound experience with greater rhythmic and contrapuntal texture than could be achieved live, and with much tighter synchronisation with the instrumental ensemble. Dramaturgically, the tape version freed the cast from an almost impossible task of memorisation in performance, allowing the Director to stage a fast-moving choreography for the scene.
The combination of sung and spoken text in a single vocal line was explored in Chapter 6 – Mid-phrase switching. This was first implemented simply in Scene 3, with sparse underscoring and an easy tessitura to successfully mitigate any problems of balance between sung and spoken text. In Scene 9, these problems required workshops to test the limits of text comprehension in a more complex texture of sung, spoken and instrumental layers. As a result the scene was re-scored so that one performer delivered most of the spoken text, as a central thread around which the others delivered the sung-spoken texture. That central thread was then amplified above the others, allowing more effective text comprehension. Density of scoring and tessitura was also adjusted, following the example in Scene 3.
Text presented visually without the voice was explored in a series of dialogues between patient and doctor, discussed in Chapter 8. The aim was to retain the timing and wry humour of Kane's text, and to distance the style of delivery from the emotional weight of the dialogue. The work of Ignas Krunglevičius provided a model, which achieves such distancing in similar patient-counsellor dialogues. These scenes in 4.48 Psychosis were developed through recordings of theatre workshop performances of the scenes, of which rhythmic transcriptions were used as the basis for the composition of the percussion duos. Technical issues around the synchronisation of percussion performance and text projection were investigated in workshops, resulting in a click-track solution.
As discussed in each chapter, structured workshops and development time on the Doctoral Composer-in-Residence scheme was invaluable to allow the testing and subsequent re-working of material to improve and adjust compositional approaches according to the objectives described above. That development allowed for a constant process of evaluation and adjustment for the creative team.
With a score ranging guilelessly from motoric arrhythmia to wispy renaissance, director Ted Huffman and team attempt neither dramatic adornment nor explanation but allow the text to breathe within a kaleidoscope of inner-outer conflict.
[two percussionists] duel and duet above the singers' heads as unsung passages are streamed across its walls.[…] The rhythms of Kane's words are battered out by drums, hammers, whips, even a saw cutting through wood.
[the ensemble's] voices overlap in a sequence of first-person histories broken by patient-doctor dialogues in which Kane's words are projected on the walls and "voiced" by the percussionists Sarah Hatch and Genevieve Wilkins.
Is it OK to laugh? Yes. Doctor This, Doctor That and Doctor Whatsit are a snare drum, a saw and metal bars. Kane — or her depression — is a big bass drum. Question marks are indicated by the trite ping of a typewriter bell. Underscoring it is the cheesy, sexless, samba-rhythm shimmy of lift-music.
[…] Every self-harming syllable of the text is clear.
[Philip Venables] challenges the conventions of opera. Via an array of resources he ambushes and refreshes an old art form. His technique is that of a collagist. Text is variously spoken, projected, amplified, conveyed rhythmically with percussion and sung, often in aria-like lament or chorale outburst.
[Philip Venables] bends over backwards to preserve the spirit of Kane's text. As in the play, there is little sense of narrative, or characters' identities, or anything that would keep us grounded. Six identically costumed female singers work as what Venables calls "a hive mind", sharing the parts of the therapist and the patient, who descends into suicidal depression. Meanwhile Kane's text is spoken, sung and projected on screens: it seems to emanate from everywhere.
In the exchanges between patient and therapist, two percussionists thrash out rhythmic speech patterns as the text appears on screens beneath them. Then, when the din fades away, we're left with the indifferent tinkle of elevator music. It's unhinged and chilling, albeit laced with Kane's trademark humour. Most of all, it is dizzyingly colourful.
The spoken word has regularly been one of Venables' preoccupations, and here passages are not only sung or spoken but also chanted by members of the cast as a group, or even just whispered or shouted.
For a truly original take on the troubled mind in troubled times, look instead to Philip Venables' reworking of Sarah Kane's 4.48 Psychosis […] Experimentation in the service of absolute emotional precision: Venables' economical work is one of the most exhilarating operas in years, even while it gives voice to some of the darkest thoughts imaginable.
While this 4.48 Psychosis undoubtedly constitutes an opera, the music is best understood as a contributory component to a sensory experience that is also created through word, setting, gesture, movement and sound in the widest sense of the word.
Kane's text was very present in the audience experience, and the 'personality' of Kane's text was clearly perceived through the musical texture.
A wide variety of modes of text delivery were successfully perceived.
Kane's humour was successfully rendered in the Percussion Dialogue scenes. These scenes were noted in every review.
The hive-mind concept was successfully portrayed.
The opera's approach to the text was considered to be imaginative / experimental / colourful.
The text-based approach that I have taken to making 4.48 Psychosis throws up some issues for future productions of the opera, whether that be a revival of the Royal Opera production or a new production. These can be categorised as follows, and will be discussed in order.
Making the opera with a different cast.
Making the opera in a different language.
Making the opera with a different director.
In order for the opera to have a long life in the repertoire, it will need be re-made in the future with different casts. Generally, the opera was written for and cast with singers who also have good skills in delivering spoken text. The auditions for this production included an excerpt of Scene 5B to be performed as spoken word, as discussed in Chapter 7.3. This enabled us to find singers who were confident in delivering spoken-word performance, which is crucial for the success of this opera.
As there is so much pre-recorded speech in the opera, the question is whether all of this pre-recorded material should be re-recorded using the voices of a new cast. With the exception of one scene, all of this text is detailed in the score, showing what should be spoken, how it should be divided into separate audio cues and when it should be cued. There would be no problem for a technician or sound designer to follow these instructions with a new cast and produce a new set of audio cues for the show.
However, Scene 5B presents more difficult problems. The compositional process for this scene, as discussed in Chapter 7, was such that the tape collage was made intuitively from spoken-word samples of the cast. It used the previous live version of the score for Scene 5B as a very approximate guide, but the new instrumental music was written onto the dimensions and timings of the tape part. The notation used in the score describes only important cue points that align with the instrumental music; it does not capture the full complexity of the tape part.
In order to avoid re-writing the instrumental material, any new version of this tape would need to keep the same tempo frame, the notated cue positions of spoken phrases and stutters, and overall duration of each of the three tape sections. However, it may not be possible to construct a new tape part in exactly the same way using new speech recordings by a different cast – especially not if it were in a different language, as discussed in the next section. Therefore notating the current tape part in more detail – producing an exact map of it – would not be useful if the audio source material were different.
In response to this issue, my final position is that Scene 5B should allow sound designers the opportunity to create new tape versions. The notation in the score gives a framework that should be followed that aligns with the existing instrumental music, avoiding any need to re-score. However, a sound designer is afforded plenty of freedom with density/layering, EQ, effects, surround-sound/panning, number of voices and distribution, cutting and stuttering techniques and mastering. One would hope that a good sound designer would take inspiration from the original tapes, of course, but this additional freedom may yield unexpected and interesting results, perhaps according to a different set of dramaturgical conceits that would be given by a new staging and a different director.
Chapter 1 outlined a desire to make opera that was semantically immediate, that could be understood by the audience immediately – a form of 'music-led spoken theatre'. However, one problem of internationally-touring opera is the convention for opera to be performed in the language of its creators rather than the language of its audience. If 4.48 Psychosis is performed to audiences who are not fluent English-speakers, the core objective of semantic immediacy will fail.
This is a complex issue, and in the case of this opera, the problems that this issue throws up have not yet been addressed. Resolving these problems lies outside of this research, but it is a necessary consideration for the future life of this opera, and could form the basis for further research. Opera translators usually work with composers to find the best text translations to fit the rhythm and pitch of the music, so that stresses and intonation of the new text fit with the music. However, due to the licensing of rights from the Kane Estate, any foreign-language version of the opera would need to use the approved translation of Kane's text, and so this model of translation model would work in the other direction – the music would need to be made to fit the existing (approved) text. Given these complications, there needs to be a discussion about whether any of the music should be 'translated', if so what proportion of it, and how new performance materials are made.
Live spoken word. The new text can be substituted in the score easily and performed in the new language.
Scene 5B, tape collage. The new text can be substituted in the score and new audio stems could be recorded in the new language, and a new tape part made, as discussed in 9.2.1 – Different casts. However, a re-scoring of the instrumental music would be required to address changes in sentence structure of the text in the new tape part (e.g. which words should be stuttered / underscored).
Surtitles / other projection. These would be remade in the new language as they would for any foreign-language opera.
Percussion Dialogues would need to be completely re-written in the new language and new projection videos made. Speech rhythms and emphasis would be different, requiring all of the percussion duos to be rewritten, and possibly new click tracks to be made.
Sung text/aria. All passages of song would need to be re-arranged with the new text, such as rhythmic variations and adjustments for different emphasis/stress/grammar.
Points 2 and 3 would not require significantly more labour than that required to re-record material with a new cast in English (see 9.2.1 – Different casts). Point 4 would be done anyway for foreign-language performances of opera. Therefore only points 5 and 6 are those that require significantly more resources. Of those two, the Percussion Dialogues would be a much higher priority for translation than the sung material, because these are scenes that focus so clearly on the semantic immediacy that this commentary has described. The effectiveness of these scenes would suffer much more by being in a foreign language than any of the sung scenes. I would be inclined to insist that these scenes be re-written in other languages where required; this could be done either by myself (with the assistance of a language coach) or by an arranger who could make new versions to be approved, by following the transcription methodology described in Chapter 8.
Another objective of this operatic adaptation, although not the focus of this research commentary, was to create musical and dramaturgical frameworks within the score that allow the director more space to make dramaturgical decisions than might be possible in operas where everything is precisely scored. Some passages in the opera were written with a modular construction, for example, or vocal lines were not assigned to particular voices, choices between live performance and pre-recording were left open. Within the hive-mind, inner-monologue concept of the opera, all of these choices were possible from a dramaturgical point of view.
This particular production, of course, made decisions about all of these questions. Lines were assigned to singers, it was decided which spoken text and sung lines should be pre-recorded and which delivered live (e.g. Scenes 2, 11, 15, 23), and likewise which music should be performed live or be pre-recorded (e.g. the solo keyboard part in Scene 11, hummed chorus in Scene 23, the Bach fragments in Scene 17). These decisions, however, should not determine the choices of any future productions – they should remain open for a new director to approach afresh. A different staging concept may produce considerably different outcomes.
Such 'open' passages and others like them will therefore remain open in the score. This includes whether voiceovers should be delivered live or be pre-recorded, some optional orchestrations, and some sung passages and many spoken passages open to be freely assigned to performers as staging and dramaturgy require.
1. Studio Techniques. A development of more sophisticated studio techniques and live electronics to modify, layer and texturise the spoken voice within musical contexts. This area was touched on very lightly in the Year 1 workshops with pitch-shifting and chorus/reverb effects, but my practice needs more development. This is currently being addressed in several new projects and grant applications.
2. Lip-syncing. There are a number of excellent lip-sync artists such as Dickie Beau, and as a performance art, lip-syncing would have a role in opera. It has potential implications for devices such as voice-body split, off-stage voiceovers, vocal gender-switching and much more. A recent production Putting words in your mouth (2016) by the artist Scottee uses this to great effect and could provide fertile ground for adapting techniques to opera.
3. Video in live performance. Further work can be done with editing techniques for audio-video material, including methods for interaction with live performance. For example, a character on stage interacting with themselves on video. Live video relay would also be fertile ground for development. I am currently in discussion with Katie Mitchell, a director who uses live video extensively, about a potential collaboration in this area.
4. Click tracks. Click tracks were used in very simple ways in 4.48 Psychosis, but they have the potential to create impressive and intricate effects, especially when different performers have independent click tracks. Recently Le Premier Meurtre (2016) by Arthur Lavandier and Frederico Flamminio explored such techniques and could stimulate further research.
5. Text sources. Future projects could attempt to widen the variety of text–dramaturgy–music relationships by gathering a greater range of source texts with varying points of view. Possible texts could include found text, media text (online, television, newspapers), verbatim interview transcripts, eavesdropping private conservations, online chat or whatsapp conversations, literary text and non-fiction text.
6. Participatory opera / Outreach opera. I will be working on several audience-interactive projects in the near future, including live and pre-recorded video interviews. How can these text techniques be implemented in this kind of format, and how might they function in pieces where material is generated by the audience? Likewise, could these techniques be adapted for outreach operas with children?
This list is not exhaustive: all good practice-led research should throw up more avenues for potential investigation than questions it answers. However, most of the points above assume the possibility of a healthy research methodology. The making of 4.48 Psychosis benefitted enormously from a structured research process: workshopping, experimentation and trial-and-error was necessary to pursue the practice-led research objectives. This is the crucial difference between a research process and a commission-and-deliver process. Therefore, one final point of potential future research is a practical one: how can non-sung text in opera be developed further without a structured development process in place and the resources to support it? That is an open question, but the necessity of that question highlights – both in absolute research terms, and to opera-makers, producers and audiences – the value of a structured research and production process, such as this Royal Opera and Guildhall Doctoral Composer-in-Residence scheme.


Akshay Kumar has delivered so many duds in recent years that it's a pleasant surprise to watch a decent movie featuring him in the lead role.
Directed and written by Neeraj Pandey, Baby is a fast paced action thriller filmed in Istanbul, parts of Nepal, the deserts of Abu Dhabi and, of course, India.
In a Bollywood filled with idiots, thieves or both, Neeraj Pandey is that rare talented original filmmaker.
Neeraj's 2008 film A Wednesday (Naseeruddin Shah, Anupam Kher) remains one of my favorite Hindi films of all time.
Action films are a rarity in a Bollywood that focuses mostly on silly romances.
And the reason for few Indian action films is simple - We lack the writers, actors and directors to execute a good action film. Indian audiences used to slick Hollywood action films often laugh at feeble Indian attempts to make an action film.
But Baby strikes a different note.
In keeping with the current perilous times around the globe, the central theme of Baby is terrorism.
Ajay (Akshay Kumar) is a member of a top secret agency called Baby that was created after the 26/11 Pakistani terror attacks on Mumbai.
Baby's mandate is to thwart terrorists from carrying out their violent missions in India at any cost.
So the movie begins with Ajay (Akshay Kumar) on a furious chase in the streets of Istanbul to rescue his colleague Rakesh, who's fallen into the hands of terrorists.
During his attempt to rescue Rakesh, Ajay learns of imminent terrorist attacks in Delhi from Jamal, a Baby operative gone rogue.
From then on, the momentum never stops in Baby.
Soon Ajay is back to Delhi before jetting off to Nepal and Saudi Arabia (in reality Abu Dhabi) in a high-wire attempt to capture or kill the terrorists.
This is Akshay Kumar's film.
Fortunately, the man looks fit and does a neat job in the action scenes without any of the flying, leaping rubbish you see in South Indian films.
The other actors (Danny Denzongpa, Rana Dagupatti, Anupam Kher, Kay Kay Menon and Tapsee Pannu) are relegated to supporting roles.
In contrast to his offensively disgusting performances in films like Entertainment, Akshay delivers a restrained performance in Baby.
Kay Kay Menon is effective in a short role as the terrorist Bilal Khan.
There are few dull moments in Baby thanks to the gripping story line.
Tapsee Pannu acquits herself well in a cameo as an undercover agent tackling a hardened criminal in Nepal.
The photography is extremely well-done, again a rarity in Bollywood.
If I have any gripes, they're about the length of the film (two-hours and 40-minutes) and mediocre music.
With better editing, the film could have been trimmed down by at least 20 minutes.
Although Baby is no Bourne in the action genre, it's most definitely worth watching on the big screen.
Neeraj Pandey and Akshay Kumar deserve kudos for Baby.


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SEC Media Days: Gus Malzahn praises Mark Richt, Kirby Smart
(Photo: Butch Dill-USA TODAY Sports)
HOOVER, AL – Georgia and Auburn are well known for their annual showdowns as bitter rivals, with moments of heartbreak and elation on each side. It's not very often you see coaches show a great deal of respect for their opponents, but Auburn head coach Gus Malzahn did just that during his press conference at SEC Media Days.
Malzahn was posed a question on his results against Georgia in the recent years, and his feelings on former Georgia head coach Mark Richt, who is now is the head man at Miami. Malzahn displayed the integrity Richt possesses and how his tenure was successful.
"First of all, Mark Richt is one of the better coaches in college football, I think," Malzahn said. "(Also), he's one of the true professionals in all of college football. He's a great example for young guys getting into that profession of how to go about your business. It was an honor to coach against Coach Richt."
Richt had success against Malzahn and his predecessors while at Georgia, finishing with a 10-5 record against the Tigers.
Kirby Smart, Richt's successor in Athens, also has a long history against Malzahn during his time as the defensive coordinator at Alabama. Those two in-state rivals also face-off yearly, in a game in which the stakes are always high. Malzahn continued on stating his regard for Smart.
"Kirby Smart (and I) have a lot of history," Malzahn said. "I have a lot of respect for him as a football coach. We've had some pretty good battles and we know each other pretty well. It's always been a good rivalry and continues to be a rivalry."
Smart will have his first chance in an all-important game against Gus Malzahn and the Tigers when they visit Athens on November 12th for a showdown at Sanford Stadium.


No heat sheets of yet but we know who is who among accepted entries.
Who do you think will win and be top six?
In my mind it's either Bayer or Hill. Bayer probably has the best long kick (~400m out) out of the group while Hill probably has the best short kick (last ~150m). The rest of the guys are undoubtably good, but those two seem the favorites in my mind.
Agree completely, I voted for Bayer. Dude is fast.
I suggest six so you go five. At least we agree on Bayer. I thought Mudd too especially after indoors but I'm just not as confident in him as I used to be. He did not have the best showing at Big Tens.
add in creese for #6.


text:
COHEGENT
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How to Monetize Your Podcast
What Businesses Can Learn From Game Of Thrones
Jess Choi
You've been there, glued to your TV or laptop on a binge watch of your favorite show. Game of Thrones has that effect on multitudes, and there is only one more episode left before the season finale! How can a show make you feel sorry for Jaime Lannister, a fictional character incestually in love with his own sister? You question yourself for feeling empathy for a character who is ethically questionable. In one season, you despise him. But then next season, you can't help but cheer on the very same person you deemed to be a villain. How could this possibly be? The reason is simple: You feel his pain.
If only all businesses had the ability to pull our heart-strings like Game of Thrones. Companies and employees have grown emotional calluses. They pour all of their their energies and time into numbers, calculations, SEO, and other technicalities that - quite frankly - the customer doesn't give a hoot about. On top of that, the sad reality is that a plethora of customer interaction has become automated.
The customer is perceived as a sack of money rather than a person with desires and needs. It seems easier and more efficient to tune out the internal and external cries of individuals.
You continue to blow your trumpet and exclaim why your product or service is amazing. But it's time to have an honest one-on-one dialogue with yourself. Do you feel the pain that your target audience feels? And can you truly solve or lessen a burden with what you have to offer? If you can't answer it with a confident "HELL YEAH," you may need to re-evaluate why you are doing what you're doing in the first place.
People see right through you if you are unable to provide value. Loyalty must be earned through trust imbued interactions. Loyalty and trust are not things you can sell. The value you give leads to the success of your business when you understand how to feel another person's pain.
So instead of spending a fortune at a business conference, you may want to binge watch Game of Thrones. And analyze how you can empathize with your target customers.
gameofthrones


Summary: Deadboy and Xander go for fast food.
Spoilers: Are those little flaps on airplane wings.
"Welcome to Taco H—Bell, may I take your order?"
Damn, it's getting harder and harder to say that right every time. You and your friends laugh, I'll bet, at that little joke. Well, I don't. I know it's true.
Since the idiot in front of me is still staring dumbly at the menu (it's just tacos, for gosh sake), I take the opportunity to let my mind go blank. It's a form of meditation. During which time, unfortunately, I become intensely aware of my surroundings. The excuses for meat, chicken, lettuce, tomatoes, sour cream, tortillas, and hot frying oil behind me, my fellow inmates (some unwashed and most moronic) around me, the idiot in front of me, and the two people coming in the side door, which fortunately I can't see from where I stand. If I could, I might think more about escape.
"This is where you want to eat?" I hear a masculine voice say.
Hey, I wouldn't be here either if I could help it, so just shut up and wait your turn to order, boy-o.
Another guy, slightly younger-sounding, replies. "Yes, Deadboy, this is where I want to eat. I mean, look at the prices."
Deadboy? Here come the weirdos.
Deadboy and Xander. Definitely weird.
"You take me out all the time." Lucky stiff. "And it's always to these really nice restaurants. And I love it, I really do, but I just want a chance to eat something really heart-stopping and teenagery for a change. Besides, these chalupa things aren't half bad."
Oh, yeah? Well, you haven't seen them made over and over and over again, and you haven't watched thousands of people eating the hideous things, and you haven't had to clean up after them again and again and again.... You know, I could really kill that freakin' Chihuahua, saying, 'Drop the chalupa' all the time. Doesn't he realize how often people actually do that?!
"You can't eat unhealthy at lunch?" 'Deadboy' is talking. "If you do stop your heart, you know I'm turning you right now."
"You promised to wait until I was finished with college."
"Yeah, well, you have to promise not to die in the interim."
"Well, since you put it so nicely...."
What are these freaks talking about? Lucky for me, they're next in my line, so I look up at them—and gasp. Freaks or not, they're really cute.
"Welcometotacobellmayitakeyourorder?" I say all at once, still staring at them.
Xander makes his order, which I have to admit truly is heart-stopping. He's just about to pay, when I hear some crashing near the trash cans outside. I glance at the obviously expensive clothes 'Deadboy' is wearing.
"You might want to get that to go," I say. "The hot sauce is about to fly."
"I like the sound of that," murmurs Xander.
"What?" asks Deadboy, ignoring him.
"The crowd gets a little rowdy about now," I explain.
Fine, it's his dry cleaning bill.
Then, just when I'm handing Xander his tray, the fabric of space-time rips open.
I know what you're thinking: "Yeah, right, you've been snorting too much of that hot sauce in the back." Believe me, I was so bored once that I actually tried it, and it's even less fun than it sounds. And it's not that kind of buzz.
No, the fabric of space-time actually ripped open. Right there in the lobby of Taco Bell. Ripped open like some sort of mouth to hell. Which, if you think about it, kind of makes sense.
Deadboy and Xander apparently don't get the connection. "Hellmouth?" says Xander, with disbelief. "What's it doing here?"
Deadboy just puts out a protective arm.
And to top it all off, three nasty-looking green demons step through the Hellmouth.
I know, I know. But if you're still with me after the Hellmouth thing, I don't see why you should balk at demons.
"I thought we killed these things," says Xander.
"So did I," says Deadboy.
"Angelus!" one of the demons roars. "We have unfinished business!"
Great, now we've got customers bringing irate demons into the restaurant with them. On the plus side, they're scaring away all the other customers, and all the other employees. I find myself unable to move, rooted in my spot behind the counter.
So I have a perfect view of Deadboy and Xander dispatching the nasty demons. Despite the conditions, I find myself enjoying watching the two hot guys moving in concert. Punch, kick, spin, slice... Deadboy's pulled a sword out of his long coat.
Finally, the three demons lie on the floor, dead. Deadboy stands and slides his sword back into the sheath in his coat. The fight has taken more out of Xander, who's kneeling on the floor catching his breath. Deadboy walks over to check on him and then turns to me.
"Y—yeah, fine." I'm amazed I can speak.
"I think we'll get that to go after all."
Deadboy helps Xander up. As I transfer the contents of Xander's tray to a bag, I suddenly become fully aware of the corpses on the floor and the food and demon blood splattered everywhere (what cleanser gets up demon blood?), and I have terrifying visions of my manager demanding an explanation.
Suddenly, despite my better judgement, I'm enraged. "Do you realize who's going to have to clean this up?" I shout, angrily jamming burritos into the bag. "Do you know what my manager is going to do to me?" And that stupid Hellmouth thing is still sitting right there in the lobby.
Xander just grins at me. Cute grin. "Just hold on a second."
At that moment, there's an odd sound, and the mouth-thing suddenly seals itself. There's an explosion of white light, and when I open my eyes, the mess is gone.
Not a trace of demon blood or hot sauce anywhere. The place is cleaner than the day it opened.
I stare at Xander, who's still grinning, in shock for a moment. When I can move my mouth again, I say simply, "I love you."
Deadboy walks over and takes Xander's hand. "Thanks," Xander says, "but I'm spoken for." He and Deadboy exchange a look and I'm melting inside.
Xander walks up and takes his order.
"I don't think so," says Deadboy. "And remember," he adds, tossing a crisp twenty on the counter, "you saw nothing."
I smile knowingly. "I don't know what you're talking about, Deadboy."
Xander gives a whoop of joy, and Deadboy turns to glare at him. I wonder what I said wrong. Xander waves goodbye as Deadboy herds him towards the exit.
"Thank you, come again!" I call as they're almost out the door.
I hear Xander laugh, and then they're gone.
For a while, I stand there, staring at the twenty, not knowing what to think. There'll still be hell to pay with the manager, especially if the police show up, but I'm already forming an explanation about mass hallucination due to exposure to hot sauce (to which I, having once snorted it, am immune) and using the free time to get the cleaning done. It's a ridiculous explanation, but he'll swallow it. He has no choice.
And me? Well, I'll have the memory of this little adventure to get me through my days. That, and a vision of a perfect little restaurant: Deadboy and Xander standing guard in the lobby, scaring off the morons, slaying the jerks. And no one drops any chalupas.


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Place of birth : Neuilly-sur-Seine
Wilson Lambert
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Lambert Wilson (1958)
Lambert Wilson (born 3 August 1958 in Neuilly-sur-Seine, France) is a French actor. He is internationally known for his portrayal of The Merovingian in The Matrix. Wilson is the son of Georges Wilson, who was an actor, theatrical manager and director of the Theatre National de Paris.
Wilson screen tested for The Living Daylights for the role of James Bond, appearing in test footage opposite Maryam D'Abo as Tatiana Romanova, re-enacting scenes from From Russia with Love . Wilson was also featured in a series of Calvin Klein ads featuring Christy Turlington for Eternity in 1991, as well as a poster ad for Eternity in 1998.
Wilson released the album Musicals on the EMI label in 2004, with John McGlinn conducting Orchestre Philharmonique de Monte-Carlo. It features him singing songs of the American Musical Theatre catalogue, those well-known ("Maria" from West Side Story, "There but for You Go I" from Lerner & Loewe's Brigadoon, "The Cafe Song" from Les Misérables, "Johanna" from Stephen Sondheim's Sweeney Todd), rare ("Love Song" from Kurt Weill and Alan Jay Lerner's Love Life, "It Must Be So" from Leonard Bernstein's Candide, and "Silly People", which was cut from Sondheim's A Little Night Music), and those in-between ("Finishing the Hat" from Sunday in the Park with George, "You Do Something to Me" from Cole Porter's Fifty Million Frenchmen, "Never Will I Marry" from Frank Loesser's Greenwillow).
He has directed stage presentations of Alfred de Musset's Les Caprices de Marianne starring Laure Marsac at Paris' Bouffes du Nord as well as Racine's Bérénice starring Kristin Scott Thomas and Didier Sandre at Avignon and then Chaillot.
Played movies
You Haven't Seen Anything Yet
Des hommes et des dieux
La princesse de Montpensier
Comme les autres
Le Grand Alibi
Played TV shows
Gaston Phébus
Frankenstein: The Real Story
Whole or part of the information contained in this card come from the Wikipedia article "Вильсон, Ламбер", licensed under CC-BY-SA full list of contributors here.
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By MARY CLARE JALONICK
While the previous three impeachments — those of Presidents Andrew Johnson, Bill Clinton and Trump — took months before a final vote, including investigations and hearings, this time it will have only taken a week. After the rioting at the Capitol, House Speaker Nancy Pelosi said "we must take action," and Democrats — and some Republicans — share her view ahead of Wednesday's vote.
In normal order, there would be an impeachment investigation and the evidence would be sent to the House Judiciary Committee, which would hold hearings, draft articles and send them to the full House. That's what happened in 2019, when the House over his dealings with the president of Ukraine. It took three months.
Once the House votes to impeach, the articles and evidence would be sent to the Senate, where a trial would be held and there would be final votes to convict or acquit. That's what the Senate did in early February of last year after Trump was impeached the first time.
Democrats will begin debate Wednesday on a single impeachment charge: "incitement of insurrection."
The article says the behavior is consistent with Trump's prior efforts to "subvert and obstruct" the results of the election and references his recent call with the Georgia secretary of state, in which he said he wanted him to after losing the state to Biden.
Trump has falsely claimed there was widespread fraud in the election, and the baseless claims have been repeatedly echoed by congressional Republicans and the insurgents who descended on the Capitol. Just before the riots, Trump spoke to the supporters near the White House and encouraged them to "fight like hell."
As the protesters broke in, both chambers were debating GOP challenges to the electoral vote count in Arizona as part of the process for certifying .
On Tuesday, five Republicans said they would support impeachment. No Republicans supported Trump's first impeachment in 2019.
Republican Rep. Liz Cheney of Wyoming, the No. 3 Republican in the House and the daughter of former Vice President Dick Cheney, said she would vote to impeach Trump because "there has never been a greater betrayal by a President of the United States of his office and his oath to the Constitution."
"To allow the president of the United States to incite this attack without consequence is a direct threat to the future of our democracy," Katko said. "I cannot sit by without taking action."
Once the House passes the articles, Pelosi can decide when she sends them to the Senate. Under the current schedule, the Senate is not set to resume full sessions until Jan. 19, which is the day before Biden's inauguration.
Senate Democratic leader Chuck Schumer, who will be in charge once Biden is sworn in, suggested in a letter to colleagues Tuesday the chamber might divide its time between confirming Biden's nominees, approving COVID relief and conducting the trial.
If the trial isn't held until Trump is already out of office, it could still have the effect of preventing him from running for president again.
It's unlikely, for now, that enough Republicans would vote to convict, since two-thirds of the Senate is needed. Yet some Republicans have told Trump to resign, including Pennsylvania Sen. Pat Toomey and Alaska Sen. Lisa Murkowski, and few are defending him.
Democrats say they have to move forward, even if the Senate doesn't convict.
What we know, and what we don't, about Trump's coronavirus