Deputy Green Party leader Amelia Womack is seeking nomination to stand for the Welsh Assembly, it was announced tonight.
Womack aims to become the first Green elected to the Welsh Assembly, after handing in her nomination papers to the Welsh Green Party on Thursday.
The GPEW Deputy Leader is seeking to stand for the First Past the Post constituency of Cardiff Central – the university seat in the heart of Wales' capital – and the proportionally-elected seat of South Wales Central, under Wales' Additional Member System for electing the Senedd.
Once nominations have closed on Friday, members will be able to vote on the order of the party list and will decide on candidates for the constituency seats.
"I am excited to be running for selection for the Welsh Assembly next year. This is our opportunity for the Green Party to provide a platform for radical change across Wales.
"Our country needs a Green voice more than ever, and the May elections offer a genuine chance to make that a reality.
a lot of green party members werent happy with some of the decisions taken by greens in brighton trevor – but saying that we should be pleased with the progressive things they did do. Such as introducing a living wage, dramatic improvements in road safety as a result of speed limits and traffic calming measures, a non eviction policy for council tenants in arrears because of the bedroom tax and becoming the first local authority in england to end the 'right to buy'. Further during the entire period of green control of brighton local government was enduring the worst cuts from central government in living history.
you were by all accounts trevor a dedicated party activist in your community before your resignation following your failure to secure the nomination as green party candidate in the general election. And while this must have been a great disappointment to you it's sad to see that since then you appear to have become increasingly embittered, and taken it upon yourself to publicly trash the green party at every opportunity.
im sure youve noticed that working class people across britain are presently facing the biggest onslaught since the 1930s, and im proud to see that green party figures like caroline lucas, natalie bennet and amelia womack have been at the forefront of the growing anti austerity movement. the green party arent the 'enemy' trevor – the enemy are this right wing tory government of multimillionaires. perhaps you might like to spend some time putting the boot into them? rather than constantly attacking a party that went into the recent general election with the most progressive manifesto british politics has seen in decades.
I put the boot into all bourgeois opportunist politics David, and was critical of the right-wing within the Green Party even when I was a member.
And can we get this straight. My leaving the Green Party had sod all to do with me not being selected as Green Party candidate for Greenwich & Woolwich. It was never my intention to be the parliamentary candidate, hence letting my membership lapse after the 2014 local elections, as despite being the nearest Green Party candidate to being elected onto Greenwich Council, for the second election, I was already disillusioned with the Green Party because of the actions in Brighton and lack of leadership on the issue by Natalie Bennett.
The only reason I offered myself up as a potential candidate was out of a sense of duty to others who I(wrongly)believed were "comrades",after no other activist wanted to do it and the only person standing for nomination was an opportunist who had never done any Green Party activity. I first argued that it would be better not to stand a candidate rather than some bloke who we had never met before and knew nothing about. Only then did I reluctantly put myself forward.
When a political party picks someone who has never any work for it (in the Greenwich branch's case they picked two, and as we know, James Parker defected back to Labour on the eve of election), and selects someone on the basis of their ethnicity, one knows that the said party has abandoned any principles it once possessed and has become as opportunistic as all the rest of the bourgeois parties.
If the Green Party leadership ever decides to admit it was wrong not to condemn it councillors in Brighton, the only example we have of what the Green Party do when it has any power, the slate can be wiped clean.
Until such time, I will criticise those actions from outside the party just as I did when I was a member and an activist.
Cheers for clarifying matters with regards to your decision to leave trevor – but i honestly see nothing in what youve said that you could not have said while still a member. Given your record of activism im sure you dont need me to tell you that we can achieve far more collectively than we ever could as individuals, i would urge you then to reconsider your decision and rejoin.
Given some of the personal and insulting comments made about me by some Greenwich branch members, in addition to insulting remarks about a long-term health condition, there is not one iota of a chance of me ever rejoining the Green Party.
This whole episode was very eye-opening regarding the vicious nature of some people who claimed to be purveyors of a more peaceful and equitable society.
Best not to mention the Green Party's support for austerity cuts and joining with Labour and Conservatives in condemning striking council workers before they lost control (albeit minority,as we're constantly reminded as some sort of justification for attacks on the Working Class)of Brighton & Hove Council.
Oh, and let's not forget supporting the establishment of a new "Free School" in Brighton, despite it being against Green Party policy.
Not sure if that constitutes "radical change", but maybe it does to some.
It's a totally unrealistic expectation for the Green Party to implement Green Party policies when they don't have enough votes to implement them. No Green majority and no supporting party on the council. Your criticism is totally unfair. Greens aren't to blame. Labour are the Tories are.
Total crap, but I've come to expect that from bourgeois opportunist apologists.
Nobody forced the majority of Green Party councillors to vote through austerity cuts.
Three of them and a former Green Party matched their words with action and took a principled stand, just a shame the others were just spouting rhetoric.


text:
Astrid Carolina Herrera (Caracas, 1963. június 23. –) venezuelai modell és színésznő.

Élete
Astrid Carolina Herrera 1961. június 23-án született Caracas-ban Odelia Irrazábal és David Herrera negyedik gyermekeként. Öt testvére van: Odelia, Manuel, David, Adriana és Scarlet )

1984-ben Miranda államot képviselte a Miss Venezuela szépségversenyen, ahol második helyezett lett Carmen María Montiel mögött. A versenyen elnyerte a Miss Photogenic különdíjat. Ebben az évben megnyerte a Miss World szépségversenyt.

1987-ben 3 éves szerződést kötött a RCTV-vel. (A színjátszás alapjait Amalia Pérez Díaz mellett sajátította el.) Első szerepét a Mi amada Beatriz című telenovellában játszotta. Az RCTV-vel kötött szerződése lejárta után csatlakozott a Marte TV-hez, ahol az Emperatriz és a La loba herida című telenovellában játszhatott. Ezután a Venevisiónnál a Las dos Dianas-ban szerepelt.

1998-ban feleségül ment Edgar Padrónhoz, ám házasságuk csak három évig tartott. 2001-ben a baseball-játékos Antonio Álvarez felesége lett, de ez a házasság is válással végződött.

2002-ben visszatért az RCTV-hez, ahol megkapta Altagracia del Toro szerepét a Júdás asszonyában.

Filmjei

 Mi amada Beatriz (1987) ... Estefanía
 La pasión de Teresa (1987) ... Teresa
 Alma mía (1988) ... Alma Rosa
 Abigail (1988) ...  Amanda
 Emperatriz (1990) ... Endrina/Eugenia
 La loba herida (1992) ... Álvaro, Isabel és Lucero
 Las dos Dianas (1992) ... Jimena
 Divina obsesión (1992)
 Morena Clara (1993-1994) ... Clara Rosa Guzmán
 El manantial (1996)... Eva Maria Sandoval.
 Csábítás (2000) ... La Perla
 Secreto de amor (2001) Yesenia Roldán
 Júdás asszonya (2002) ... Altagracia del Toro
 Engañada (2003)
 Az élet gyönyörű oldala (2004) ... Raiza Alarcón de Lombardi
 Decisiones (epizód: Amantes) (2007)... Lucrecia
 Arroz con leche (2007)... Abril
 La Viuda Joven (2011) ... Ivana Humboldt
 Misterios de Familia (2014) ... Valeria Garrido

Források
 Venevisión
 Univisión
 Zone Romantica

Venezuelai színésznők
Venezuelai modellek
Caracasiak
1963-ban született személyek
Miss World-győztesek
Élő személyek

redpajama_set_name: RedPajamaWikipedia


The Asics Gel-Sonoma 2 GTX men's neutral running shoes with their long lasting and durable characteristics are a good choice for off-road running in all weather conditions. Thanks to the weatherproof GORE-TEX® upper that protects your feet and provides good air management, you can stay dry and comfortable for longer. The Rearfoot GEL® Cushioning System protects feet from shocks so you can run smoother, even off road. The special Trail Specific outsole is made using durable rubber and ensures good grip on all types of terrain.
Similar to my previous Aspics Gel Trail .. solid and ideal for walking on damp tracks and in fields..
for submitting product review about Asics Gel-Sonoma 2 GTX Mens Running Shoes.


text:
HomepageCWNNews
Satanist Has a Vision of Jesus, Gets Delivered from Addiction and Suicide: 'I Felt This Love and This Joy from God'
Michelle Wilson
By the time he was 19, Sam Bishop had been bounced from home to home, gotten hooked on drugs, and also been kicked out of the Army. More than anything, he wanted control of his spiraling life.
That's when Sam gave his soul in exchange for the power of Satan.
"It was this sense inside of me like I'd finally, completely dedicated myself to Satan," he recalls. "When I began to experiment with witchcraft, I began to feel this control. I began to feel like I can manipulate the world around me. I can manipulate the people around me. I'm tired of being stepped on. I'm tired of not being accepted and loved by everybody so I am going to force it to happen."
Control – something Samuel Bishop had searched for his entire life. His father was a violent alcoholic who was in and out of prison. His mom was a drug addict raising Sam and his siblings in a rundown trailer.
"Some of my earliest memories, were of roaches crawling on me while I was sleeping. It was just terrible. There was always this feeling of chaos all throughout the household," he says.
In the midst of the chaos there was something else missing in his life. Love and acceptance. Starting at four-years-old, he'd spend two years in foster care, bouncing from home to home, separated from his family.
"I said, 'Well if nobody wants to accept me maybe there's nothing worth accepting in me. If my parents can't love me, even if they're messed up and they still don't love me, what am I really worth?'" he wondered.
By the time Sam was 15, he was living with his dad, using drugs, drinking, and battling depression.
"There was always this crushing feeling that I was always going to have to deal with this stuff and life wasn't even worth living," he recalls. "I constantly felt this suicidal pressure, 'Why do I even try?' As my depression got worse and worse, I was starting to use these things regularly because I couldn't stand it when I was sober."
After high school, he enlisted in the Army trying to find his way in life but was discharged after only two months.
Sam says, "I was really lashing out at people. I got in fights with people. They said, 'You're not mentally fit to be a soldier because of your substance abuse problems, because your depression and your anxiety are so serious.'"
Samuel moved in with his dad and started working as a janitor in a high school. He added meth and heroin to his daily cocktail of drugs. He also started getting involved in toxic relationships with women where drugs and violence were the norm. By 19-years-old, he thought he was beyond hope. He even believed lies about God.
He recalls thinking, "God loves you only while you're doing well, only while you're doing good. The minute that you step out of line God wants to strike you down and destroy you. So, I figured it's so hard to try that I don't even want to bother trying because God's expectations are too high for me."
It was then he met a woman who was a Wiccan high priestess who introduced him to the occult and new age practices. Through Satanism, he thought he'd found the control and self-worth he always wanted.
"There'd be manifestations, like stuff would move around. I'd do a spell or a ritual or something and I'd see something happen as a result of it and I thought, 'Man, I'm in control.' I loved that feeling of, 'I have power. I have the ability to do something,'" Samuel says.
In early December 2018, he made a blood covenant, dedicating himself to Satan. At once he knew it was a mistake.
Samuel remembers, "I felt in that moment a complete emptiness, a complete hole, like there's nothing in me at all. I felt like, 'Okay, there's no more forgiveness. You're going to hell now.'"
The next morning, Samuel decided he would take his life at the end of the day. Then, while he was on his way to work, something supernatural happened.
Samuel says, "I had this mental image. It was the craziest thing in the world: It was Jesus. I began to feel like, 'Maybe He'll forgive me and I'll somehow find forgiveness and just be really low, just be like dirt to God.' I'll be like, 'That's better than where I'm headed.'"
Later, as soon as he got home, he searched the internet for Bible verses to help renounce Satan.
Samuel shares, "I began to speak these verses like, 'God will cause you to tread on serpents and scorpions and over all the power of the enemy.' I took all my tarot cards, all my incense, my books on witchcraft, I took them outside and I threw them away. And I fell on my face outside and I said, 'God I know that I don't deserve to be forgiven.' I said, 'But if you want to forgive me, I'm asking for it God. I need help. I need a new life.' When I walked inside I felt the new presence in the room. And I'm like, 'This is so different. It's not heavy in here. There's no depression, I feel alive, I feel excited, and I feel like I have this hope to look forward to. I feel like I had this future I'm looking forward to.'"
Samuel said he was instantly delivered from his addictions and healed of mental illness.
"The minute that I came to the Lord, all that lifted off and I knew I was forgiven, I knew I was clean. I knew God had given me a new life," he says.
And for the first time...
"I felt this love and this joy from God. I received that acceptance, and it was unlike anything I've ever had in my entire life. It was so fulfilling; it was just so wonderful, and I knew I was a new person," he says.
Today, Samuel is married to Samantha and is an ordained youth pastor. He manages the men's sober living home run by his church. He's also involved in evangelistic outreach and counseling.
"I just thank God for everything that He's done in my life and it's a blessing to be able to reach out to people," he explains. "It doesn't matter how far away from God you are, how far you've gone with the devil, how much you've surrendered to him, you can always come back to Jesus. If I can get saved and God can forgive me, anybody can be forgiven."
A Warlock Got Him Hooked on the Occult - Then He Was Hounded by Demons Until the Power of Jesus Set Him Free
Who is Jesus? Is he really God's Son? And what does Jesus have to do with Heaven? Your questions are answered here.
Need prayer? We're available 24/7. Call (800) 700-7000 or request prayer.
Learn why Truth Matters at CBN News.
CBN Partners provide hope to those who are suffering! You can help bring hope today!
Bring Hope
'I Was Able to See Demons': Forced into Satanism as a Little Girl, Tormented Woman Finally Finds Peace in Christ
South African Satanist Co-Founder Meets Jesus in Supernatural Encounter, Turns to Christ
Ex-Satanist Who Hated Christians Spent 33 Years Praising Evil - Then a Book Mysteriously Appeared on His Jail Cell Floor

redpajama_set_name: RedPajamaCommonCrawl


Blind songwriter, guitarist and poet Mike Rogers presents scenes and characters in his life of seventy-five years. He has been on the road from coast to coast, New England and the Caribbean.
This show is laced with Mike's wry humor and paints portraits of people "outside the circle" in song, story- telling and poetry. Sometimes edgy, sometimes gentle, his characters are all real people from his journey through life and he places emphasis on understanding and accepting others. Mike accompanies himself on his guitar and his signature harmonica. His comfort with his audience comes from 15 years of teaching high school as well as the music business. He has been performing for over 45 years and has recorded on more than 40 albums. He has opened for Emmy Lou Harris, Tom Rush, The Eagles, James Montgomery and others. Mike and his wife, Beverly, represented Maine and Georgia at the 1999 International Very Special Arts Conference in Los Angeles and his folk group, Salt River, represented Maine at the New England Artists Conference in 2000.
The other two members of the Mike Rogers Trio are Mike's wife Beverly, who adds harmony vocals and his long-time friend and bandmate Dan MacLellan on bass and harmony vocals.


text:
Прізвище
Вяземська — жіноче прізвище, походження якого пов'язане з містом Вязьма і означає буквально «з міста Вязьми».

Відомі особи
 Вяземська Юліанія (? —1406) — християнська свята, великомучениця.
 Вяземська Віра Федорівна (1790—1886) — дружина Петра Вяземського, до шлюбу — князівна Гагаріна.
 Вяземська Катерина Павлівна (відоміша як Шереметєва; 1849—1929) — засновниця природно-історичного музею в садибі .

Географія

 Вяземська — станція Далекосхідної залізниці у місті Вяземський Хабаровського краю.

Інше
 Вяземська операція — оборонна операція радянських військ Західного та Резервного фронтів.

Сторінки зі списками осіб з однаковим прізвищем


Buddhist studies as an umbrella term for the disinterested or nonapologetic inquiry into any aspect of Buddhism or Buddhist traditions generally refers to the modern, academic study of Buddhism in all forms. This approach became possible only with the development in post-Enlightenment Europe of the notion of a comparative study of religions; as a product of this tradition, Buddhist studies has always assumed an outsider's perspective, even when the scholars carrying out such studies are themselves Buddhists. The field is therefore an inherently etic, rather than emic, enterprise. This is what separates Buddhist studies, also sometimes referred to asBuddhology, from the practice of Buddhism, or from what some today call Buddhist theology.


text:
Vice Principal (Primary)
Eton Park Junior: A de Ferrers Trust Academy, Burton-on-Trent, Staffordshire, DE14 2SG
Early years, Key stage 1, Key stage 2
View all Full timejobs - Full-time
L9 – L13
We are looking to appoint an inspirational leader to build on the strengths of the school and their community.
This is an exciting opportunity to be a part of a forward-thinking Multi Academy Trust where you can support the Executive Principal in developing the academy.
We are looking for a talented individual who wants to be part of transforming education while helping to create an exceptional place for learning. To be successful, you will have:
Vision, commitment and high expectations, leading by example
Extensive experience in education and in providing approachable and supportive leadership
Drive and passion to support our Trust values and play an active part in developing the Trust
Exceptionally high expectations for all students, giving them every opportunity to succeed
You will support the Executive Principal in managing the performance of the academy. To do this well, you will need to learn quickly, develop strong structures and provide clear direction to the talented staff team.
We welcome and encourage a visit to Eton Park Junior, or if you would like an informal discussion, please contact the Trust People Team on 01283 372621.
The Trust believes that professional development is key to successful employees and offers excellent opportunities for you to grow and achieve. We provide tailored CPD, mentoring, support and a range of development opportunities across the Trust.
We strive to be an Employer of Choice and are committed to the wellbeing and development of our colleagues. You will join a supportive, warm and friendly community and enjoy an excellent benefits package, which includes:
Cycle-to-work scheme
Discounted gym membership
BHSF healthcare scheme
Further details about the role
The de Ferrers Trust is a Multi Academy Trust comprising three Secondary Academies and four Primary Academies, currently based in Staffordshire and Derbyshire.
Our vision is to ensure the children and young people in our care have the opportunity to fulfil their potential through achieving highly, regardless of their ability or background. We aim to achieve this vision through:
Delivering a high-quality education
Recruiting, developing and retaining high-calibre members of staff
Establishing and developing robust governance
Ensuring financial probity and viability
Developing a highly efficient trust infrastructure and central services
Establishing effective systems to support the sustainable growth of the Trust
The Trust is committed to safeguarding and promoting the welfare of children and young people, and this position is subject to an Enhanced Disclosure check under the Rehabilitation of Offenders Act 1974.
All applicants must be able to provide documentation to prove their right to work in the UK.
Vice Principal (Primary) JDPS.pdf - 665 KB (opens in new tab)
About Eton Park Junior: A de Ferrers Trust Academy
Academy, ages 7 to 11
View all Primaryjobs
Eton Park Junior: A de Ferrers Trust Academy website (opens in new tab)
careers@deferrerstrust.com
teaching-vacancies.service.gov.uk/organisations/eton-park-junior-a-de-ferrers-trust-academy (opens in new tab)
Arranging a visit to Eton Park Junior: A de Ferrers Trust Academy
To arrange a visit and increase the chance of a successful application email careers@deferrerstrust.com.
Veritas Primary Academy
Weston Road, Stafford, Staffordshire, ST18 0FL
Headteacher - St Margaret Clitherow Catholic Voluntary Academy
St Margaret Clitherow Catholic Primary School
Mildenhall Crescent, Nottingham, Nottinghamshire, NG5 5RS
Victoria Community School
Victoria Road, Burton-on-Trent, Staffordshire, DE14 2LU
William Shrewsbury Primary School
Church Road, Burton-on-Trent, Staffordshire, DE13 0HE
Find more school jobs in Burton Upon Trent and Staffordshire and Stoke


text:
Washington and Lee Mock Convention is a simulated presidential nominating convention and is held every four years, during the early stages of the U.S. Presidential Primary, at Washington and Lee University.  Although Oberlin College has the distinction of having the oldest student-run mock political convention in the country, W&L's convention has the reputation for being the most accurate. It often receives gavel-to-gavel coverage on C-SPAN.

The convention simulates the nomination process for whichever party does not currently hold the presidency. Since its inception in 1908, the student body has been correct 20 out of 27 times, with only three incorrect predictions since 1948. Since 1948, they have never incorrectly predicted the Republican nominee for president.

The 2008 Mock Convention projected Hillary Clinton as the Democratic nominee for that election year. The Mock Convention was mistaken, however, as Barack Obama was eventually elected as the nominee. The 2012 Mock Convention projected Mitt Romney as the Republican nominee. In 2016, the Mock Convention projected Donald Trump would be the Republican nominee on the first ballot. In 2020, the Washington and Lee Mock Convention predicted incorrectly again, predicting Bernie Sanders would win the nomination, after his early victory in New Hampshire. Sanders dropped out of the race in April 2020, and Vice President Joe Biden would go on to win the nomination and the election.

Organization history

In the spring of 1908, William Jennings Bryan, a front-runner for the Democratic presidential candidacy, announced a visit to Lexington, Virginia, arousing interest in Washington and Lee's already political-minded campus. To capitalize on the furor, The Forum, W&L's leading political organization at the time, organized a replica of the upcoming Democratic Convention. The event was an enormous success, owing to the highly political student body: according to the Lexington Gazette, "The young gentlemen entered into the meeting with the zest of seasoned politicians plus the enthusiasm of collegians". After fierce (and occasionally chaotic) debate, the campus correctly predicted Bryan to be the 1908 Democratic nominee.

With the exception of the 1920 and 1944 elections, the Mock Convention has occurred every four years since the original 1908 election. The state delegations are known to go to great lengths for accuracy: the 1952 state chair for California, David Constine, developed a correspondence with California Governor Earl Warren, one of the leading candidates. As it rose in prominence, the convention gathered an impressive docket of speakers, including Harry S. Truman and former Vice President Alben W. Barkley. Delivering the April 30, 1956 keynote address in Doremus Gymnasium, broadcast live on the radio, then-Sen. Barkley, vice president during President Truman's 1949-53 term, who had been reelected to the Senate in 1954 without seniority as Kentucky's junior senator after having previously served as Majority Leader, was good-naturedly recounting this rise and fall from lowly congressman to senator to Leader to President of the Senate as vice president to return backbencher when he suddenly collapsed from a heart attack and died, his last words, paraphrased from Psalm 84:10: "I would rather be a servant in the house of the Lord than to sit in the seats of the mighty!" Since then, the motto of Mock Convention has been a slight alteration of these last words, "It is better to be of service than to sit in the seats of the mighty."

In addition to the convention itself, W&L hosts a large number of formal and informal celebrations in honor of the Convention and its honored guests, including parades, parties, and balls. These events have seen some of the Convention's most famous stories. In 1972, then-governor Jimmy Carter's speech at Mock Con was missed by his own press secretary, who had been celebrating with a group of W&L students and alumni. Before his famous MTV appearance, Bill Clinton played an impromptu concert for students at an off-campus party for the 1988 Convention. By 1996, the Mock Convention was acknowledged by The Washington Post as "one of the nation's oldest and most prestigious mock conventions."

Prediction history

References

External links
The Legacy of Mock Con

Elections in the United States
Washington and Lee University


You can also add lemon juice if you feel like it, but I personally didn't this time around. Mix all of the above ingredients in a bowl and blend until smooth.
Split the dough into a number of smaller balls that you then rub between your palms in order to create the actual sticks. In terms of size, their width should be about that of your pinky finger, but the dough itself should point you towards the optimum diameter.
Place the sticks into the baking dish, making sure to line it with baking paper beforehand.
Sprinkle some raw sunflower seeds on top.
If you liked this content, please don't be shy – share it with your friends and make sure to like my Facebook page!


I was working with a client/colleague/friend* recently, celebrating her recent launch of a free worksheet she created for an opt-in on her website. She made mention that she'd gotten more response from her audience with that one freebie than she had from several other paid launches she did this past year.
And I don't mean "thanks for the free stuff!" kinds of responses. I mean her audience as actively seeking her out and thanking her for the powerful work she had just offered to them.
Before anyone jumps off the deep end about the "paid/free" conversation, that's NOT what this is about. There are pros and cons to giving stuff away. This conversation, instead, is about response vs. effort.
Back in January, I was gifted with a juicer by a UK company that sells washing machines, among other things. Their "Fairy Hobmother" sent it as a gift for commenting on a friend's blog (who knew?). I unpacked it and started using it right away. The marketing genius behind what they did is a topic for a future post (on my other blog). Today, I want to talk about the juicer.
Apparently, there are different kinds of juicers. I had no idea. I first started lusting after one when my friend Judi hosted me at her delicious B&B in Atlanta last Fall. She had a "masticating" juicer. I thought it was pretty cool. But I had no idea there are actually three types of juicers: centrifugal, masticating, and triturating (twin gear). The more I learned about juicers, the more I recognized a parallel to life that I now share with my clients.
Centrifugal juicers are fast, relatively inexpensive, and easy to clean. It's the kind I have. There are dozens of tiny blade points spinning around on a metal mesh basket that shred up the pulp. Centrifugal force squeezes the juice through the mesh and tosses the pulp into a catch-all container. A bit of juice remains in the shredded fruits and veggies and sometimes I'll run them through twice to get about half again as much juice out of them. The juice can be a bit frothy, but it's quick and gets the job done.
Masticating juicers, like Judi's, behave in much the same way as our own teeth: grinding the pulp with a single gear that presses the pulp against a mesh screen and forces the pulp out using the drive mechanism and gravity, versus flinging it centrfugally. The resulting juice is more "juicy", as the pulp has been thoroughly squeezed, and less foamy, since the speed is a bit slower. It takes a little longer than my juicer, both to prepare and clean up, but you don't have to run the pulp through twice.
Finally, twin gear juicers run even slower, crushing the pulp between two gears and expelling the pulp from the juice. The result is a "healthier" juice, because cellular structures aren't damaged the way centrifugal juicers do. There's also less waste, which means more of the juice actually gets into your glass. It's cumbersome, a bit bulkier than the others, and more difficult to clean, but it's so powerful, it can also be used as a food mill (you could make peanut butter, I'm told), so it's a more versatile machine.
Often times, we as creators find ourselves in a bind.
Okay, bind is not the right word. Neither is stuck. It's more like being trapped in a building that's collapsed.


text:
Q: Android - HttpClient JSON POST with Basic Authentication I am trying to implement a simple JSON post to the URL that accepts JSON in body with basic authentication on ANDROID.
I have tried with HttpUrlConnection but I get "unauthorized" and my data gets send to the server.
Another way I tried is using HttpClient, but now I get a different problem. Authentication works perfect but the data is not sent to the server...
Just to be sure, I setup a small test in a simple Java project (not Android Environment).
This is the code that I am using to POST to the server:
DefaultHttpClient httpClient = new DefaultHttpClient();
ResponseHandler<String> resonseHandler = new BasicResponseHandler();
HttpPost postMethod = new HttpPost("http://localhost/api/v1/purchase/");
postMethod.setEntity(new StringEntity("{\"amount_adult\" : 1, \"object_id\" : 13}"));
postMethod.setHeader( "Content-Type", "application/json");
String authorizationString = "Basic " + Base64.encodeToString(("travelbuddy" + ":" + "travelbuddy").getBytes(), Base64.DEFAULT); //this line is diffe
postMethod.setHeader("Authorization", authorizationString);
String response = httpClient.execute(postMethod,resonseHandler);
System.out.println("response :" + response);

The code in the Java project works perfect.
When I try exact same code in Android, I get internal server error from the server, which means that JSON data has not been received.
I really don't understand why this is working in JAVA but not in Android.
The effect that I would like to achieve, is the following command:
curl --dump-header - -H "Content-Type: application/json" -X
POST --data '{"amount_adult":1, "object_id":13}'
--user travelbuddy:travelbuddy http://localhost/api/v1/purchase/

A: Finally, everything is sorted. Anyone that might experience this problem following is the solution.
String authorizationString = "Basic " + Base64.encodeToString(("travelbuddy" + ":" + "travelbuddy").getBytes(), Base64.DEFAULT); //this line is diffe
postMethod.setHeader("Authorization", authorizationString);

This Base64.encodeToString appends an extra "\n" to the end of the authorization string. Then on the server next line after "\n" character is treated as body of the request and of course incorrect.
By replacing all new lines in authorization string will solve the issue:
    String authorizationString = "Basic " + Base64.encodeToString(("travelbuddy" + ":" + "travelbuddy").getBytes(), Base64.DEFAULT); //this line is diffe
authorizationString.replace("\n", "");
    postMethod.setHeader("Authorization", authorizationString);

Easy fix but hard to find ;-)

A:
String authorizationString = "Basic " + Base64.encodeToString(
    ("travelbuddy" + ":" + "travelbuddy").getBytes(),
    Base64.DEFAULT);

...

The solution is a bit simpler actually:
    String authorizationString = "Basic " + Base64.encodeToString(
        ("travelbuddy" + ":" + "travelbuddy").getBytes(),
        Base64.NO_WRAP); // <=== Do not add '\n'

A: I think the simplest way is:
postMethod.addHeader(BasicScheme.authenticate(new UsernamePasswordCredentials(user, pass), "UTF-8", false));

A: I think you shouldn't use localhost in url

redpajama_set_name: RedPajamaStackExchange


In the summer of 2015, the acclaimed South Korean novelist Han Kang stayed in this Fine City as our latest UNESCO Writer in Residence, sponsored by the Arts Council of Korea.
She attended Worlds, gave readings in Norwich, London and Edinburgh, translated poetry, explored the Norfolk landscape, met her publishers at Granta and prepared the proofs of her next novel, Human Acts (due to be published in the UK in January in Deborah Smith's translation).
Here, Han Kang reflects on the experience of being a guest author at the BCLT Translation Summer School in July. With additional support from the Korean Literary Translation Institute, a number of novice literary translators participated in a week-long workshop with Deborah and Daniel Hahn, testing different approaches to translating Kang's fiction in the presence of the author herself. Kang's fascinating diary entries form the basis of her account of the process. The below piece was translated by Deborah Smith.
This summer just past, I spent two months in the small, peaceful British city of Norwich, supported by the British Council and the Korean Arts Council, ARKO. As it happened to coincide with my residency, I also participated as a writer in the translation workshop held for a week every July at the University of East Anglia. That workshop was on a larger scale, and more intensive, than any other translation programme I had previously heard of or experienced. Translation sessions were organised by language, for Dutch, German, Norwegian, Italian, and even Korean, included this year for the first time. Workshops were also held under the name of 'multi-language sessions', translating literary works from a variety of languages into English, shared between poetry and prose classes.
On Sunday 26th July, the evening before the workshop commenced, the participants gathered in the campus bar for the opening event. It was scheduled to be led by Deborah Smith, who has translated my novels The Vegetarian and Human Acts, with help from the translator and author Daniel Hahn, who frequently dropped in on our sessions. After the writer and translators had shared brief introductory remarks, Daniel said with a smile, "My role in these sessions will be to obstruct the work of translation as much as I can, in order for it to progress slowly, as slowly as possible." I nodded, because I liked the sound of those words 'as slowly as possible'. I thought it was lucky that this was not to be a workshop where everything was done 'as quickly as possible'. Of course, at that point I was unable to guess just how slowly our sessions were going to go.
Because the participants who were coming from Korea arrived late on the Sunday night, I was only able to meet everybody in our session first thing on the Monday. Sophie, Hyo-kyung, Victoria, and Celin, students from LTI Korea's Translation Academy, and their professor Kim Chung-hee. Roxanne, who studies Korean literature at SOAS in London.
The text we were to translate that week was my short story "Europa". At Deborah's suggestion, I first briefly explained my motivation for writing the story, and what I had thought particularly important about it, and straight after that the translation began. After each member had translated the first sentenced, they took in it turns to present their translations. After Deborah had typed them up on the computer, she examined each individual word in minute detail – even down to the punctuation marks. She led the discussion tirelessly, neither agreeing completely with one person's translation nor unilaterally dismissing another's. In that first session, which took place from 11am to 1pm, I was shocked to see that we didn't even manage to fully translate one sentence. "The important thing is the process," Deborah said.
The afternoon session was held from 3.30pm to 5.30pm; Daniel came in, and was entirely satisfied with the slow speed of our progress. He had the students read the sentence that was being translated out loud, and after also having me read the Korean, stressed the desirability of the sense of rhythm given by the length of the sentences in the two languages being as similar as possible. Eventually, once three sentences had been completed, when we parted having arranged to meet again the next day, Deborah said that as we continued with the translation, the sentences we thought were 'done' could in fact be revised almost endlessly, to make sure they matched with the following passage.
Instantly I realised that this extremely delicate, elaborate process was giving me a very particular sense of deja vu. All of this was what I myself did every day. Changing the position of a word, rearranging the order of sentences, cutting out unnecessary words, reading out loud, reading out loud again from the first sentence after writing the final sentence, cutting more words, taking out punctuation, putting it in, cutting again. Accepting dispassionately the fact that after writing the next day's sentences, today's might all have to be cut, forcing me to re-write everything from the beginning.
Various observers (people from the Writers' Centre Norwich, the British Council, teachers and students from the creative writing MA course) came in and watched our sessions, cautiously giving their opinions if we happened to be struggling with certain words, certain expressions. Their input almost always made our debates all the richer, and there were times when it enabled us to suddenly get to the nub of the matter and make progress.
The interesting thing, was the fact that, in direct contrast to the translated sentences given by the participants on the Monday being generally rather similar, the more time went by the more varied the expressions which appeared became. Rather than automatically transposing the original Korean sentence structure, they began to concentrate on the 'feeling' of that sentence and inventively seek an English expression which could vividly convey that feeling. Deborah continually encouraged them in this by saying things like "Isn't this sentence a bit plain?" "What might be an expression that isn't flat?" "Ah, that's too bland", "This expression is awkward in English".
The result was that on Tuesday we succeeded in translating five sentences and connecting them with the previous three. Before we turned in for the day, everyone read it out loud and exclaimed how happy they were with it. Because we were all well aware of how difficult it had been to find a point of contact and come up with sentences which satisfied us all. Following on from this, on the Wednesday we translated a section of dialogue. We put our heads together to reach an agreement as to how colloquial it should be, what were the idiomatic expressions that are written in English in similar situations. Wanting to test that it was sufficiently natural-sounding, the participants even acted the conversation out, and burst out laughing in doing so.
Having woken from the dream, I thought of the participants in our session, and thought of Deborah, who had translated two of my novels, and finally thought of myself. I thought about the lives of the struggling people beneath the white sheet that covered their faces, tenaciously asking questions of and answering themselves, ceaselessly rewriting sentences.
In the session that morning, everyone enjoyed hearing about my dream. (I have come to realise that it is possible for someone's nightmare to make many people happy). In the second session that day, we translated eight lines with surprising concentration, making it the day when our yield was greatest.
On Friday, which was the final day, after putting the finishing touches to our translation in the morning session, in the afternoon we shifted to the Writers' Centre in Norwich city centre and had a session set aside for presentations. The translation sessions for European languages had translated quite a lot of pages in a week, as might be expected for languages from the same family, whereas we had managed to produce only a little over a single page, from the very beginning of the story. During the fifteen minutes allotted in the presentation session, the participants for our session stood up on stage and read their translation as slowly as possible, and took it in turns to speak methodically about the minute difficulties of the translation process. Sitting in the audience, I was quite moved.
People who delight in the intricacies of language. People who take even the most minute difference to be something large, important, significant. People who, through that keen sensibility, give a single text a new birth in another language. People who move forwards following that strange, beautiful rule which says that it is good to go as slowly as possible. People who ask questions of and answer themselves, alone beneath the white sheet, ceaselessly re-writing sentences. I felt touchingly grateful to everyone in our session, including Deborah – no, somehow to every translator in the world.
Han Kang is the daughter of novelist Han Seung-won. She was born in Kwangju and at the age of 10, moved to Suyuri (which she speaks of affectionately in her work "Greek Lessons") in Seoul.
She studied Korean literature at Yonsei University. She began her writing career when one of her poems was featured in the winter issue of the quarterly Literature and Society. She made her official literary debut in the following year when her short story "The Scarlet Anchor" was the winning entry in the daily Seoul Shinmun spring literary contest.
Since then, she has gone on to win the Yi Sang Literary Prize (2005), Today's Young Artist Award, and the Korean Literature Novel Award. As of summer 2013, Han teaches creative writing at the Seoul Institute of the Arts while writing stories and novels.


text:
Le rôle du sadisme et du masochisme dans la fiction attire une attention toute particulière. Anthony Storr commente l'ampleur de la pornographie sadique et masochiste. Il démontre que les intérêts pour le sadisme et pour le masochisme sont grandement étendus dans la société occidentale. John Kucich note l'importance du masochisme dans la fiction coloniale britannique au plus tard du . Cet article présente les différents aspects du sadisme et du masochisme dans la littérature et les travaux de la fiction dans des variantes de médias.

Ouvrages
Les titres de ces ouvrages sont classés par ordre chronologique.

Avant 1800

Aloisiae Sigaeae, Toletanae, Satyra sotadica de arcanis Amoris et Veneris (1660) de Nicolas Chorier décrit une femme donnant des cours d'éducation sexuelle à un jeune homme, recommandant les effets érotiques et spirituels de la flagellation.
Fanny Hill (1749) de John Cleland – Décrit une flagellation mutuelle entre Fanny et un client britannique.
Fashionable Lectures: composed and delivered with Birch Discipline (av. 1750) sur le thème de la flagellation par des femmes dominantes en position autoritaire.
Les Cent Vingt Journées de Sodome, Justine (1791) et Juliette (1797) de Marquis de Sade - Ont une perspective extrême sadique.
Anti-Justine (1798) de Nicolas-Edme Rétif – Une réponse aux travaux de de Sade, écrit dans un style similaire, décrivant le point de vue politique opposé.

De 1800 à 1899
 Les Confessions de Georgina (1893) de Julian Robinson (alias Le Compte Du Bouleau, Stanislas Matthew de Rhodès) – un conte de bondage et de domination qui satirise l'hypocrisie de la morale victorienne. Auteur de "La Vengeance d'une femme (1898), une classique de mâle soumis forcé à être travesti.
 Le Jardin des supplices (1899) d'Octave Mirbeau, une examination allégorique de la société occidentale, et de la condition humaine.

1900
 "Frank" and I (1902) d'Anonyme. Originellement publié en 3 volumes au Royaume-Uni. Ouvrage de la flagellation pornographique. Un jeune homme est séduit par "Frank", une fille déguisée en garçon. Un film de 1983 a repris ce contexte sous les titres de Frank and I et Lady Libertine.
 Maud Cameron and her Guardian (1903) de Charles Sackville, imprimé en privé pour les inscrits seulement (Golden Birch House: Londres). Auteur de nombreux ouvrages sur la flagellation à Londres et à Paris incluant: Two Lascivious Adventures of Mr. Howard – A continuation of Maud Cameron and her Guardian (1907), The Amazing Chastisements of Miss Bostock (1908), Three Chapters in the Life of Mr. Howard (1908), Whipping as a Fine Art – Being an Account of Exquisite and Refined Chastisement Inflicted by Mr. Howard on Grown-up Schoolgirls (1909), et al.
 La femme et son Maître' (1904) de Jean de Villiot, pseudonyme de Georges Grassal – un ouvrage sur la flagellation traduit en anglais par Charles Carrington.
 Birch in the Boudoir (1905) d'Anonyme (attribué à Hugues Rebell, vrai nom de Georges Grassal), traduit et publié à Paris par Charles Carrington. Réimprimé en 1989 par Blue Moon Books sous le titre de Beauty in the Birch. La Maitresse et l'Esclave (1905) de George Merder – Un étudiant de domination féminine et de sadomasochisme en tant qu'homme d'affaires très prisé devient esclave et est brutalisé par une prostituée parisienne (Maison Mystère, ca. 1903).La Flagellation Passionnelle (1906) de Don Brennus Aléra, pseudonyme de Roland Brévannes. Entre 1903 et 1936, il écrit et illustre environ 100 histoires contemporaines et historiques concernant la flagellation et la punition travestie.
 Les Onze Mille Verges de Guillaume Apollinaire – écrit durant 1906-1907; la publication n'est ni datée, ni signée. Picasso croyait qu c'était le meilleur ouvrage qu'il n'ait jamais lu.Sadopaideia: Being the Experiences of Cecil Prendergast Undergraduate of the University of Oxford Shewing How he was Led Through the Pleasant Paths of Masochism to the Supreme joys of Sadism. (1907) d'Anonyme. – Deux chapitres sur un homme qui expérimente la domination et soumission. Anthony Storr l'attribut à Algernon Charles Swinburne.
 The Beautiful Flagellants of New York (1907) de Lord Drialys (The Society of British Bibliophiles Charles Carrington: Paris) – suit les aventures d'un intrépide voyageur de Chicago à Boston jusqu'à New York. Originellement publié en 3 volumes, un pour chaque ville. Réimprimé par Olympia Press sous le titre de The Beautiful Flagellants of Chicago, Boston and New York.
 Nos Belles Flagellantes (1907) d'Aimé Van Rod (Édition Parisienne: Paris). Auteur français d'une douzaine d'ouvrages sur la flagellation incluant: Nouveaux Contes de Fouet (1907), Le fouet conjugal (1908), Le Fouet dominateur ou L'École des vierges, Les Mystères du Fouet (tous les deux publiés en 1909), Les Humiliations de Miss Madge (1912), Les Malheurs de Colette (1914), Visites fantastiques au pays du fouet (1922), Le Précepteur (1923), Mémoires d'une Fouettée (1924), et al.
 The Way of a Man with a Maid (ca. 1908) d'Anonyme. Originellement publié en France, La date exacte et l'auteur sont inconnus. Trois volumes relatant des histoires d'abus, de sexe et de sadisme. Souvent réimprimé en un seul volume sous le court titre de A Man with a Maid. Adapté en film en 1975 sous le titre de What the Swedish Butler Saw.
 La Comtesse au fouet (1908), de Pierre Dumarchey (Pierre Mac Orlan) – l'histoire d'une cruelle dominatrice qui transforme un héros masculin en "homme-toutou". Sous le pseudonyme de Miss Sadie Blackeyes, il écrit des ouvrages populaires sur la flagellation tels que Baby douce fille (1910), Miss: The memoirs of a young lady of quality containing recollections of boarding school discipline and intimate details of her chastisement (1912), et Petite Dactylo et autres textes de flagellation (1913). Et en tant qu'"anonyme", il écrit Le Masochisme en Amérique: Recueil des récits et impressions personnelles d'une victime du féminisme (1905).
 Éducation Anglaise (1908) de Lord Kidrodstock (Édition Parisienne: Paris) – un texte ancien et inhabituel de travestissement et de flagellation. Des garçons et des filles sont habillés en étudiantes. Illustré avec 10 dessins par Del Giglio.
 Coups de Fouet (1908) de Lord Birchisgood [pseud.] (Édition Parisienne, Roberts & Dardailons Éditeurs: Paris). Auteur du livre Le Tour d'Europe d'un flagellant (1909), et al.
 Les Cinq fessées de Suzette (1910) de James Lovebirch [pseud.], publié à Paris. Auteur de bon nombre d'histoire populaires tels que L'Avatar de Lucette, Peggy Briggs, Au Bon Vieux Temps (toutes datant de 1913), et Les Flagellations de Suzette (1915), Paris: Librairie Artistique.
 Qui Aime Bien (1912) de Jacques d'Icy, pseudonyme de l'auteur et artiste Louis Malteste (Jean Fort: Paris), illustré par Malteste. Écrivain de nombreux ouvrages érotiques tels que: Chatie Bien (1913), Monsieur Paulette et ses épouses (1921), Paulette Trahie (1922), Brassée de faits (1925), Les Mains Chéries (1927), et al.
 Le règne de la cravache et de la bottine (1913) de Roland Brévannes, pseudonyme de Bernard Valonnes (Select Bibliothèque: Paris) - jeu de rôle sexuel animal humiliant, ces hommes sont forcés de se déguiser en ours. Un thème exploré dans de nombreux ouvrages - Les Esclaves-montures (1920) et Le Club des Monteurs Humaines (1924).
 Fred: The True History of a Boy Raised as a Girl (1913) de Don Brennus Alera, pseudonyme de Roland Brévannes – histoire classique de punition corporelle. Suivie par Frédérique (1921), Frida (1924), Fridoline (1926), et Lina Frido (1927).
 Récits Piquants, chaudes aventures: scènes de féminisme. (1914) de Gilbert Natès, illustré par G. Topfer. Compilation française de flagellations variées. Celles qui punissent sont des femmes, les victimes des garçons et filles, jeunes hommes et femmes. Dans de nombreux cas, les mâles sont forcés à porter des vêtements de filles.Ulysses (1918–1920; 1922) de James Joyce emploie les thèmes du masochisme faisant allusion à La Vénus à la fourrure.
 Ullysse L'écrivain James Joyce a réécrit le périple d'Ulysse. Joyce y apporte clairement l'élément masochiste. Cela se passe à Dublin. Stephen Dedalus et Leopold Bloom en sont les héros. Bella Cohen mère macquerelle d'un bordel domine, maltraite, humilie Léopold. Bella ne le transforme pas en pourceau comme dans l'Odyssée. Mais elle le féminise, il devient Léopoldine. Elle le propose à ses clients. La mère macquerelle se virilise. Elle promet de le féconder et de l'accoucher.
 Two Flappers in Paris (1920) by "A. Cantab" [pseud.] - deux jeunes femmes visitant Paris sont conduites à la flagellation.
 Esclaves Modernes (1922) de Jean de Virgans, illustré par Gaston Smit – un conte inhabituel d'échangisme entre femmes européennes blanches et noires africaines sexuellement abusées. Virgans a également écrit Flagellées en 1909.
 Histoire de l'œil (Story of the Eye) (1928) de Georges Bataille - un court ouvrage.
 Le Dressage de la Maid-Esclave (1930) de Bernard Valonnes, pseudonyme de Roland Brévannes (Select Bibliothèque: Paris) - de volumes d'une femme maltraitée.
 Matée par le fouet (1930) de Jean Martinet [pseud.] (Éditions Prima); histoires de flagellation et de dressage.
 Bagne de femmes (1931) de Alan Mac Clyde [pseud.], Librairie Générale: Paris. histoire de douzaines de sadomasochistes. Suivie par Dressage (1931), La Cité de l'horreur (1933), Servitude (1934), Dolly, Esclave (1936), et al.
 Dresseuses d'hommes (1931) de Florence Fulbert (Jean Fort: Paris), illustré par Jim Black [Luc Lafnet]. Histoire d'hommes punis par des femmes.
 Sous la tutelle (1932) de René-Michel Desergy (Jean Fort: Paris), illustré par Luc Lafnet – histoire de fessées, flagellations et punitions. Auteur de bon nombre d'ouvrages tels que Trente Ans (1928), Sévère Éducation (1931), Diana Gantée (1932), et Chambrières De Haute École (1934).
 Mémoire d'une Dominatrice (1933) de Jean Claqueret (Jean Fort: Paris). Auteur français d'ouvrages sur la flagellation tels que : Clotilde et Quelques Autres (1935), Humiliations chéries (1936), Pantalons sans défense (1938), et al.
 La Volupté du Fouet (1938) d'Armand du Loup, illustré par le fameux artiste français Étienne Le Rallic sous le pseudonyme de R. Fanny.
 1950
 Histoire d'O (1954) de Pauline Réage
 Le Lien (1993) de Vanessa Duriès

 2000
  (2007 de Vanessa DurièsLe Manoir (2011) de Emma Cavalier
 Cinquante nuances de Grey (2012) de E. L. James

 Films

Les films suivants représentent des scènes de sadisme ou de masochisme sans qu'il s'agissent toujours du scénario majeur.

Films d'art:
 Le Corps et le Fouet (La Frusta e il Corpo) (1965) (avec Christopher Lee et Daliah Lavi)
 Belle de jour (1967) (avec Catherine Deneuve)
 Le Divin marquis de Sade (De Sade) (1969) (avec Keir Dullea)
 La Vénus à la fourrure (1969), produit par Massimo Dallamano
 Marquis de Sade : Justine (1969), de Jesús Franco
 La Matriarca (1969)
 Eugenie... the Story of Her Journey into Perversion (1970); produit par Jess Franco
 The Frightened Woman (1969), produit par Piero Schivazappa
 Eugenie de Sade (1970) (autre adaptation de Jesus Franco de "de Sade")
 Le rouge aux lèvres (1971) produit par Harry Kümel avec Delphine Seyrig
 Le Corrupteur (film, 1972) (1971), un couple, (Marlon Brando et Stephanie Beacham) ont une intense relation sadomasochiste incluant sexe hard, bondage et humiliation
 Justine De Sade (1972); produit par Claude Pierson
 Les Larmes amères de Petra von Kant, (Die Bitteren Tränen der Petra von Kant) (1972) produit par Rainer Werner Fassbinder
 Hana to Hebi (花と蛇) (1974), produit par Masaru Konuma, avec Naomi Tani
 Portier de nuit, (Il Portiere di notte) (1974) (avec Dirk Bogarde et Charlotte Rampling)
 School of the Holy Beast (1974) (avec Yumi Takigawa)
 Ikenie Fujin (生贄夫人) (1974), produit par Masaru Konuma, starring Naomi Tani
 Histoire d'O (1975)
 The Punishment of Anne (1975)
 Salò ou les 120 Journées de Sodome (Salò o le 120 giornate di Sodoma) (1975), produit par Pier Paolo Pasolini
 Maîtresse (1976), avec Gérard Depardieu et Bulle Ogier.
 Incredible Torture Show(1976)
 Sadomania (1981); produit par Jess Franco
 Lady Libertine (Frank and I) (1983)
 Die Flambierte Frau (1983)
 Les Jours et les nuits de China Blue (1984)
 Verführung: Die grausame Frau (1985)
 Blue Velvet (1986), avec Kyle MacLachlan, Isabella Rossellini, Dennis Hopper et Laura Dern
 9 semaines 1/2 (1986), avec Kim Basinger et Mickey Rourke
 S&M Hunter (1986)
 Marquis De Sade's Prosperities of Vice (1988); film "rose" japonais de Akio Jissoji
 Attache-moi ! (1990)
 Topazu (1991)
 Lunes de fiel (1992), avec Hugh Grant, Kristin Scott Thomas, Emmanuelle Seigner, et Peter Coyote
 Spanking Love (1994)
 Venus in Furs (1994)
 Conspirators of Pleasure (1996), produit par Jan Švankmajer
 The Bondage Master (1996), un film indépendant produit par Keisuke Konishi
 Dark Prince (1996) (avec Nick Mancuso dans le rôle du Marquis de Sade)
 Dark Secrets (1997)
 Pro urodov i lyudej (1998)
 Fantasmes (Gojitmal) (1999)
 Sasayaki (1999)
 Romance (Romance X) (1999)
 Quills, la plume et le sang (2000) (avec Geoffrey Rush, Kate Winslet et Joaquin Phoenix)
 La Pianiste (2001) (avec Isabelle Huppert et Benoît Magimel)
 La Secrétaire (2002) (avec James Spader et Maggie Gyllenhaal)
 Bettie Page: Dark Angel (2004) (film biographique avec Paige Richards)
 The Dominatrix (2004); drama britannique
 Going Under (2004)
 The Passion of Life (2005)
 Un año sin amor (2005) (produit par Anahi Berneri)
 The Notorious Bettie Page (2006) (film biographique avec Gretchen Mol dans le rôle principal et produit par Mary Harron)
 Verfolgt (2007) (produit par Angelina Maccarone)
 The Pet (2006) une femme (Andrea Edmondson) accepte de vivre comme une "chienne" auprès de son maître (Pierre Du Lat)
 New Tokyo Decadence – The Slave (2007)
 Maximum Shame (2010) (produit par Carlos Atanes)

Comédie:
 La Petite Boutique des horreurs (1960), version musicale (1986) (avec Rick Moranis, Ellen Greene, Vincent Gardenia, Steve Martin, et Bill Murray)
 The Choirboys (1977)
 Eating Raoul (1982)
 Personal Services (1987) (avec Julie Walters)
 Exit to Eden (1994)
 Preaching to the Perverted (1997) (avec Guinevere Turner)Tomcats (2001)
 Walk All Over Me (2007) (avec Tricia Helfer et Leelee Sobieski)
 Modern Love is Automatic (2009)

Thrillers:
 Vidéodrome (1983)
 La Corde raide (1984) (avec Clint Eastwood et Geneviève Bujold)
 Basic Instinct (1992) (avec Michael Douglas et Sharon Stone)
 Body (1993) (avec Madonna et Willem Dafoe)
 8 millimètres (1999) (avec Nicolas Cage et Joaquin Phoenix)
 The Cell (2000) (produit par Tarsem Singh)
 Ichi the Killer (2001) (produit par Takashi Miike)
 Feu de glace (2002) (produit par Chen Kaige)

 Télévision
 Full Exposure: The Sex Tapes Scandal (1989), made-for-TV film. Police investigate underground S&M clubs looking for a serial killer. Vanessa Williams plays a hooker/dominatrix who videotapes her clients.
 Amours mortelles (2000) , émission par câble avec Ellen Barkin et Peta Wilson. Une histoire de meurtre menant directement à une société SM.
 Jack, le vengeur masqué est une série de comédie-aventure du  avec Bruce Campbell. Dans un épisode diffusé en 2000, Jack visite les recoins de l'île de Marquis de Sade et est en compétition dans une course d'obstacle qui a pour thème le SM parodie Koh-Lanta.
 Journal intime d'une call girl (2007); dans le quatrième épisode, "Belle" (Billie Piper) prend des leçons de domination avec une dominatrice professionnelle.
 Dollhouse (2009); au début du  épisode, l'émission débute avec Echo (Eliza Dushku), déguisée en dominatrice.
 Dans un épisode d' Alias (2003) de la deuxième saison, Agent Bristow (Jennifer Garner) se déguise en dominatrice allemande pour infiltrer un bar.
 Dans un épisode de la série, de la chaîne télévisée FOX, intitulée The Inside : Dans la tête des tueurs montre du SM.
 L'émission de télé Les Experts (série télévisée) a inclus Melinda Clarke en tant que dominatrice professionnelle Lady Heather dans cinq épisodes.
 La saison quatre de la série Six Feet Under relate l'histoire d'un personnage (Joe) qui veut adopter un rôle de soumis dans sa relation avec Brenda.
 Une scène d'un épisode des Griffin décrit les deux personnages principaux, Lois et Peter, discutant d'un sujet alors que le couple enfile leur tenue sadomasochiste. Un commentaire audio du DVD affirme que c'est une pratique normale chez ces personnages.
 Dans un épisode du drama médical Dr House, un patient est profondément inclus dans les relations sadomasochistes.
 Rex Van de Kamp de Desperate Housewives adore le SM, mais il a honte d'en parler à sa femme, Bree. Dans l'épisode Confiance perdue, Sharon Lawrence joue le rôle de Maisy Gibbons, une dominatrice qui marche sur le dos de Rex en talons aiguilles.
 Dans un épisode de la deuxième saison d' Homicide, Les détectives Bayliss et Pembleton se charge d'un meurtre dans un club SM.
 Dans la série Urgences - une dominatrice professionnelle avec les doigts cassés et son esclave sexuel masculin se sont blessés durant une scène de bondage/suspension, et sont admis aux urgences.
 Private Practice - dans la deuxième saison, KaDee Strickland est une dominatrice allemande, avec un collier et un fouet.
 Rescue Me : Les Héros du 11 septembre (2009) – Dans le quinzième épisode de la cinquième saison, le personnage de Callie Thorne séduit Tommy (Denis Leary) habillée en dominatrix lapine Playboy en latex.
 La série d'HBO, Les Soprano, montre de multiples personnages s'engageant dans le sadomasochisme.

 Musique
 "The Masochism Tango" (1959) de Tom Lehrer utilise le rythme de la musique tango.
 "Venus in Furs" (1966) par le groupe The Velvet Underground prend le titre du même nom basé sur le roman intitulé La Vénus à la fourrure de Leopold von Sacher-Masoch. Il est possible que ce soit la première chanson populaire à avoir explicité très clairement le SM.
 "Little Toy Soldier" (1967) de David Bowie est une musique qui n'a jamais commercialisée reprennant les termes de La Vénus à la fourrure repris par The Velvet Underground.
 "I Wanna Be Your Dog" (1969), "Dirt" (1970) et "Gimme Danger" (1973) de The Stooges indiquent clairement des tendances sadomasochistes.
 "Submission" (1976) de The Sex Pistols est une musique reprenant des jeux de mots ("submission" (soumission) pour "submarine mission" (mission sous-marine).
 "Whips & Furs" et "I Need a Slave" de l'album de Pure Mania (1977) par The Vibrators sont deux chansons classiques britanniques de l'ère punk récréative.
 "Whip in My Valise" (1979) d'Adam and the Ants exprime la fascination des jeux S&M dans un terme explicite inoffensif.
 "Fetish" et Baby Blue de Joan Jett and the Blackhearts sont tous deux centrés sur le même thème.
 "Melt!" (1982) de Siouxsie and the Banshees décrit une relation amoureuse intense et un terme évocateur sur le SM.
 "Happiness in Slavery" (1992) des Nine Inch Nails reprend son titre et ses paroles d'Histoire d'O de Jean Paulhan.
"Dominated Love Slave" (1992) sur l'album Kerplunk! de Green Day, paroles de Tré Cool, dit du point de vue d'un soumis masochiste.
"Ich Tu Dir Weh" (2009), musique de Rammstein, contient des exemples extrêmes de SM, assez pour être bannie des ventes en novembre 2009 (Bundesprüfstelle für jugendgefährdende Medien). Le bannissement s'est effectué en 2010. D'autres titres du groupe contiennent des exemples de BDSM tels que "Feuerräder" et "Bück Dich".

 Opéra Lady Bumtickler's Revels (1872), un opéra comique sur le thème de la flagellation écrit et publié par John Camden Hotten

 Jeux vidéo
 Clive Barker's Jericho, un jeu vidéo commercialisé en 2007, représente quelques ennemis sadomasochistes, par exemple, le commandant Fräulein Hanne Lichthammer et Gouverneur Cassus Vicus.
 Larxene du jeu Kingdom Hearts est considéré comme une sadique.
 Dans Grand Theft Auto: San Andreas, CJ rencontre une croupière d'un casino de Las Venturas particulièrement attachée au BDSM, parlant souvent de son envie d'être "punie".
 Dans Manhunt 2'', un niveau prend place dans un club SM.

Références

Voir aussi

Bibliographie
 Ryû Murakami,

  .

Liens externes
  Article sur la fiction sadomasochiste lesbienne et gay
 / Biblio Curiosa, abibliographie des littératures SM

Articles connexes
 Dominatrix (Dominatrices dans la culture populaire)
 Masochisme
 Sadisme
 Sadisme et masochisme au cinéma

Masochisme
Littérature érotique
Sadisme


Below, we list Mayfair history books and maps that are available to buy online. We at FamLoc are very much interested in republishing out-of-print local history books and making them available to a new generation. Your suggestions are welcome.


text:
Odense is moving fast. But where are we going?
Debate | Written by: This Is Odense | Translated by: Pil Lindgreen | Tuesday, November 14, 2017
ELECTION DEBATE: More things are happening in Odense than ever before. But what direction is the cultural scene going in? And more importantly, where do we want it to go?
In a series of articles leading up to the local elections, we will be asking questions about the city's culture and providing our best answers, helped by some of the people involved in arts and culture in Odense. Read along, voice your opinion and show up on Saturday at the pre-election debate organized by Kulturklyngen at Storms Pakhus at 6 pm. Central figures in the election will be there to answer for themselves.
CULTURE WITH COURAGE!
Photo: Theatre Momentum, 2016
This Is Odense's aim has always been to show that the city has more to offer than you might think. Today, this is truer than ever before, and our job of looking through Odense's events and selecting the best is getting more and more difficult each week. But as exciting as this new multitude is, all new things are not good merely on account of being new.
And what do we mean by that?
No matter how much we might differ in opinion within the group in This Is Odense, we all share a dream of culture that challenges us; arts that do not merely aim to please, but strive to provoke and change.
A cultural scene that does not begin and end with audience numbers, but cares to move its audiences. A cultural scene that is open to the world, but does not rely on tried and true cultural package-deals passing through town. A cultural scene that allows artists not only to survive but to live and play in Odense.
A cultural scene that causes a stir throughout Denmark, but is as real and present to an Odensian on a Tuesday night in some muggy attic as it is in the crowd in front of the stage on a June evening in Tusindårsskoven.
A cultural scene supported by a free and open discussion about its own merits and direction.
In other words, culture with courage. And there is still some way to go before we get there.
BIG QUESTIONS - BIG POTENTIAL
The cultural scene in Odense is small enough that most people in it are connected somehow, depending on support from each other and often from the City itself. This kind of close network often means fruitful conditions for collaborations, but also sometimes that necessary critiques and critical questions are only posed in private conversations. And we should not forget that at This Is Odense we too are part of this network.
But the questions have to be asked, so the starting point for our series of articles is to bring some of these difficult questions to light.
IS ODEON WHAT WE WERE PROMISED AND WHAT ODENSE NEEDS?
Photo: Odeon's main venue, Store Sal. Credit: Klaus Knakkergaard
ODEON has been long in the making - from the initial plan to place a cultural centre in the former Thrige factory, to a political decision to establish a centre for music and theatre at its present-day location back in 2005 that stranded during the financial crisis and went through two consecutive adaptations before it reached its final form. The question is: has ODEON become what we hoped it would? And is it what Odense needs today?
A political decision in 2005 allotted DKK 90 m to a projected new centre for music and theatre. The project was called a cultural beacon for the city and both Venstre and Socialdemokraterne were eager to stress the importance of smaller, non-commercial cultural initiatives being invited to join this new centre.
When the sketch for the ODEON project was unveiled in 2008, it was accompanied by the story of building a "cultural powerhouse". Then-mayor Anker Boye (A) called the centre "the beating heart of the city", and predicted it would finally put Odense on the cultural map. Jan Boye (K) pointed out that ODEON would allow the city to attract performers of a whole new calibre, while Jane Jegind (V) called it a "cultural beacon that will make the citizens of Odense proud of their hometown". Meanwhile, urbanist Lars Engberg commented that a cultural centre will only become a landmark when it provides content of unique quality.
What followed was a lowering of both price and quality, especially for the main venue, in order to make a profit on student housing, a supermarket, and conference facilities at the centre. A more realistic project for the post-2008 market, some might say. Meanwhile, the City increased its share of the investment. Jan Boye (K) maintained that the centre would be of high quality. The Danish National School of Performing Arts and the Danish National Academy of Music argued that this was their chance to make a mark on the city and create new synergies by settling their activities in the building. Steen Møller, who replaced Jan Boye, called it a possible "international dynamo", and both S and DF expressed enthusiasm.
Cut to late 2017. ODEON has been open and running for about eight months now, and what do we have on our hands? The city has gained an acclaimed communal restaurant and a much critized supermarket.
We have not seen much of the non-commercial initiatives so far, contrary to the original intent. And whether such performers would be able to carve out a meaningful space for themselves in the building remains to be seen. It is still too early to judge what has been gained by moving the schools of music and performance to their new location.
What we can judge is the cultural landmark, the "beacon" itself; ODEON's own bookings and visiting events of the past eight months. This is where projection and reality differ the most. A cross-section of the programme so far includes: City Singler, Tina Dickow, Chippendales, Linie 3, The Bootleg Beatles, Kim Larsen, Stine Bramsen, Caroline Henderson, Svend Brinkmann, Midt Om Natten-musical, Cliff Richard, and of course productions by Odense Teater and Odense Symphony Orchestra.
It is very hard to see a beacon taking shape from that. Nothing on that list does not already feature on every major venue across the country and most of the performers could have been booked at Odense's existing venues. And though the acoustics might be better at ODEON, other venues might have offered a more fitting setting for several names. Worst case scenario: because of ODEON, Odense is left with a lesser culture and the new venue could be said to cannibalize the bookings of other, existing venues.
We might be so bold as to ask: Has Odense gained anything culturally by ODEON that the city did not already have?
And does it have to be that way? The special merit of ODEON must lie in its size and in the quality of its events. So what happened to the ambitions for its bookings? Where is the courage to be a cultural beacon? Could it really be that there are still people who doubt that Odensians are ready to step out of their comfort zone? And what role does the City play in challenging this tendency?
IS POSTEN LIVING OP TO ITS RESPONSIBILITES AS A HIGH-QUALITY REGIONAL VENUE?
Photo: Black Rebel Motorcycle Club at their almost sold-out show at Posten last week
Posten is the regional venue in Odense - one of 18 across the country - and is comparable in size to Radar, Train and Global/Jazzhouse in Copenhagen and Århus.
It is furthermore a venue with a solid economic record and a strong network of sponsors. Comparing Posten's finances to the accounts for Vega, the two receive roughly the same state funding (Vega DKK 6.1 m, Posten/Dexter DKK 6.2 m), and have roughly the same income from sponsors (Vega DKK 1.8 m, Posten/Dexter DKK 1.4 m). The big difference lies in their turnover. Ticket income at Posten/Dexter amounts to DKK 10.3 m; Vega DKK 56 m.
Posten states its strategy as follows: offering audiences "high-quality live music" and big international names, and in later years have also expressed ambition to support upcoming local bands and underground acts. After its extension in 2007, Posten has a capacity of 900 at its main stage. In comparison, the count at Vega is 1,550, at Radar 300 and at Train 1,000.
All things considered, Posten should be able to offer Odensians a combination of high quality upcoming bands and midsize international acts, on top of those classic Danish acts touring the nation.
Between now and April next year, Vega has (among many other) the following acts scheduled that would easily fit the bill at Posten too: Joey BadaSS, Destroyer, Alex Cameron, Sun Kill Moon, The Kooks, Mastodon, Mando Diao, Thomas Dybdahl, Iron and Wine, Niels Frahm, First Aid Kit and Editors. Hiphop, singer-songwriting, indie rock, folk rock, pop rock, heavy, alternative rock, modern classic and electronic music.
Posten, in that same period, presents a list of cover bands, well-known Danish touring bands and a handful of lesser known international acts, that are not unknown because they are on the verge of a breakthrough.
Is it not possible to improve this booking profile? Shouldn't Posten be Odenses main venue for medium-sized international acts? And what about the ambience? Why don't audiences tend to stay and hang out at Posten after a concert? Why is there no sense of a creative environment when you enter through its doors? Why is it that one tends to feel more like a number being handled in wardrobe than a valued guest?
DOES THE CITY LACK AN ALTERNATIVE SCENE AND A CREATIVE CLASS?
Photo: Kenneth Danielsen, Odense Offentlige Slagtehuse
This leads us to the next question - does Odense lack a true alternative upcoming venue surrounded by production facilities and rehearsal space for off-off centre arts with less obvious commercial potential? A creative hub without a neat and orderly municipal ambience? In a central location? Where bookers do not have to end concerts early, and where artists and organizers can shape everything from start to finish?
Is the lack of such a place not one of the main reasons why the city's creative talent is so hard to find, even though it is growing in numbers? Kansas City is trying its best to be that place on the music scene, but its efforts have so far been held back by its location far from the city centre and its small following.
Kulturklyngen is on it; several cultural and educational institutions are talking about it, and initiatives such as Røde Himmel and other talented people from Ungdomshuset and Flow HF have been looking for an inclusive home for a while now.
How will we get there - what will it take? What is the ideal location? Could the last remnant of pristine industrial history on Siloøen be an option? Not every bit of industrial history has yet been developed into apartments, but we are getting there, and fast. That is not the recipe for a big city. What role should the city play in establishing such a project? And how do we ensure that it does not end up another temporary space, fertilizing an area for investment and development?
WHAT DIRECTION IS BRANDTS MOVING IN? AND WHAT WILL HAPPEN TO BRANDTS 13?
Photo: Disney exhibition at Brandts
The new Brandts is big, shiny, and ready to position itself as an ever-larger-looming figure in Odensian culture. Central to this ambition is (mostly) pop(ular) art. Soon the fourth floor that hosts the Funen Art Academy will be cleared and included in Brandts. The Media Museum will also have to go. More room - bigger exhibitions - more visitors.
Brandts has since its relaunch in 2014 exhibited tattoos, fashion, air travel, the sea, Walt Disney (with hands tied and no creative input) and, currently, the work of Lars von Trier. All no doubt with the admirable aim of getting more people to visit, and to establish itself among the big players in Danish cultural institutions.
The question is: What do we lose along the way? Is it really in a serious museum's best interest to purchase a readymade (by Disney) exhibition on Disney? Is it desirable to fill the museum bookstore with assorted bric-a-brac instead of art books and make a visitor's first impression that of a Bed, Bath and Beyond? Exit through the giftshop, please. And buy your identity here.
The rebranding of Brandts has included a satellite in Brandts 13; home to every risk and chance the museum has taken in the past 3-4 years, and as a result, often the most interesting exhibition space in Odense. Now it too faces closure. Brandts 13 has played the part of the empire's frontrunner; pushing forward, moving ahead with installatons, photography and contemporary artist from Funen, Denmark and the world. Every exhibition has met an impressive still- higher standard.
What will happen to these ambitions when Brandts 13 closes its doors? Will the ambition and cultural courage move to a different site in the Brandts empire? And what will happen to the building - the former Funen Art Museum? Might a clever investor eye an opportunity to develop luxury apartments with a desirable tint of culture?
DOES ODENSE HAVE ROOM FOR AN ART ACADEMY?
Photo: Funen Art Academy at Brandts
This is one question that has already been raised and discussed in the past few years - it usually comes up whenever the city council is negotiating their next budget, and there are rarely any visions for solutions beyond balancing the accounts.
Instead of discussing whether the City is allowed to fund an institute of higher education, we should be talking about why it is important to have an art academy in our city. Could the art academy anchor a new creative scene on the harbour? What kind of art might arise from establishing a alternative cultural centre? Could it create an enviromnent attractive to more people than the art students themselves?
Might it challenge the mentality of headless progress that has lead to a massive billboard lighting up the city with commercials for the airport canteen and Svendborg, day and night? And what is the Art Academy itself currently doing to ensure its future existence?
DO OUR MASSIVELY FUNDED LIBRARIES LIVE UP TO THEIR POTENTIAL?
Photo: Odense Kommune - the new "Borgernes Hus"
The city's libraries receive DKK 70 mio. in yearly funding, and, seen together, as a result, they could be called one of the largest cultural institution in Odense. The institution also distinguishes itself by having branches located all over the city; a potential to cater to and interact with a very broad spectrum of citizens.
Running a library in 2017 must be somewhat similar to planning a city of self-driving cars: the possibilites are revolutionary, but no one knows what the future holds and there is a danger of destroying something that already works in favour of something uncertain.
That doesn't necessarily mean that the best option is to continue shelving books and just wait for time to make the choice for you. Næsby Library started the Harry Potter Festival in a back room 15 years ago and now service 15,000 visitors for that event alone each year.
The Music Library was hosting and creating some of the most interesting and challenging cultural events in the city before they were given the unwelcome task of being the main library while Borgernes Hus was underway. What will become of their energetic ideas in their new, gilded setting at the central station?
And why is there not a handful of other examples of libraries breaking the mould? The money is there. What might happen at the new Borgernes Hus? Will it finally become a place where people will want to create, hang out, play? Or will it be "yet another library"?
BIG EVENTS - WHO MAKES THEM AND WHO ARE THEY FOR?
Foto: Robbie Williams, Tinderbox
Odense has made a name for itself as a site for big events in recent years, thanks to funds from Odense & Co. Events sponsored by this fund have been well-executed on an unprecedented large scale.
This justifiably excites a lot people, but has also raised some eyebrows. Who is these events catering to? Are they for the benefit of current Odensians or do they serve to attract new citizens - and if the latter is true; are these the best events, then, strategically?
How do we strike a balance between buying events from professional Danish/ international event organizers and supporting local organizers who may not have the same ressources, financial or otherwise, but who could anchor the profits as wells as the experience in local talent?
It is a difficult queston. Could local forces have organized Tinderbox on the same scale and with equal success? No, probably not. And the same could be said for a number of smaller events in the same category. There IS a difference when it comes to skill, experience and turnover. Yet what happens to all of that when the organizers move on and go back where they came from; when the money leaves?
It has been integral to the strategy to ground know-how locally, but has it been successfully done? There is no doubt that the local commercial event organizers are frustrated. Are they right to be?
MAKE YOUR VOICE HEARD - MAKE YOUR MARK ON THE CITY!
S o. What do our future representatives in public office think about all this? Do they even have an opinion? Who and what do the arts serve? What are the hidden possibilites in Odense? Which cultural institutions have the potential to do better, and how do we foster a distinct cultural scene, whose influence reaches across Danish borders while maintaining a clear Odensian spirit? Is there room for dreams of more than counting pennies in next year's political plans? Do arts and culture mainly serve to create growth and attract new citizens or is there inherent value in this field?
These are some of our concerns and questions for the future. What do you think? Are we far off? What is the most urgent thing for politicians to discuss before the elections? And what do we need to talk about when the elections are over?
This week's events Articles CITY GUIDE Om This Is Odense
Instagram Facebook TIP US!
OTOWN
Oplev Odense
Odense Rundt
Visit Odense
Lyd i Odense
Live Music Odense
This Is Odense


When weather throws a wrench in your plans, you can only adapt.
The uncertainty of the weather is one of landscapers' biggest challenges no matter where they live. But when you are based in an area where the climate is frequently all over the board, it can be very difficult to plan ahead. Giuseppe Baldi, account manager for Baldi Gardens, Inc., in Arlington says the Texas climate is very challenging. In fact, at press time the weather had just gone from 80 degrees one day to 40 the next. And of course, Texas is known for its intensely hot summers that often come with periods of drought. As someone who likes to plan ahead, Baldi has had to learn to go with the flow some days.
Baldi says that in 2016, there really wasn't a Texas winter as it never froze. While there were a few sporadic cold days, the company wound up being busy year-round. In fact, January and February came out as the busiest months of the entire year. So, for 2017, they had planned to kick off the year in high gear again — and it simply didn't happen. There have been freezing temperatures and Baldi says they already feel "behind." He says it can be frustrating to feel like you don't know what's coming.
But Baldi says they've begun to deal with it by "assuming the worst-case scenario." They're already assuming this summer could be very difficult, so they've decided to start more aggressive advertising efforts in April and in May. By investing more in marketing, they hope to be able to overcome the slow months.
Looking ahead, Baldi says they have also talked about making more of an effort to review the weather forecasting research out there. Baldi says that reviewing the Farmer's Almanac and just trying to keep better track of what they've personally experienced with weather over the years might help them make slightly more accurate predictions. But Baldi knows that even that effort is only a small part of the puzzle.


text:
Home News Crime & Court Martens should have faced first degree murder charge
Martens should have faced first degree murder charge
The late Jason Corbett
KILLERS Molly and Tom Martens should have faced a first degree murder charge for the brutal slaying of Limerick man Jason Corbett in August 2015, their US murder appeal case has heard.
US prosecutors, who are opposing the appeals of the father and daughter, told the North Carolina appeal court that there was evidence to bring a first degree premeditated murder charge against them.
Widowed father-of-two Jason Corbett was beaten to death with a baseball bat and a brick.
Molly (34), who was Jason's second wife, and her father, retired FBI agent Thomas (68), were convicted of his second degree murder and sentenced to serve prison terms of between 20 and 25 years.
The killers were in court last week to seek the reversal of their 2017 convictions but prosecutors argued that the murder convictions were fair, proper and fully reflective of the evidence involved.
After lawyers gave oral arguments in the appeal, special attorney general Mike Dodd said that "it appears to me there was evidence to bring a first-degree premeditated murder case," adding that the case met all seven stipulations under North Carolina law for a first-degree murder prosecution.
However, a grand jury opted for a second-degree murder charge instead.
Last week, Tracey Corbett-Lynch, Marilyn Corbett, Wayne Corbett, Dave Lynch and Lynn Shanahan all travelled to the US for the appeal case.
Molly and Thomas Martens were not in court but members of their family were.
Lawyers for Molly Martens argued that the State attorney never challenged the former nanny's claim she was acting in self-defence.
However US attorneys said that the trial judge and prosecutors acted both properly and fairly and that there were extensive brutal injuries to Mr Corbett, while there were no injuries to Mr and Ms Martens.
No verdict was delivered with the panel reserving its judgment until later this year.
Previous articleLisa Marie will not seek re-election
Next articleBilly Lee names Limerick team for Wicklow test
New measures to tackle overcrowding at UHL
A proud celebration for American newlyweds at Limerick Pride
Shannon Airport delegation to land in the Dáil


Delfigo Files Patent on "Optimizing Mobile Biometric Enrollment"
Home Press Releases Delfigo Files Patent on "Optimizing Mobile Biometric Enrollment"
Boston, MA - April 16, 2013 -- Delfigo Security, the pioneer in intelligent authentication solutions, today filed a utility patent based on the physics phenomenon to enhance user identity management based on individual enrollment data of users to their unique keystroke or mobile touch-based biometrics.
Enrollment in systems that examine behavioral and environmental data based on past inputs can challenge companies and enterprises that prioritize user experience during the enrollment process. While the access capabilities are enhanced and more secure with a robust set of reference data and the additional context it provides to the identity scoring of users, asking the user to repeatedly train a system, or settling for a smaller and weaker data set than would be ideal in order to get results more quickly, can weaken companies' resolve to adopt touch-based biometric technology and cause frustration for their customers and global users.
Delfigo Security's newly developed technology improves the strength of enrollment data for new users of keystroke and mobile biometric solutions, resulting in better scoring immediately following user enrollment. By using unique data that has been submitted by the user to enhance existing enrollment data and it's accuracy, Delfigo is able to offer their customers the benefits of a stronger identity access enrollment balanced with the ability to continue to offer users a seamless enrollment experience, with improved results immediately following the enrollment period.
"Identity management needs to account for the concept that past behavior affects the current state of identity," says Hyoun Park, Principal Analyst, Nucleus Research. "By reinforcing hysteresis, companies can create an identity state for each user that reflects past behavior rather than simply depending on a static password or identity profile. As a result, companies can develop a dynamic user identification where the current state of identity is defined and amplified by the past."
Delfigo Corporation d/b/a Delfigo Security, with offices in Boston and at M.I.T. in Cambridge, Massachusetts, is a venture-backed software company providing solutions for identity and access management. The Delfigo solution provides a multi-factor risk-based authentication platform using a patent-pending, artificial intelligence based architecture. The Delfigo software reduces risk of identity theft and fraud for enterprises and ensures regulatory compliances, at a reduced total cost of ownership. Delfigo's platform is designed with cloud computing and SaaS needs in mind. To find out more on how you can leverage the Delfigo technology for your enterprise needs, please visit http://www.delfigosecurity.com or call 617-946-0600 or email info(at)delfigosecurity(dot)com.
Delfigo is backed by Stage 1 Ventures, LLC, a venture capital firm specializing in investments in early stage companies. The firm seeks to invest in mobile industry, the executable Internet, or Software as a Service (SaaS), IPTV and Internet video, pay-for-performance marketing and advertising, and security sectors. In mobile industry, it focuses on search and advertising; consumer entertainment, including games, music, and video; content management and distribution, communication, including video sharing, SMS, MMS, and social networking; enterprise and consumer applications, productivity enhancement, and infrastructure supporting all of the above. The firm typically invests in companies that have first demonstrated market enabling IP. Stage 1 Ventures, LLC is based in Waltham, Massachusetts.


This species is accepted, and its native range is SW. Oregon to W. California.
Sequoia sempervirens is rated as Endangered (EN) according to IUCN Red List criteria and has received a EDGE score of 3, which places it in position 15 on the EDGE Gymnosperm list. It has a Evolutionary Distinctiveness of 47.81, ranked 42. More information on the EDGE Gymnosperm project here https://www.edgeofexistence.org.


Want to get more writing done? Or, indeed, any work that involves sitting at a computer. Buy yourself a cheap kitchen timer and choose a time between 15 minutes and, say, 35 minutes (start small).
Press Start and work on your project exclusively until the beeper goes off.
During this time, you must do nothing other than work on your project – most importantly, no Facebook, Twitter or email checking.
When the beeper goes off, give yourself a 5-10 minute break (go for a stroll, check your social media) and then book yourself in for another block of time. You'll be amazed how much you'll get done.


Fridleys Welding Service, Inc. is a Corporation located in Chesterfield , Virginia. The company was registered on 1997-03-26 and it is approximately 22 years years old. According to Virginia business register Fridleys Welding Service, Inc. status is Active.
Fridleys Welding Service, Inc. agent is W Richard Hairfield. This agent address is 2800 Buford Rd Suite 201 Richmond Va 23235 Chesterfield County 120.
Check more Fridleys companies in Virginia.
Name Fridleys Welding Service, Inc.
Scan this code with your mobile phone and take Fridleys Welding Service, Inc. data with you.


The Mechanical Group in Sincrotrone Trieste consists of several activities Mechanical Design, Alignment and Metrology and Mechanical Workshop.
The Mechanical Design takes care of the conceptual design, design and development of mechanical systems for the Elettra and FERMI facilities.
Designers and technicians collaborate closely with researchers, other technical groups and all the Sincrotrone Trieste expertise, implementing new equipments in a wide range of areas such as the UHV compatible mechanics and scientific instrumentation.
The storage ring Elettra, all the front-ends, most of the beamlines, the insertion devices, the new booster and, more recently, the new Free Electron Laser FERMI have been designed by the mechanical design group.
The group uses 3D computer aided design softwares as Catia and Solid works and finite element analysis software as Ansys, it is involved in designing and performing thermal, structural and deformation analysis of mechanical component and complex systems and takes care also to up-date the configuration files, the naming and the layouts of mechanical, electrical, vacuum and hydraulic systems.
Alignment and Metrology personnel supports beamlines in assembling and control operations and it is involved in periodic survey of the two facilities. The reference networks for the facilities have been realized by means two Leica Laser Trackers. The Metrology Laboratory controls if the components are in compliance with the specifications and the mechanical drawings. In the lab several dedicated instruments and equipments are available.
The internal workshop provides the realization, refurbishment or reparation of mechanical and vacuum components. It is equipped with a brazature and Ar-welding points, four lathe machines, one of them CAM, and three milling machines, two of them CAM.
The Vacuum Group has the responsibility of the vacuum of both the facilities. This activity starts designing the vacuum systems, assisting the design of vacuum components and vessels, passes through the commissioning of the components and ends with the final assembling and general commissioning.
The Vacuum Laboratory is equipped with several ultrasound vessels to clean large components, a six meter long oven in vacuum connected with a clean room where components are prepared for mounting or transport and several vacuum test station, residual mass analyzer and leaktester to operate in the laboratory and/or at the facilities directly.
The Optics Group is a support group to Elettra and FERMI beamlines. Personnel of the two laboratories, X-ray Lab and Optical Metrology Lab are involved in the beamlines conceptual design, ray tracing, optical design and the design of the most important optical components for beamlines. Optical and/or related mechanical new components are specified and conceptual designed accordeing to the beamlines personnel. In case of particular instrumentation, suppliers designs and drawings are evaluated together and revised if necessary, then construction is attended to, and acceptance tests and commissioning are carry out.
A fixed-anode and a rotating-anode X-ray sources are available in the X-ray laboratory for testing single crystals, multilayers and powders.
The fixed-anode source is equipped with a Si111 monochromator and a 8-axes station to align and scan the sample. The rotating anode source produces a focussed and monochromatic beam and it is equipped with a 4-circle eulerian goniometer.
The Optical Metrology Laboratory is equipped with a clean room for optics surface characterisation by means interferometers and a room with high precision controlled temperature for a Long Trace Profiler to measure the radius of curvature and the slope errors of the long x-ray mirrors.