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Tag Archives: The Malta Independent on Sunday
Taking care of tax evaders
Joseph Muscat and the Labour Party pride themselves with emphasising that this Government has removed the statutory limitation (prescription) relative to corruption when holders of political office are criminally prosecuted.
It certainly was a step in the right direction. It still however requires the test of time to verify whether it is compatible with the human rights provisions of our Constitution and the European Convention of Human Rights as was explained by former Strasbourg Judge Giovanni Bonello in his article Bribery and Genocide : the same? (Times of Malta April 20, 2013)
Such a clear stand against corruption contrasts with the provisions of Legal Notice 256 of 2014 entitled Investment Registration Scheme Regulations 2014 which launched the latest amnesty that can be utilised by Maltese citizens who evaded payment of income tax. Camouflaged through the use of Orwellian terminology as an "Investment Registration Scheme", this amnesty, as others before it, did not treat holders of political office any differently from other tax evaders. It afforded them the same opportunities to be able to "regularise" their position absolving them from having committed an economic crime.
Apparently, this government considers tax evasion to be a crime which is substantially inferior to corruption. In fact, the recent cases brought to light by Swiss Leaks have revealed the ease with which former Cabinet Ministers have wriggled out of their tax evasion crimes that they had successfully concealed for around 40 years, including when in office.
During all these years, most of the funds which were accumulated in various bank accounts until they ended in an HSBC Genève account, reaped interest at varying rates depending on market conditions, which, as a result, increased the quantum of the undeclared funds. Had both the funds originally invested as well as the accumulated interests been appropriately declared to the tax authorities in Malta , they would have been subject to between 35 per cent and 65 per cent taxation in terms of Income Tax legislation. Yet the Investment Registration Scheme of 2014 allows self-confessed tax evaders off the hook subject to a maximum 7.5 per cent registration fee! They even get a discount if they repatriate the funds! Apparently it pays to be a tax evader.
There are, however, some matters which are not at all clear, yet.
Before insisting on his imaginary "right" not to be pestered by the press, former Minister Ninu Zammit had informed The Malta Independent on Sunday that all his affairs were now "regularised", having made use of the 2014 amnesty to reap the benefits of his hoard stacked in Genève. He was also reported as having stated that the sources of his hoard was income derived from his professional activity as well as various deals in landed property.
It is public knowledge that Zammit's land deals were negotiated through the Malta registered limited liability company by the name of LENI Enterprises Limited of which he was both a shareholder and a director. It is logical that any income from land deals would not only have a bearing on Ninu Zammit's tax status but also on the reported performance and possible tax liabilities of LENI Enterprises Limited. In this respect, the company's financial reporting would certainly make very interesting reading. Have its audited accounts been submitted to the Malta Financial Services Authority or its predecessors in terms of law? Who has certified these accounts? What about the role of the auditors of LENI Enterprises Limited? Is there the need to revisit the audited accounts of LENI Enterprises Limited due to the fact that at least one of its directors has benefited from the latest tax evasion amnesty?
As far as I am aware, Legal Notice 256 of 2014 only absolves self-declared tax-evaders resident in Malta from their non-observance of income tax legislation. Other crimes could still be actionable .
Such other crimes would include false declarations to Cabinet in terms of the Ministerial Code of Ethics. There may also be other issues should these result from the investigations which the Commissioner of Inland Revenue is currently carrying out on the basis of the information which is now known.
There is however one important thing which we should never underestimate. The benevolence of the state towards tax evaders has no limits. It knows how to take care of these small details too.
published in the Malta Independent on Sunday – 1st March 2015
By carmelcacopardo • Posted in amnesty, Commissioner of Inland Revenue, Constitution, corruption, European Convention of Human Rights, holders of political office, HSBC Genève, Investment Registration Scheme Regulations 2014, Labour Party, Legal Notice 256 of 2014, LENI Enterprises Co Ltd, Malta Financial Services Authority - MFSA, Ministerial Code of Ethics, Mr Justice Giovanni Bonello, Muscat Joseph, prescription, Swiss leaks, tax evasion, The Malta Independent on Sunday, Zammit Ninu • Tagged amnesty, Commissioner of Inland Revenue, Constitution, corruption, European Convention of Human Rights, holders of political office, HSBC Genève, Investment Registration Scheme Regulations 2014, Labour Party, Legal Notice 256 of 2014, LENI Enterprises Co Ltd, Malta Financial Services Authority - MFSA, Ministerial Code of Ethics, Mr Justice Giovanni Bonello, Muscat Joseph, prescription, Swiss leaks, tax evasion, The Malta Independent on Sunday, Zammit Ninu
Michael Falzon and Ninu Zammit, retired for some years from politics, are back in the news for the wrong reasons. Tax evasion and false declarations.
They have tried to give some explanations. Michael Falzon has attributed his accumulated investments in HSBC Geneve to his professional earnings from overseas clients between 1975 and 1985. Zammit went one further: in addition to professional earnings in approximately the same timeframe, he has stated that they have also accrued as a result of his land dealings.
It is news that Ninu Zammit had substantial earnings from his profession. Back in the 80s, in his income tax return he used to declare that he barely earned a minimum wage. Way back in the 80s a thick book used to be published by the Commissioner of Inland Revenue listing the income declared and the income tax paid in Malta by all taxable persons. I distinctly remember that the book used to indicate that Ninu Zammit was one of the poorer chaps on the island then!
I do remember some years back reference to the company LENI Enterprises Co Ltd co-owned between Ninu Zammit and another member of his family. Maybe some enterprising journalist could carry out searches into the assets and liabilities of LENI Enterprises Co Ltd which could possibly lead to some very interesting results.
Politics and dealings in land were never a good mix. History has proven time and again that such a mix generally produces the worst possible cocktail.
Both Falzon and Zammit have avoided criminal proceedings by making use of one of the amnesties launched over the years. By paying a fine and repatriating their Swiss funds they have been absolved of criminal action relative to tax evasion and infringement of currency rules.
Michael Falzon, when cornered, admitted his role and in anticipation of the full story in the Sunday papers published his side of the story. Ninu Zammit, on the other hand, was arrogant and argued that his financial affairs were now in order and that as he was no longer in politics he should be left alone.
Both Falzon and Zammit occupied ministerial office. Falzon was minister for nine years between 1987 and 1996. Zammit was parliamentary secretary for nine years (1987-96) and a minister for another ten years (1998-2008). During these years, as from 1994, they filed annual declarations in terms of the Ministerial Code of Ethics supposedly declaring their assets. These declarations were filed in the Cabinet Office and subsequently the Prime Minister notified Parliament by presenting a copy of such declarations for its scrutiny.
It now results that Michael Falzon and Ninu Zammit through false declarations misguided Prime Ministers, Cabinet and Parliament. No amnesty has or will absolve them of this.
Up till the time of writing, no public apology has been made by either Falzon or Zammit.
It is also unfortunate that so far, Parliament has no available remedy for this serious breach of the Ministerial Code of Ethics by these two former Cabinet members.
Pending on Parliament's agenda is a Bill entitled Standards in Public Life Bill. When approved into law this Bill will provide for the appointment of a Commissioner and a Standing Committee with the authority to investigate breaches of statutory or ethical duties of persons in public life.
In its present format, this Standards in Public Life Bill provides for investigations into ethical breaches such as those committed by Michael Falzon and Ninu Zammit only when the persons committing such breaches are still Members of Parliament.
Article 13 of the proposed Act in fact authorises the Commissioner for Standards in Public Life to examine declarations made pursuant to the Ministerial Code of Ethics. Unfortunately, the proposed Act does not contemplate action against former Members of Parliament. Nor does it empower investigations on misdemeanours going back more than two years.
Hopefully Parliament will revisit the Bill and amend it to empower the Commissioner and the Standing Committee to investigate similar cases. Falzon and Zammit should be made to pay for their false declarations to Cabinet and Parliament by being stripped of their Ministerial pensions. Anything less will make the Ministerial Code of Ethics resemble Swiss cheese.
published on The Malta Independent: 25th February 2015
By carmelcacopardo • Posted in Borg Jacob, Cabinet, Commissioner for Standards in Public Life, Commissioner of Inland Revenue, Falzon Michael, HSBC, LENI Enterprises Co Ltd, Malta Independent on Sunday, Ministerial Code of Ethics, Parliament, Prime Minister, Standards in Public Life Bill, tax evasion, Zammit Ninu • Tagged Borg Jacob, Cabinet, Commissioner for Standards in Public Life, Commissioner of Inland Revenue, Falzon Michael, HSBC, LENI Enterprises Co Ltd, Ministerial Code of Ethics, Parliament, Prime Minister, Standards in Public Life Bill, tax evasion, The Malta Independent on Sunday, Zammit Ninu
Tonio Borg: his nomination and Malta's reputation
Stephen Calleja heads the editorial team at Standard Publications, publishers of the Malta Independent as well the The Malta Independent on Sunday.
He considers himself to be "independent" so much that he did not bat an eyelid in accepting to present a TV discussion programme on the PN political TV station NET TV: l-Iswed fuq l-Abjad. Its independence can be attested by considering his choice of speakers and his myopic consideration of the issues discussed.
In today's edition of the Independent on Sunday Mr Calleja speaks of "restoring Malta's reputation" when discussing the consideration by the EU institutions of Tonio Borg's nomination as John Dalli's successor on the EU Commission.
Calleja's point is that The Green's criticism of Tonio Borg's nomination and credentials will tarnish Malta's reputation.
It seems that those defending Tonio Borg's nomination, including Mr Calleja, consider that he has only one positive point, that he is Maltese and they expect all to rally behind this nomination on the basis of his nationality.
Calleja fails to give due weight that Tonio Borg has destroyed his own candidacy by his utterances and actions as a Minister. His actions on immigration when he supported Berlusoni's agreement with Gaddafi's Libya to send back immigrants to Libya to be tortured is compounded by the 2002 Eritrean refugee mishap documented by Amnesty International amd UNHCR. Tonio Borg as Malta's Minister for the Interior was responsible for sending back Eritrean immigrants. Some were tortured others disappeared.
Tonio Borg's utterances against tenancy rights of same sex couples during the rent reform debate in Malta's Parliament may have been forgotten by Stephen Calleja. Calleja may even consider as unimportant the fact that Tonio Borg defied the referendum result and opposed divorce legislation.
In view of Tonio Borg's record as pointed out above I do not consider that his nomination was the appropriate one.
When Lawrence Gonzi, notwithstanding the above decided to proceed with Tonio Borg's nomination he was gambling Malta' reputation. He should have nominated someone else. There are plenty of suitable candidates amongst Malta's 404,000 population.
It is on Lawrence Gonzi's doorstep that Stephen Calleja should direct his criticism. But obviously, as he is "independent" he will find considerable difficulty in doing so.
By carmelcacopardo • Posted in Alternattiva Demokratika - The Green Party, Amnesty International, Borg Tonio, Calleja Stephen, Dalli John, Gonzi Lawrence, L-Iswed fuq l-Abjad, Malta Independent, NET TV, PN, Standard Publications, The Malta Independent on Sunday, United Nations High Commission for Refugees • Tagged Alternattiva Demokratika - The Green Party, Amnesty International, Borg Tonio, Calleja Stephen, Dalli John, Gonzi Lawrence, L-Iswed fuq l-Abjad, Malta Independent, NET TV, PN, Standard Publications, The Malta Independent on Sunday, UNHCR


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Object of the week
'History, Fate, Destiny' – the story of a Vietnamese refugee
30 April 1975. This date marked the end of the Vietnam War, with the fall of Saigon to Communist forces and the reunification of North and South Vietnam. From the late 1970s thousands of Vietnamese fled from the new Communist regime, escaping in small boats to the United States, Canada and Australia. The first Vietnamese 'boat people' arrived in Darwin in 1976. By the end of 1979, 2,011 people had undertaken the perilous sea voyage from Vietnam to Australia. Many more died trying.
The first wave of boat people arrived at a time of dramatic social upheaval in Australia. This was a time of spirited debate about our involvement in the Vietnam War, the new concept of multiculturalism, the breaking of many of Australia's traditional ties to Britain and the forging of new links with Asia. Despite some opposition from the wider community, the relaxation of immigration restrictions meant that most were allowed to stay.
In 1987, 12 year old Thi Nguyen, her parents and 25 relatives escaped from Vietnam in a small fishing boat. After spending two and a half years in a Hong Kong camp, they were allowed to migrate to Australia. Seven years after she left Vietnam, Thi created three boat sculptures to represent her family's perilous voyage. She submitted these for her Higher School Certificate examination at Burwood High School in 1994.
'History' boat sculpture - ANMM collection
Thi named the three sculptures 'History, Fate, Destiny' and made them out of a selection of materials to give each of the boats a unique quality. The boat sculpture 'History' (00019948), is the largest of the three vessels and made from unpainted clay. It is bound with leather, string, bands of writing and adorned with gold chains. A gas ring serves as the support for the boat. For Thi, 'History' is symbolic of Vietnamese culture and the past. 'Fate' represents the fears and desperation experienced by refugees; and 'Destiny' embodies survival. Together, the boats tell a powerful story about the traditions, fear and endurance of Vietnamese boat people.
'My refugee boats are an interpretation of my direct experience when leaving Vietnam. The three boats, History, Fate and Destiny symbolise the delicate uncertainty of the captive human struggle in the sea of life.' – Thi Nguyen, artist
If you would like to read more about Thi Nguyen's three boat sculptures, you can search our collection on-line.
Posted in: From the collection

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Chris Schilling
No Recommendation / Blank
Overwrought, unsatisfying storytelling takes the shine off a gorgeous and ambitious finale.
Jonathon Dornbush
Kingdom Hearts 3 is a fulfilling evolution and resolution of the franchise that shows it's still full of heart.
Brad Ellis
Easy Allies
Metro GameCentral
A confused and confusing mess of terrible storytelling, simple action, and endless fan service that will delight existing players but baffle new ones.
Rachel Weber
GamesRadar+
Still madder than a box of frogs, but its magical Disney charms make it worth the long wait
Kimberley Wallace
With higher stakes, Kingdom Hearts III is a lot of spectacle in the best way possible. It isn't afraid to go big, but it also doesn't forget what made fans fall in love in the first place
Tamoor Hussain
Kingdom Hearts 3's impenetrable lore doesn't stop the last chapter of Sora's story from being a fun frolic through beloved Disney worlds.
Allegra Frank
Unscored
Kingdom Hearts 3 ends the series with a whimper
Good news: it's not the worst game ever made. Not by a long shot. It just has a lot of baggage.
Caty McCarthy
For all the new in Kingdom Hearts 3, there is plenty of the old too. The action combat is more satisfying than it's ever been, even if it's a tad easy to skate through the main storyline. For longtime fans of the series, all those emotional payoffs that have been building for 17 years await. For newcomers, buckle up: because you're in for a wild ride of bonkers Disney interactions and some exciting boss battles.
Bradley Russell
Game Revolution
The game is filled with moments you're going to want to talk to family, friends, and random people on the internet about for months and years to come. It's a truly shared experience.
Kingdom Hearts III might not be the best final entry possible (and knowing this series, a "Final" mix of the "final game" is easily an option), but I'll dearly miss Sora and his friends. Despite all of the absurd twists and turns, the character missteps and the complete lack of some series-defining cast members, there are very few creations out there that make me smile this often.
Álvaro Alonso
This is it, the epic, emotional and satisfying conclusion to one of gaming most beloved series. Kingdom Hearts III is everything we could had hoped for (and even more), but it's biggest achievement is that, even by today's standards, it's a one of a kind experience that can only be described using one word: magic.
Review in Spanish | Read full review
Ollie Barder
Overall, Kingdom Hearts III is a very involved game, both functionally and narratively, but on each count, these aspects of the game can be awkward and difficult to fully understand, especially for newcomers. If you are one of the many people that have waited patiently for this installment and the chance to stick it to Xehanort, then you will definitely enjoy yourself a great deal.
Ozzie Mejia
Kingdom Hearts III is an absolute triumph, conquering the darkness that plagued the series' past and standing firmly in the light. It's not just a great Kingdom Hearts game, it may very well be a game that gets revisited in December.
Ammara Rounaq
IGN Middle East
Kingdom Hearts 3 offers a fascinating adventure with some stunning optics that offer absolute fun when playing it but the plot is slow and does not live up to the level of noise the game has created.
Review in Arabic | Read full review
Javi Andrés
IGN Spain
Kingdom Hearts III has the magic you are waiting for. Square Enix has achieved the best episode of the series. Sora, Donald and Goofy are now very fast and take you through a lot of endearing experiences and characters. His script continues to have problems but everything else is a memory that will stay forever.
Alessandra Borgonovo
IGN Italy
Visually stunning, Kingdom Hearts III it's all about being cool while delivering us the best conclusion for a long-time series.
Review in Italian | Read full review
Dean James
Attack of the Fanboy
Kingdom Hearts 3 has been a long time coming, leading some fans to wonder if it would ever finally get there. The long wait proved to be well worth it though, with a satisfying ending they've been wanting for years, while also managing to setup the future of the franchise as well.
God is a Geek
The final game in the series goes out with more of a whimper than a bang, but there's still plenty of heart, and the combat never fails to entertain. There're some wonderful visuals and plenty of Disney surprises, and although the story is a mess when it strays into the series' lore, it's still fun.
Cadence of Hyrule: Crypt of the NecroDancer
Oninaki
Outer Wilds
STEINS;GATE ELITE
MLB 19: The Show


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William Byron matches career-best Cup Series finish with Martinsville runner-up
© 2019 Rusty Jarrett / NKP
Start: 11th
Finish: 2nd
Rolling off from the 11th position Sunday afternoon, William Byron marched his way to the front of the field early on, and continued to maintain a top-five running position throughout the majority of the 500-lap race, inching closer to the lead with every lap. Lining up second in the No. 24 Liberty University Chevrolet Camaro ZL1 for back-to-back late race restarts, Byron ran within striking distance of the leader but ultimately crossed the finish line in the second position, tying his previous Cup career-best finish as well as securing a track-best finish at Martinsville Speedway.
© 2019 Matthew T. Thacker / NKP
Happy with his Liberty University Chevy after qualifying 11th on Saturday, Byron wasted no time when the green flag dropped to make his way to the front of the field. Despite fighting a loose-handling machine, Byron was able to pit under the caution on Lap 29 for four tires and fuel before restarting eighth when the field went back green. Continuing to pick up positions as the rest of the stage went green, Byron was able to cross the finish line in the sixth position. Under the stage break, Byron returned to pit road, this time for four tires, fuel and a minor adjustment to try tighten up the No. 24 Liberty University Chevrolet Camaro ZL1.
As the field went back green for the start of Stage 2 on Lap 140, the sophomore driver quickly jumped into the third position before ultimately taking over second just 30 laps later. Catching the leaders while racing through lap-down traffic, an untimely caution came out on Lap 179, stacking the field back up. Byron came to the attention of his Liberty University crew under the caution period for four tires, fuel and another slight adjustment to the No. 24. Restarting in the fourth position, Byron continued to maintain his position until the caution was displayed once again, this time on Lap 253, setting up a three-lap dash to the end of the stage. Restarting sixth with different pit strategies playing out, Byron was able to hold onto that position until the green-white checkered flag waved to end the final stage break of the race.
Gaining one position under the caution for electing not to pit, the Charlotte, North Carolina, native moved from the seventh position up to second in a handful of laps once he went back racing. Still fighting a loose-handling race car, the No. 24 came down pit road on Lap 347 and was able to secure a low-lane starting position of third before the field went back green. Once again taking over the runner-up spot under green flag conditions, Byron was chasing down the leaders when the caution came out once again, this time with 137 laps remaining. Pitting for four tires and fuel on the No. 24 Chevrolet Camaro ZL1 on Laps 363 and then again on Lap 450, Byron was scored third but quickly took over second as soon as the green flag came out. Bunching the field back up for the end of the race, Byron had two more restart attempts to try to take over the top spot as the yellow flag was displayed on Laps 460 and 473. Battling hard with the No. 19 despite restarting in the high lane, Byron unfortunately wasn't able to get around him as the laps wound down before ultimately crossing the finish line in second, scoring his fifth Cup Series top-five finish of the year.
Byron led the Hendrick Motorsports four-car contingent at Martinsville with his runner-up finish. Teammate Alex Bowman sustained damage late in the race, crossing the finish line in the 30th position. Chase Elliott, who experienced a mechanical issue in Stage 2, finished the race in 36th while Jimmie Johnson was collected in an on-track incident that left with him with a 38th-place finish Sunday afternoon.
Byron on what he needed to challenge Martin Truex Jr.: "Oh, I don't know. He was really strong. I could work my brake bias a little bit in the car and gain a little bit and then I'd get to him and I'd heat them up a lot and kind of fall back. So, I don't really know. He was super strong. Our car bounced a little bit on the short run, which was tough to kind of get around, but overall it was a really good day. This isn't a place that I've loved coming to, and it just clicked this weekend. The things we did with the car going into qualifying and then obviously our race. So, I'm super excited, but second is not super fun either. So, we'll try to get one spot better next time."
P2. Such a good effort by everyone @Hendrick24Team. Loved coming here as a kid, but it hasn't been fun yet as a driver. Today felt different. Congrats @MartinTruex_Jr and team. pic.twitter.com/195Ff9FTxb
— William Byron (@WilliamByron) October 28, 2019
Finish: 30th
Alex Bowman and the No. 88 LLumar team had multiple challenges at Martinsville Speedway on Sunday afternoon, which led to a 30th-place finish at the end of the 500-lap short track event. Two separate incidents – a loose right front wheel and an on-track collision that caused heavy damage to the right front of the car – were the culprits in the finish.
Bowman started the race in the 19th position and radioed in to crew chief Greg Ives that the car was "free in, tight in the center and free on exit" early in Stage 1. Ives called for key adjustments to help the No. 88 during the next pit stop. Later in the run, Bowman said the car had no drive. The Llumar team finished the stage in 21st place and made additional adjustments on the No. 88 Chevrolet during the stage break pit stop to help with the drive.
Stage 2 got underway with the No. 88 team in 18th position on the track. Unfortunately, just a few laps after the green flag, Bowman radioed to the team that he felt a loose wheel. He quickly came to pit road shortly after, where the team changed right-side tires and determined that the right front tire was loose on the car. This made the No. 88 LLumar team fall back to 30th position on the track. With the tough setback, Ives told the driver and team to focus on the car and work towards making it better. The team was able to provide Bowman with better drive for the car and was able to gain some additional spots to finish the second stage in the 24th position.
After 260 laps, the final stage of the race began with the No. 88 in 24th position and on the lead lap. Bowman raced up to 20th by lap 308 and while under caution on Lap 345, the driver was running 19th and reporting that the car was freer than his previous runs and the back of the Chevrolet was bouncing. In order to gain some track position, Ives gambled and did not pit during a caution at Lap 368. On the restart, Bowman was scored in the 11th position.
Just a few laps after the restart, the No. 88 was involved in a collision on the track with another car which caused heavy damage to the right front of Bowman's ride. The LLumar team worked on the damage during two separate pit stops in order to get Bowman back in the race. Unfortunately, this put the driver five laps down in the 26th position when Bowman was able to get back on the track. From there, the No. 88 maintained position as best as possible, but ultimately finished 30th, six laps down to the leaders.
Alex Bowman: "Obviously this wasn't what we wanted to happen today. This LLumar team made some good adjustments on the stops, but today just wasn't our day. We will move on to Texas next week and work toward ending the year out on the right foot."
Hendrick Motorsports
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This week, next week and for a while longer, I am "mom-sitting" after her cataract surgery. She is unable to put the drops in her eyes. For at least another week, there are drops four times a day. Then we drop to twice a day for a while and finally once a day.
So, as a result, I haven't been home long enough to start a serious project. I still have other things I can't let go too long.
So during a "break" - I pulled out my stash of spinning fibers, my blending board and a big bag to carry it all in. While doing Mom's laundry, I started making rolags - they are fiber that is prepped for spinning into yarn. I really just had fun mixing colors and not worrying about the final yarn. I can use it in weaving and it will be beautiful. I had failed to remember that this is a bit arm muscle intensive and I tired out my right arm quite a bit. But look at these results!
These will spin up into some beautiful yarn. This is mostly wool but I think that a couple of the rovings that I had hand dyed were a combination of wool and silk. That would account for some of the extra shine it has.
Posting will be spotty for a while as I settle into some type of routine. Just know that I am doing well.
Beautiful-I can't believe I have not used my blending board yet but things seem to have been crazy here this past year--but is definately on my must do list for this winter--did you bring your spinning wheel along?
I hope your mom will make a good recovery from her surgery. I know I was the eye drop giver when my husband had his surgery but then I'm a nurse and knew how to do it properly. You just barely get done with the regime and it is time to do it again. He finally got so he could do them himself a week or so after the 2nd eye was done and the dosages had dropped. It involved his flopping on the couch with his head on the arm of the couch at a certain angle but he'd get the job done! Really it was easier for me to just do it for him but sometimes I was gone to quilting, LOL.
You are going to have a ball with your pretty rolags and playing with that color!
The colors are beautiful, I can only imagine the awesome yarn it will make!
As you can probably tell Gene I am playing "catch up" finally commenting on blog posts I've been hanging onto the link for for ages. I tend to open them originally on my phone where it is impossible for me to respond, then I have to remember to go back to comment where I wanted to.
I have a blending board too, and like you I find it to be quite the arm workout! I love spinning the resulting rolags, but I have found myself a bit lazy when it comes to making them.


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With her business booming and her notoriety increasing, Patti Stanger is at the top of her game as owner of a Los Angeles-based elite matchmaking service in which she helps wealthy men find the women of their dreams. But this season, there's a twist, as Patti adds female millionairesses and gay millionaire clients to the mix - including a 40-year-old drop-dead gorgeous CEO of a high-end fashion label. Stanger relates to her by sharing her experiences with "ageism" in the competitive Los Angeles dating scene. In addition, Stanger signs on a gay millionaire, who owns his own successful branding business. A firm supporter of everyone's right to have committed love, Stanger believes "everyone has the right to marry, no matter what." Returning this season is her loyal Vice President of Matching, Chelsea Autumn, and her former executive assistant, Destin Pfaff, who has been promoted and given additional responsibilities. Also joining Millionaire's Club is Pfaff's girlfriend, Rachel, who is the office's new assistant. And now that she has the two longtime lovebirds right under her nose, Stanger will do everything she can to encourage Pfaff to pop the question. Intuitive Entertainment and Bayonne Entertainment produced the series, with Kevin Dill, Mechelle Collins and Rob Lee executive producing.
The Millionaire Matchmaker, Season 2
© 2009 Bravo Media. All Rights Reserved.
More Seasons in Series
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Top Reality TV Shows
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Customs officers in New Zealand have seized some 1.8 million illicit cigarettes and more than NZ$2 million ($1.36 million) in cash during an operation targeting tobacco smugglers.
The investigation also resulted in the confiscation of multiple properties, luxury vehicles and a number of bank accounts.
Operation Whitethorn – a six-month probe that began after New Zealand authorities identified a company suspected of smuggling cigarettes inside sea containers – saw a business owner from Auckland arrested last Wednesday as he attempted to leave the country.
A recent container search resulted in the discovery of 340,000 cigarettes hidden inside 12 metal cabinets, which led to investigators searching multiple Auckland properties, where they found some 1.5 million cigarettes and five refuse bags filled with bank notes.
Police said they expect to make further arrests in connection with the cigarette-smuggling plot.
Had the seized tobacco been sold on the black market, the New Zealand government would have lost an estimated NZ$1.8 million in tax revenue.
Commenting on the success of the operation, Customs Investigations Manager Bruce Berry said: "Customs has seen an increase in the commercial quantities of smuggled or misdeclared Chinese-branded cigarettes in recent years. This investigation has uncovered the largest scale tobacco fraud to date.
"While it's okay to import cigarettes, smuggling or misdeclaring them to evade taxes is illegal.
Back in March of this year, the New Zealand Customs Service issued a warning after a marked increase in the amount of abandoned and seized tobacco at the country's airports that had been sent from overseas, a large amount of which had originated from the Asian region.
During 2017, over three million cigarettes/cigars and around half a tonne of loose tobacco was intercepted by Customs at New Zealand airports, with more than 2.5 tonnes of tobacco abandoned as people did not want to pay extra charges.
A report published in May by professional services firm KPMG revealed that approximately 9.2% of the 2.1 million kilos of tobacco consumed in New Zealand in 2017 was estimated to be illicit.
"Flows of Australian and Chinese labelled packs accounted for the majority of non-domestic flows," the report said.


text:
Dalle sonorità in chiave rock dei primi anni ottanta, è considerato l'arlecchino del rock italiano per la gestualità che caratterizza le sue esibizioni dal vivo (che richiamano le movenze stilizzate della maschera bergamasca) e per la diretta citazione che ne ha fatto in uno dei suoi brani di maggior successo: Rock 'n' Roll Robot, presentata a Un disco per l'estate 1981 (nel testo ci sono numerosi riferimenti alle innovazioni tecnologiche derivanti dall'allora nascente informatica di massa). Il tema di Arlecchino rifarà spesso capolino nel corpus artistico di Camerini (come ad esempio nel brano Serenella e nell'ampio monologo per il teatro Il Buffo alla Moda).

Tra le sue canzoni più famose e apprezzate si possono citare Bambulè (1977), Gelato metropolitano (1977), Macondo (1978), Serenella (1980), Rock 'n' Roll Robot (1981), Maccheroni elettronici (1982), Tanz bambolina (1982), Computer capriccio (1983).

Biografia

Gli inizi come musicista

Nato in Brasile in una famiglia italiana ebraica trasferitasi nel Paese sudamericano nel 1938 a seguito delle Leggi razziali promulgate dal fascismo, a undici anni rientra in Italia (come ha raccontato nella sua canzone autobiografica Alberto).

Dopo una prima band (i Sound), formata con Roberto Colombo al Liceo Beccaria di Milano, e la successiva Dreaming Bus Blues Band (Antonello Vitale alla batteria, Pepè Gagliardi all'armonica e Alberto Tenconi al basso) con un repertorio di blues psichedelico, Alberto Camerini forma Il Pacco di cui facevano parte Donatella Bardi, Eugenio Finardi, Walter Calloni, Lucio Fabbri (futuro violinista della Premiata Forneria Marconi), Ricky Belloni (successivamente con i New Trolls), Lucio Bardi (poi con Francesco De Gregori), Pepè Gagliardi all'Hammond, Paolo Donnarumma al basso, ed Ezio Malgrati alla batteria; con questo gruppo suona al Festival di Re Nudo ed al Carta Vetrata, rock club di Bollate (noto per aver ospitato le prove di una Premiata Forneria Marconi ancora in embrione).

Contemporaneamente inizia l'attività di sessionman per la Dischi Ariston a Milano collaborando, sotto la direzione del maestro Guarnieri, con vari musicisti, il primo dei quali è Claudio Rocchi (nell'album Volo magico n. 1, 1971), allora conduttore della trasmissione radiofonica Rai Per voi giovani / Pop Off. Segue Simon Luca nel disco Per proteggere l'enorme Maria del 1971 e nel gruppo quasi omonimo (L'Enorme Maria), composto da Ricky Belloni, il bassista Massimo Villa, Eugenio Finardi, Paolo Donnarumma, Flaviano Cuffari, Donatella Bardi, Marco Ferradini e Fabio Treves. Sempre per la Ariston, come chitarrista, suona in album di Ornella Vanoni e di Gianni Magni del gruppo I Gufi; lavora con Gianni Farè e Franco Orlandini.

In quel periodo, nei corridoi dell'Ariston incontra Donatella Rettore ed i genovesi Matia Bazar e partecipa all'album dell'Equipe 84 Dr. Jekyll e Mr. Hyde del 1973. Inoltre collabora con gli Stormy Six di Franco Fabbri e Massimo Villa (L'unità); ben presto , anche fuori dal giro della Ariston e collabora con Anna Identici, che accompagna al Festival di Sanremo del 1972 (Era bello il mio ragazzo) ed in una lunga tournée italiana, in occasione della campagna elettorale del PCI in Puglia (40 concerti - comizi) ed in Umbria per il PSI, in occasione della campagna elettorale del senatore Enrico Manca.

Proprio durante questo tour in compagnia di Gigi Belloni, fratello di Ricky, Alberto apprende il ricco repertorio italiano dei canti di lotta della classe operaia e partigiana. Successivamente, grazie a Simon Luca, accompagna Fausto Leali a Sanremo nel 1973, e in una lunga tournée; nel 1974 suona con Patty Pravo (nel disco Mai una signora e in tour in Spagna) in compagnia di Roberto Colombo, Gigi Belloni, Flaviano Cuffari ed Alberto Mompellio.

Uscito dal gruppo di Patty Pravo, Alberto Camerini inizia la sua carriera solista cantando Bob Dylan nei folk club milanesi.

Frequenta tra il 1973 ed il 1976 la redazione di Re Nudo di via Maroncelli, il festival di Re Nudo dell'Alpe del Viceré a Ballabio, il Festival di Re Nudo 1972 a Zerbo, quello del 1974 tenutosi al parco Lambro, Parco Lambro 2, il Centro Santa Marta di Milano (a cui dedicherà una canzone del suo primo album) e Il Circolo La Comune di via Vetere, dove ascolta le prove degli Area. Nella libreria del circolo incontra Gianni Muciaccia e Jo Squillo (allora nelle Kandeggina Gang). Entra in contatto con gli ambienti della sinistra extra-parlamentare universitaria milanese, dove vive l'esperienza della nascita delle prime radio private milanesi (Radio Milano Centrale - fondata da Mario Luzzatto Fegiz - e Canale 96).

Nel 1975 partecipa come chitarrista e produttore al primo album Cramps di Eugenio Finardi Non gettate alcun oggetto dai finestrini, in cui firma la musica del brano Afghanistan e la versione rock di Saluteremo il signor Padrone, canto popolare delle mondine. Partecipa al Festival di Re Nudo del Parco Lambro con un nastro di musica elettronica: lì conosce Ivan Cattaneo, Franco Battiato, Nanni Ricordi, Gianfranco Manfredi e Ricky Gianco.

Il debutto da solista

Firmato un contratto con la Cramps di Gianni Sassi, Sergio Albergoni e Gigi Noia, pubblica il suo primo singolo nel maggio del 1976, Pane quotidiano/In giro per le strade, seguito dopo pochi mesi dal suo primo album Cenerentola e il pane quotidiano, che evidenzia sonorità rock metropolitane con influssi (in canzoni come Maracatu o la stessa Pane quotidiano) della musica brasiliana: a suonare con Alberto sono Walter Calloni alla batteria, Hugh Bullen al basso, Paolo Franchini al basso, Massimo Villa al basso, Lucio Fabbri al violino, Patrizio Fariselli alle tastiere, Antonello Vitale alla batteria, Pepè Gagliardi al piano Wurlitzer; a produrlo è chiamato Paolo Tofani, mentre il tecnico del suono è Piero Bravin.

L'anno successivo pubblica Gelato metropolitano, un album più marcatamente acustico e vicino alle sonorità brasiliane, con tematiche politiche ed ambientaliste, prodotto da Ares Tavolazzi e Giulio Capiozzo, rispettivamente bassista e batterista degli Area: compì poi col gruppo una tournée nei circoli ottobre, Palazzetti dello Sport e teatri.

Nel 1978 chiude l'esperienza Cramps con l'album Comici cosmetici lavoro di transizione - prodotto da Shel Shapiro - tra il vecchio ed il nuovo stile più marcatamente elettronico, in cui si avvertivano già le sonorità del nascente punk rock londinese ed influenze glamour, frutto dell'esperienza di Alberto nella scuola di mimo "Quelli di Grock", diretta da Maurizio Nichetti. Gira l'Italia con Sergio Pescara alla batteria, Massimo Colombo alle tastiere e Steve Texas (Stefano Tessarin) alla chitarra. Dopo la vendita della Cramps alla Philips, Camerini passa alla multinazionale CBS.

Il successo

I suoi successi arriveranno negli anni ottanta: il passaggio all'etichetta CBS, con la direzione artistica di Fabrizio Intra e Piero La Falce e gli arrangiamenti di Roberto Colombo inaugurano un periodo fecondo. Nel 1980 viene pubblicato Alberto Camerini: il brano di punta, Skatenati, ispirato allo ska, è seguito da canzoni come Serenella, Il re di plastica ed altre ancora. Entrano nel gruppo il tastierista Giaso Cancelliere, Massimo Colombo e Roberto Stemby alla chitarra.

Ma sarà l'anno successivo quello della grande esplosione con il brano dal titolo Rock'n'roll robot. Tratto da Rudy e Rita (registrato da Piero Bravin) il singolo spianerà a Camerini la strada per la vetta della classifica: da qui avranno origine l'immagine dell'Arlecchino elettronico, il trucco ''glam'', le vendite da disco d'oro, le apparizioni televisive e una ''tournée'' con Giaso Cancelliere alle tastiere, Guido Dall'Olio, Stemby, Luigi Colarullo, Fulvio Massi.

Il personaggio di Arlecchino, maschera bergamasca poi diffusasi in molti Carnevali, il linguaggio comico, le tematiche sul cibo, la mimica sul palco da rock star a la David Bowie e Freddie Mercury, il gusto delle trovate sceniche (manichini sul palco, scritte al neon) sono tutti tratti comuni ad altri artisti italiani e artisti stranieri (Renato Zero, Rettore, Elton John, Queen, Kraftwerk) che Camerini porta sul palco delle sue tournée in quel periodo.

Seguono passaggi televisivi: Festivalbar, Vota la voce, Happy Circus, Popcorn, La Vela d'Oro, Festival di Sanremo, Discoring. Per il suo stile diventa insieme ad altri colleghi (Ivan Cattaneo tra tutti) esponente della musica elettronica degli anni ottanta.

Il successo viene bissato l'anno dopo con l'album Rockmantico, top ten nelle classifiche di vendita, comprensivo del singolo Tanz bambolina (1982) e di Maccheroni elettronici e Fanatico di Rock'n'roll mischiati ad una poesia del '500 di Tristano Martinelli, celebre Arlecchino Italiano. È inoltre presente un accenno di mini opera in un gruppo di tre canzoni Questo amore, C'è un giardino e Arlecchino educato dall'Amore ispirate alla omonima commedia di Marivaux, autore francese del '700, che scrisse a Parigi per la compagnia del teatro de Les Italiens.

Il 1982 vede Alberto Camerini ospite fisso nella trasmissione televisiva per ragazzi Tutti per uno, condotto da Marta Flavi. Il 1983 vede il singolo Computer capriccio che immagina un mondo futuro dominato dai computer e dai video giochi. (1983) () e l'ingresso di Sergio Pescara alla batteria.

La maturità
Nel 1984 partecipa al Festival di Sanremo con La bottega del caffè (omaggio all'amato Carlo Goldoni e al natio Brasile). Poco apprezzato dai votanti tramite schedina Totip (solo 16º posto) e motteggiato dai giornalisti: "'Beviamo il caffè', non è che Nino Manfredi lo abbia mandato a Sanremo al proprio posto?".

Dopo questo, lascia temporaneamente il mondo della canzone. Emblematica in tal senso la frase di Gigi Sabani, allora conduttore di Ok, il prezzo è giusto!: "Faranno uno sceneggiato: 'Che fine ha fatto Alberto Camerini?'".

Il nuovo LP, dopo quattro anni, fu Angeli in blue jeans, nel quale vengono abbandonate le tastiere e le drum-machines di Rockmantico.

La separazione da Roberto Colombo, che produce anche in quel periodo Miguel Bosé ed Ivan Cattaneo, è la causa della rottura tra Alberto Camerini e la CBS.

Nel 1995 Camerini riesce a realizzare un cd per la Duck Record: Dove l'arcobaleno arriva, influenzato dalla musica brasiliana, in compagnia di Massimo Colombo, Alberto Viganò, Sergio Pescara, Silvio D'Amico e Kao Dos Santos.

Tra un LP e l'altro ha frequentato l'università, ed è inoltre comparso al Teatro alla Scala come comparsa
.

Nel 2001 pubblica l'album Cyberclown col gruppo punk degli Skidsoplastix, inaugurando la nascita dell'etichetta indipendente 316 records e uno . Nel passaggio dalla disco music al punk rimangono però le tematiche favolistiche che avevano contraddistinto la sua naturale ispirazione.

L'esperienza di Cyberclown lo porterà nel 2005 a rinnovare la collaborazione con gli Skidsoplastix con l'uscita dell'album Kids Wanna Rock dove Camerini . È un album , con sonorità di chitarra solamente, e rappresenta la continuità della favola techno elettronica iniziata con Cyberclown.

Nel 2004 esce una versione dance di Tanz bambolina a cura di Roby Rossini.

Nel 2007 Alberto Camerini registra insieme alla band punk rock 200 Bullets, la versione 2007 di Computer capriccio, uscita nel 2008 a quarant'anni dall'inizio della sua carriera nell'album 200 Bullets & Friends. Della nuova versione di Computer capriccio è stato anche girato in un video, in rotazione sulle principali emittenti televisive musicali.

È comparso più volte in I migliori anni di Carlo Conti.

Si è esibito con maggior frequenza in concerti live, spesso accompagnato da diverse band.
Come dichiarato dall'artista in varie interviste, studia anche musica classica, con particolare interesse per i compositori del barocco italiano Nicola Antonio Porpora e Baldassarre Galuppi, e violino.

Vita privata
Il padre lavorava nel campo della pubblicità, per questo motivo, quando ha undici anni, la sua famiglia torna in Italia. In adolescenza frequenta il liceo classico Cesare Beccaria di Milano che è stato anche il liceo di molti musicisti italiani diventati poi famosi. Non ha mai nascosto l'amore per gli ideali di estrema sinistra salvo poi moderarsi in età matura. Si sposa nel 1975 con Elena Orlandi (divorzierà nel 1990, e da quell'anno vive con Silvia, la nuova compagna), alla quale dedica anche il brano Elena (contenuto nell'album Alberto Camerini). Ha due figli: Valentina (scrittrice) e Lorenzo (scrittore e giornalista. I rotocalchi televisivi in occasione del suo declino hanno parlato di "una vita sregolata fatta di successi ed eccessi" che lo portarono quindi alla separazione dalla moglie. Tuttavia l'artista, in alcune interviste degli anni duemila, ha invece parlato di problemi di salute e psicofarmaci.
È stato di ispirazione per altri noti artisti italiani contemporanei e successivi, come Morgan e i Bluvertigo, i Dari e gli Eiffel 65. Con l'amico Enrico Ruggeri eseguì una versione live più punk-rock del successo Rock 'n' roll robot del 1981. È stato quindi un punto fermo per tutti gli altri artisti italiani pop degli anni successivi essendo stato uno dei primi italiani a trasformare le sue composizioni punk e rock 'n'roll in musica elettronica EDM.
In alcune interviste ha dichiarato di aver sofferto di depressione, uno dei motivi per cui non ha proseguito la sua carriera di successo.
Camerini ha spiegato di aver voluto unire Arlecchino, la maschera della commedia dell'arte italiana, alla cultura rockabilly, il tutto rivisitato in chiave moderna con la tematica dell'alienazione elettronica della società occidentale degli anni ottanta, precisando di aver scelto questo personaggio in quanto maschera che rappresenta più fedelmente se stesso, avendo anche studiato come mimo.

Dal dicembre 2022 è testimonial ufficiale dei City Angels.

Discografia

Album
 1976 – Cenerentola e il pane quotidiano
 1977 – Gelato metropolitano
 1978 – Comici cosmetici
 1980 – Alberto Camerini
 1981 – Rudy e Rita
 1982 – Rockmantico
 1986 – Angeli in blue jeans
 1995 – Dove l'arcobaleno arriva
 2001 – Cyberclown
 2005 – Kids Wanna Rock

Antologie
 1980 – Gelato metropolitano
 1995 – Arlecchino elettronico
 1997 – Alberto Camerini Musicapiù
 1998 – Metropolitano
 1998 – Rockmanticollection
 1998 – Alberto Camerini Musictime
 2000 – Alberto Camerini Cantaitalia
 2004 - Raccolta di successi
 2009 - I grandi successi originali
 2009 - Collections
 2011 - Rock'n roll robot

Singoli
 1976 – Pane quotidiano/In giro per le strade
 1977 – Gelato metropolitano/Il diavolo in corpo
 1978 – Sciocka/Siamo tanti!
 1980 – Sintonizzati con me/Voglio te
 1980 – Serenella/Ska-Tenati
 1981 – Rock 'n' roll robot/Miele
 1982 – Tanz bambolina/Maccheroni elettronici
 1983 – Computer capriccio/Italian Kids
 1984 – La bottega del caffè/Pizza Break
 1986 – Va bene così/Angelo in blue jeans (strumentale)

Collaborazioni
 1971 – Volo magico n. 1 - Claudio Rocchi  - chitarra 6 corde, acustica ed elettrica, e coro in Volo magico n.1 e chitarra 6 corde elettrica in Giusto Amore
 1972 – Megh - Mario Barbaja - chitarra acustica ed elettrica in In Quella Città
 1972 – La norma del cielo (Volo magico n. 2) - Claudio Rocchi chitarra acustica in Lascia Gesù
 1972 – Suonate suonatori - Nino Tristano - chitarra acustica, chitarra 12 corde, mandolino e flauto
 1972 – L'unità - Stormy Six - chitarre e flauto
 1972 – Per proteggere l'enorme Maria - Simon Luca - chitarra acustica, chitarra 12 corde, mandolino e flauto
 1973 – Dr. Jekyll e Mr. Hyde - Equipe 84 - chitarra elettrica in Senza Senso
 1974 – Mai una signora - Patty Pravo - chitarra elettrica, chitarra classica, 12 corde
 1975 – New York bazaar - Mario Barbaja - chitarre
 1975 – Non gettate alcun oggetto dai finestrini - Eugenio Finardi - chitarra elettrica, acustica e solista, co-produzione, coautore di Afghanistan e arrangiamento in Saluteremo il signor padrone
 1976 – Sugo - Eugenio Finardi - chitarra in Soldi e Voglio
 1977 – Diesel - Eugenio Finardi - chitarra elettrica in Giai Phong e chitarra acustica in Non è nel cuore
 1977 – A fuoco - Claudio Rocchi - chitarra elettrica solista in Ho girato ancora
 1982 – Guardie e ladri - Giangilberto Monti - voce solista in Guardie da rock
 1994 – Claudio Rocchi - Claudio Rocchi - assolo di chitarra elettrica in Tutto passa (Volo magico n.3)
 2000 – Io ho quel che ho donato - Kristian Giorgini - voce in Fermo immagine
 2005 – Federico Tre e il destino infausto - PAY - chitarra solista in Federico Tre e voce in Cercati
 2008 – 200 Bullets & Friends - 200 Bullets - voce in Computer capriccio
 2010 – Su le mani - Mitch e Squalo - voce in Punk hip hop robot
 2021 – Discolo - SUPERFLUUUO - voce in Cromatina boy

Note

Bibliografia
  pg. 233

Altri progetti

Collegamenti esterni

Autori partecipanti al Festival di Sanremo
Gruppi e musicisti della CBS Italiana
Gruppi e musicisti della Cramps
Gruppi e musicisti della Lombardia
Partecipanti al Festival di Sanremo
Studenti dell'Università degli Studi di Milano

redpajama_set_name: RedPajamaWikipedia


I'm walking to raise funds for the mission of Autism Speaks - to fuel innovative research and make connections to critical lifelong supports and services for the autism community. I have personally worked with many people who have autism and I love doing it. These people are some of the most kind people I know and I wouldn't be walking if it weren't for them. Please support me by donating and help me meet my fundraising goal - and you, too, can join the team and make an impact for people living with autism!


text:
Programmatic Video #WotW: What Is A Private Marketplace?
Programmatic video is the fastest-growing category of programmatic buying, but a lot of marketers are still struggling to get to grips with the basics.
A recent study by the Association of National Advertisers and Forrester found that only 23% of marketers said they understood programmatic and were using it to execute their campaigns. This is despite the fact that more than half of US publishers reported selling their premium video ad inventory programmatically in August 2014 (Adap.tv), while mega-brands like American Express and P&G vowed to shift the majority of their ad spend to programmatic by the end of 2014.
There's clearly a knowledge gap between the programmatic front lines and everyday marketers, making 2015 a key year for programmatic education. As with any burgeoning new trend, one of the main causes of confusion is vocabulary.
Any discussion of the topic produces a web of jargon and acronyms that's enough to send anyone running to Google. But fear not, this is easily solved.
Each week we'll be serving up handy guides to the most important programmatic video terms, courtesy of Unruly co-founder and CTO, Matthew Cooke. Last week looked at what a Floor Price is. This week, Matthew explains what a private marketplace is. Stick around and see how quickly you can master the art of programmatic.
What is a private marketplace?
A private marketplace is the name for an auction where the seller only allows certain pre-agreed bidders to participate. It's sometimes referred to as a "private auction" or "private exchange", and is different to an "open auction", where any interested buyer is allowed to place bids.
Many major ad exchanges and supply side platforms sell inventory via RTB-supported private marketplaces. Although the term "private exchange" makes it sound like the exchange is itself private, it's generally the case that the platforms will support both open and private auctions. In some cases, inventory might be available to select buyers initially through a private auction, but if impressions are left unsold it will then go to an open auction.
Private marketplaces are of interest to the sell side (e.g. publishers) because they can control which buyers get access to their premium inventory and can avoid channel conflict with their direct sales team.
They are of interest to media buyers as it gives them access to publishers who are not generally available programmatically. They can also get preferred access prior to the impressions going to open auction.
Programmatic Video #WotW: What is The Floor Price?
Programmatic Video #WotW: What Is Programmatic Direct?
Programmatic Video #WotW: What Is A Deal ID?
Programmatic Video #WotW: What Is A DSP?
Programmatic Video #WotW: What Is An SSP?


text:
Roman Road railway station was a railway station on the East Kent Light Railway. It opened in May 1925 and closed to passenger traffic on 1 November 1928. Today there is no trace of the station.

References

Sources

Disused railway stations in Kent
Former East Kent Light Railway stations
Railway stations in Great Britain opened in 1925
Railway stations in Great Britain closed in 1928


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text:
Karnataka: 24 patients dead as Chamarajanagar hospital allegedly runs out of oxygen
The deputy commissioner of Chamarajanagar claimed that all the deaths were not due to oxygen shortage.
May 03, 2021 · 12:33 pm Updated May 03, 2021 · 02:16 pm
Hospital staff load empty oxygen cylinders for refilling into a vehicle in Bangalore on April 30. | Manjunath Kiran/AFP
Twenty four patients died on Sunday in Chamarajanagar district hospital in Karnataka allegedly due to lack of oxygen supply, News18 reported. This comes as hospitals across India are battling a devastating second wave of the coronavirus, with families scrambling for medicines and oxygen.
Twelve of those who died in the last 24 hours were coronavirus patients, according to The Deccan Herald. However, officials told PTI that 23 patients were suffering from the infection.
However, Deputy Commissioner of Chamarajanagar MR Ravi told the newspaper that all the deaths were not due to oxygen scarcity. "From Sunday till Monday morning, a total of 24 people have died," he said. "We can't say whether all have died due to lack of oxygen."
According to News18, all the patients who died were on oxygen support.
District in-charge Minister Suresh Kumar said that they were waiting for a death audit report, ANI reported. Indian Administrative Service officer Shivayogi Kalasada has been asked to conduct an inquiry into the matter and submit a report within three days.
"Strict action will be taken against those who are responsible for the shortage of oxygen supply to the hospital," Kumar said.
Meanwhile, Karnataka Chief Minister BS Yediyurappa has spoken to Chamarajanagar district collector and called for an emergency Cabinet meeting on Tuesday.
#JustIn: In a major tragedy in #Chamarajanagar, several covid patients have died in the last 24 hours as hospital ran out of Oxygen. Developing story... @DeccanHerald @CMofKarnataka @mla_sudhakar @nimmasuresh #Karnataka #Covid19 pic.twitter.com/JTtUoAlXDy
— Niranjan Kaggere (@nkaggere) May 3, 2021
The Congress demanded the resignation of the Karnataka health minister after the incident.
"Died or killed," party leader Rahul Gandhi asked on Twitter. "My heartfelt condolences to their families. How much more suffering before the 'system' wakes up?"
Congress General Secretary Randeep Surjewala also hit out at the Karnataka government for the death of patients. "This is murder by designed negligence of Yediyurappa government," he said. "Health minister must resign. "Will Chief Minister Yediyurappa ji own moral responsibility for the deaths?"
Died or Killed?
My heartfelt condolences to their families.
How much more suffering before the 'system' wakes up? pic.twitter.com/JrfZbIo7zm
— Rahul Gandhi (@RahulGandhi) May 3, 2021
Oxygen crisis
Shortages of medical oxygen have been reported from several states as daily Covid-19 infections have soared since the start of April.
On Sunday, at least three hospitals in Delhi sent out desperate pleas for oxygen as their stocks of the life-saving gas dwindled amid the raging coronavirus pandemic. On Saturday, 12 patients, including a doctor, died in the city's Batra Hospital after oxygen ran out for more than an hour at the private facility. This was the third such incident within a week's time.
At a hearing, the Delhi High Court took note of the deaths at Batra Hospital and told Centre to make arrangements for the allocated supply of oxygen to be given to the national Capital. "Enough is enough," the court had said. "Water has gone above the head. You have to arrange everything now."
Subhas Yadav, superintendent of Anand Hospital in Uttar Pradesh's Meerut, had on Thursday blamed the oxygen crisis for the death of three coronavirus patients at the facility in the past 24 hours, The Telegraph reported. Meanwhile, Vinay Sharma, superintendent of Tender Palm Hospital in Lucknow's Gomti Nagar neighbourhood, told reporters he was standing at the gate of an oxygen refilling centre because his patients urgently needed the life-saving gas.
On April 24, at least 20 coronavirus patients in Delhi died after the Jaipur Golden Hospital ran out of oxygen. A day earlier, 25 "sickest" coronavirus patients died overnight at Sir Ganga Ram Hospital in the city amid a last-minute scramble for oxygen.
BS Yediyurappa
Coronavirus: Mansukh Mandaviya launches India's first intranasal vaccine


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Q: Holt-Winters forecast in R I am trying to perform a Holt-Winters forecast in R and obtain predictions on the test data but the final forecast plot looks very wrong.
Where am I going wrong, why are the predictions so wild?
Data:
data("sunspots")

data <- as.data.frame(sunspots)

smp_size <- 0.80
train_ind <- nrow(data) * smp_size

train <- data[1:train_ind, ]
test <- data[(train_ind + 1):nrow(data), ]

fit <- HoltWinters(train, gamma=FALSE)

plot(forecast(fit, h = length(test)))

A: The sunspots data is actually a time series data which means that it has a period associated with it. If we use as.data.frame this converts it into a vector and information is lost. Hence, we keep this time series data, subset it and forecast.
Also, HoltWinters() requires a timeseries dataset as an input.
data("sunspots")

data <- sunspots

smp_size <- 0.80
train_ind <- length(data)/12 * smp_size
train = window(data,start = 1749, end = c(1749+train_ind,12))
test = window(data,start = 1749+train_ind+1,end = c(1749+length(data)/12,12))

fit <- HoltWinters(train)

plot(forecast(fit,h = length(test)))
lines(test)

redpajama_set_name: RedPajamaStackExchange


GeoVision is a professional security company focusing on video surveillance products and video content analysis with a strong presence through Asia, Europe, North and South America and has grown year on year since its inception in 1998. Heavily investing in Research and Development, GeoVision has been able to lead in the PC-based video surveillance sector. As such, it has been able to bridge the analogue and digital worlds together with its PC Based Video surveillance Software, products and solutions.
Milestone Systems was founded in 1998 upon a dream to build a software development company that could improve business through managing and distributing digital video data regardless of time or location. Today, that dream is being realized as more and more security installations are moving toward digital technologies.
Synetics' mission is to be a leading global supplier of integrated surveillance and security systems which are a fundamental part of our customers operations. We do this through focussing on four key areas, protecting mission critical infrastructure and assets and with over 20 years in delivering sophisticated surveillance and security solutions.


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Wreaths have been used as a decorative sign of Christmas for hundreds and hundreds of years. Wreaths can adorn any part of your home, inside or out. In many homes, this symbol of growth and everlasting life can be found both inside and out.
The wreath is made of evergreens, most often pine branches or holly. They can be real or artificial. It is decorated with a variety of items including pine cones, holly berries, fruits, and just about anything you can imagine.
The wreath has significant meaning for the season. It's circular shape represents eternity, for it has no beginning and no end. From a Christian religious perspective, it represents an unending circle of life. The evergreen, most frequently used in making wreathes, symbolises growth and everlasting life. Holly branches have thorns. When used in a wreath it represents the thorn on Jesus' crown when he was crucified. Bright red holly berries symbolize Jesus' blood that was shed for us.
Today, it is sometimes hard to remember the real meaning of Christmas. We get all caught up in the hype of Santa and his arrival. The wreath over the hearth brings a warmth to our hearts as we stop to reflect upon the true meaning of this very special day.
Here's Topping Forty's best wreath finds on the high street.
This rustic twig wreath is decorated with an arrangement of festive foliage and a wooden snowflake. It's a lovely way to add a natural look to your Christmas decorations.
This beautiful artificial spruce wreath is decorated with faux snow-covered pinecones and red stars for a lovely seasonal look.
This beautiful, traditional wreath in gorgeous shades for the festive season, the wreath is embellished with vibrant red berries and pine cones and is suitable for indoor and outdoor use.
This beautiful, traditional wreath has been crafted in gorgeous shades for the festive season, the wreath is embellished with gold and bronze berries and glittered leaves.
Even Scrooge would have to give in to the festive spirit with this heart-warming Christmas wreath. Made with twigs and dried berries, it sets the scene perfectly for a Dickensian winter wonderland. Hang it on a sheltered door to welcome guests, or on the chimney breast to welcome Father Christmas.
Made with pine needles and dried berries, it sets the scene perfectly for a Dickensian winter wonderland. Hang it on a sheltered door to welcome guests, or on the chimney breast to welcome Father Christmas.
The best Christmas wreath of all can be found on your local market, fresh made wreathes stand up to the elements and bring that sense of tradition to any front door.


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October 29, 2014 July 8, 2019
Love Jupiter is back!
Love Jupiter is back with their 2014 release "1967". Overall Internet presence is slowly taking shape as I learned a lot about them even before I hit play. "1967" marks the band's third release and follows the same format as last year's critically acclaimed debut "Love Jupiter". Influences include: The Afghan Whigs, Fugazi, Nick Cave & The Bad Seeds, Cocteau Twins, Failure.
REVERBNATION: https://www.reverbnation.com/LoveJupiter
Matt Adamec – Vocals, Bass Michael "Chickie" Ciulla – Vocals, Guitar Bob DeRienzo – Drums Mark Goetz – Vocals, Guitar
The EP hits the deck running with a series of strong powerhouse songs "Andrea Doria","I Can't Touch You" and "Castle." These three tracks are somewhat reminiscent of Soundgarden, White Lies, The Wombats, Blur, Peter Murphy. The guitar/drums/voice combo are well paired with his songwriting skills makes for a rather strong culmination of skill sets. The feel of these 3 openers are dreamy yet thick nonetheless. Lyrics and music are very well thought out/put together. I was instantly hooked to keep listening. Subject matter is equally tied to musical setting and delivers well-crafted vocals and emotional tranquility. Equal parts heartfelt emotion and soaring guitars, Goetz paints images in creative, yet relatable ways. It's evident to the ear that much time has been invested in crafting each song to stand on its own, separate from the next. The overall mix dynamics offer everything you would expect. Track 4 "Boom! (1967) is an interesting track. All songs refuse to sound like a bare-bones PC recording, or even a vintage live performance. This contributes to the overall impact of the song. As I made my way from start to finish, there is a near-extreme tonality that was definitely palpable but unorthodox in nature for the vocals. However the voice of Goetz is brilliantly unique in this regard. God broke the mold when they made his vocal cords. All songs moved well – constant and similar in consonance. Most certainly Goetz and company have a knack for crafting imagery and instrumentation to complement his vocal style, which made it so surprising there was such little use of minor and dissonance. Vocally I think he is for everyone – however if you can appreciate art for art's sake he's close to groundbreaking. Though not overly distracting, his voice was indeed likeable but will fail to completely fit within a mainstream audience.
Overall, this is a captivating glance at Love Jupiter." It was an absolute pleasure to get into the mindset of a somewhat frustrated urbanite like Goetz, and listen to what he was trying to tell the world. Some pieces will hold a place in my fascinating and dark play list – when I really need it. Goetz I feel is a real master at bringing together all the flavors of many different musical styles and genres. All the while making all of them his own. He is armed with great writing, a brilliant creative mindset, and powerful message no doubt many will agree with.
The music of Love Jupiter is highly contagious and will no doubt evolve over time into something more professional. All of this makes Love Jupiter a welcomed and unique band in an overly cut-and-paste industry.
Download "1967" https://itunes.apple.com/us/album/1967-ep/id881984270
Andrew Medina
Hunter and the Dirty Jacks release debut CD
Rachel Lynn Sebastian – Raven Heart


DHS senior Felix Yang is this year's winner of the Peoria Symphony Guild Young Artist Competition.
Yang, who is a cellist in the school orchestra, performed with several other Dunlap students, but his was considered "the best of the night¨ by the judges.
¨When I heard my name I just couldn't believe it,¨ Yang said.
Although he has been playing cello since sixth grade, he never dreamed he would win something like this.
Yang will now have the privilege of playing alongside the Peoria Symphony Orchestra on April 23.
There will be two shows, one at 10 a.m. and another at 11:45 a.m. at the Peoria Civic Center.


Earlier this year LGH Hotels Management Ltd announced a new partnership with celebrity chef and restaurateur Marco Pierre White (MPW) with plans to open a Marco's New York Italian branch in the Holiday Inn Brentwood at the end of the year.
Holiday Inn Brentwood celebrated the launch of the new Marco Pierre White restaurant on Thursday 6th December with Brentwood's favourite couple James 'Arg' Argent and Gemma Collins attending. Arg celebrated his birthday at the event with a Freddie Mercury themed cake, dancing and performing his favourite rat-pack hits to guests. Arg's celebrity entourage included fellow TOWIE stars Liam Gatsby and professional boxer Ohara Davies.
The Holiday Inn Brentwood underwent a significant refurbishment to improve the guest experience and importantly upgrade the food and drink offering. The new open lobby dining area at both locations includes a brand-new Marco's New York Italian eatery, offering a mixture of Italian-inspired dishes and American classics such as fresh pasta, homemade pizza and ribs as well as their best-selling New York style cheesecake.
The dining space is flexible and informal with a range of high and low tables and booths to suit everyone, be it a working lunch or relaxed group meal.
The partnership follows an agreement between Black & White Hospitality Ltd, who own the franchise rights to seven MPW restaurant brands, and LGH Hotels Management Ltd who manage a portfolio of 18 Holiday Inn and 3 Crowne Plaza hotels across the UK. The opening of this New York Italian restaurant, as well as another in Holiday Inn Milton Keynes Central, is the start of what both sides expect to be a long and fruitful relationship, with the potential to expand the partnership across the wider Holiday Inn portfolio in the future.


Add "Diamond Eyes (Boom-Lay Boom-Lay Boom)" by Shinedown to your Rock Band™ song library.
Add "Diamond Eyes (Boom-Lay Boom-Lay Boom)" by Shinedown to your Rock Band™ song library. For music credits, visit www.rockband.com. Music downloads not rated by the ESRB.


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Duck Tales & Duck U
Tribute to Teemu Week: A Trade That Changed Two Franchises
By Chris Kober Dec 13, 2011, 2:00pm PST
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[Ed. Note: On Saturday, Teemu Selanne will be making his triumphant return to Winnipeg since being traded during the 1995-1996 season. As a tribute to Teemu, Anaheim Calling will be spending the days leading up to his homecoming in the 'Peg taking a look back at what got him to this point in his career. Already covered: Teemu and the 1988 NHL Entry Draft, and his first years with the Jets. Now the trade that brought him to Anaheim.]
On February 7, 1996 I was about two and a half weeks away from turning ten years old and I remember my mom telling me that my favorite hockey team had just gotten a new player. All she could tell me about him was that he was "some guy from Finland." I highly doubt I knew what that meant and I'm sure that I didn't know what it would come to mean to me.
Teemu quickly became my favorite player. Paul Kariya's 1997 holdout pushed me over the edge, and it's been Teemu ever since. But like I said, I was just a kid; a new hockey fan, learning the game, so I don't have much in the way of memories to go on about the immediate aftermath of the greatest trade in franchise history. Luckily, my first click of research for this post turned up this glorious news segment from TSN.
Teemu Selanne Trade From Winnipeg Jets To Anaheim Reactions (via JHendrix70)
An understandably strong reaction to losing a phenomenal hockey player and a great all around guy. We can relate, as just over five years later he would be shipped off to San Jose in an equally horrendous trade (Kristen will have more on that, Thursday). To make matters even worse, it happened in the middle of a lame duck season and his then fiancé, Sirpa, was pregnant. Teemu was getting screwed over by management just as bad as the Jets fans were themselves. As the video shows though, Teemu was clearly being used to sell hockey in Phoenix. They used his jersey to announce the sale of the franchise and even had him shooting promos for hockey in the desert.
"Hi Phoenix, I'm Teemu Selanne. I play this game fast. Sometimes I score." With a spokesman like that there is no way the Coyotes would be mired in the ownership fiasco that's been their reality for the past three years, right? So, why trade him?
According to this article by Eric Legault from Le Coq Sportif Guide to Hockey it was with an eye toward rebuilding. The Jets got 20-year-old Oleg Tverdovsky and Chad Kilger, Anaheim's two most recent first round draft picks, and a third rounder for Selanne and Marc Chouinard and a fourth round pick.
Of course one would think that a fourth year player who broke onto the scene scoring a record 76 goals might be one of the players that a franchise would try to build around, rather than ship out in favor of unproven youth. However, the financially struggling franchise had just matched Chicago's five year $17.2 million offer sheet on team captain Keith Tkachuk who, luckily for us Ducks fans, became the centerpiece of the Phoenix Coyotes instead.
One can only think that given the connection the Jets fans had with Teemu, his having not been a part of the move to Phoenix and the vastly less hostile atmosphere toward the rest of the team, he'll get a better reception upon his return to The 'Peg than the inexplicable boo/cheer/boo welcome that Shane Done received earlier in the month. Come to think of it, I don't think I've ever seen a Winnipeg Jets jersey in person that didn't have Teemu's name and number on the back. As a matter of fact, at the last Ducks game I attended here in Anaheim I saw a Jets 2.0 jersey with Selanne 13 on it.
Saturday night he'll get the ovation he deserves right back where it started from. He's not just "some guy from Finland" anymore. He's The Teemu Selanne: Calder Trophy winner; Rocket Richard winner; Stanley Cup Champion and future Hall of Famer. Most of those accolades were accomplished on his own, but there was someone else that had a huge impact on Teemu's career...