From the days when Z payed Rippon to add Halo2Forum.com to the intro of his second montage this site has seen some of the highest highs and lowest lows of any online forum as basic in premise and segmented in topic as this one. Being on a vBul as old as this in 2015 is ridiculous, but still amazing content and people have found their way here.
After a year of this site's existence it felt like everyone who had an XBL account and halo 2 was on here posting their ownage games, dreaming about having a capture card or being a competitive gamer, speaking of montage kid vs pro player hypothetical 1v1s like others do about comic book hero's, bragging over rank and asking questions.. so many dumb questions... in 1337 speak.
Montages made a meteoric rise, making Halo content more accessible throughout the FPS community. The sheer size of the Halo community and its concentration of talent here at THF aided the dispersion of best practices in montage making. Perhaps stifling some creativity by setting a mold, but more so giving plebs like myself the tools and knowledge to create. Capturing, Rendering and Editing tuts from members here helped an insane amount of people. Sites like HaloPro and Gamingvidz took a back seat and later sites like SS, QsK, Kronic Studios and Eve never truly became relevant fillers of the same space.
Along with the curse word sensor the worshiping of montage kids on the boards somewhat dissipated when everyone became a potential montage god with the addition of theater in Halo 3. MLG became an even bigger staple among halo players with the MLG playlist and 100% MLG vs Social tages became a bigger divide than ever.
Where Phurion's Eclectic had showcased the best of all worlds in one with H2, H3 reverted to specialism where each type of GP had its own montages and its own editing styles associated with it. Big pro Team Montages, most recognizably the Str8 Rippin montage, setting the bar for MLG montages. On the other hand a few 'social gods' represented the heights of the opposing space with their keen sense of multikill opportunities and what can only be non-choke controllers.
With fast improving technical editing abilities the constant debate about GP presentation and FX showcasing took front stage. QsK king used to be called over editing, now we had Mattison with Frenetic Array. The Montage Contests were always the place where these discussions found fresh intensity, and where people came away with renewed ideas and inspiration to do better.
The forum also harbored what was seen as "the other side", one of broken image tags, colored keys, Bill Kaulitz and a different kind of forum status based on wit and content, who knew forum status could be about posts? The COT side drew you in like the dark side could only dream of doing, with a set of characters so rich any screenwriter would cry of envy. Most came in with their narrow, naive ideas and were soon forced to self reflect through the diversity of backgrounds and ideas.
All questions were asked, female posters were polarizing, Bee are Pro brought the gay judgement upon your picture, lies and boasts were torn apart. Misogyny, racism, xenophobia, religion, condescending paternalism and other worldview issues were tackled on the daily. Some bright members helped you with biology or math, people went so far as to teach each other languages. And of course the sharing of personal experiences often leads to hilarity, see the confession thread.
A circle jerk, a wasps nest, a year behind 4chan, all kinds of views of COT have circulated. But once you get invested you realize its just like any dysfunctional family with 99% men who dont have to worry about real life consequences. It's a social environment with many dimensions that has affected a lot of us in a positive way. Many of us have met each other over the years and stayed at each others places, even when from different continents.
Then Halo 2 was taken offline from XBL and Reach came out. A painful moment for this board that made many lose interest and somewhat segmented the population in people who played halo 1 and 2 on PC or XBC, people who played H3 and/or HR onward on XBL and people that couldn't be bothered with Halo anymore but kept posting in COT and/or watching montages.
A period of stagnation and surviving began, with some highs like the Summer Editing Contests and some real lows with the bots getting out of control and community infighting. We'd like to thanks those who worked to get us through the tough times, really from the days when Z left us afloat. No matter if you were successful or appreciated or not; you fought the good fight.
Since Nv1 has taken ownership of the site on his second attempt we have begun a combined effort of rebuilding a community where initiative and talent can thrive and is supported together with the nostalgia and every day forum activity.
It kick started with the announcement of the Movie Comp 2014 by Ohem and Klima, which has brought a new age of amazing montages. It was enriched by projects like Zola's Retrospect and the coming of the MCC [however broken], now the new site and Movie Comp Finals is the embodiment of our own efforts toward that movement, we hope you will take the leap with us and set your mind to being a part of it.
Be sure to share your thoughts on this place's history. Once we move we will keep this vBul accessible on halo2forum.com but shut forums off, standard skin set to OG so we can always revisit our past. Sadly we can't bring all content over at this time, the content that floats around in these here threads makes it so we cant get paided by adsense/help pay the server bills.
We will keep this thread open for a bit so you can speak your mind.
We end this with muRda's exposition on our lord and savior, may he find his way back to us and may his glory shine forever on your face.
In July of 2005, Halo2's online Matchmaking system was rapidly gaining in popularity. As a result of this flood of new Halo players, there was a marked increase and interest in gaining advantage during a matched session in Halo2. One such advantage was termed a 'glitch', in which a series of actions performed by the user would either circumvent the game's code limitations, or break it. One such 'glitch' was called the 'Guardian Glitch'.
As it turns out, several variants of the Guardian Glitch were discovered. One of these was called the Magnum Glitch, in which a series of button presses resulted in the internal failure of Halo2's player co-ordinate tracking, thus forcing an opponent to be interpreted as being outside of the map in either an overhead, or below ground 'death zone'. The effect in-game was that it appeared as if 'The Guardians' were an actual, all-destructive, single shot weapon.
In truth, the Guardian Glitches were not true 'glitches' at all, but internal failures of the Halo2 engine player coordinate tracking system (much more severe than a simple 'glitch' for a retail release).
In July 2005, a user by the name of Osageballer927 registered and posted a singular thread, to which he never replied, asking about the 'magnum guardian glitch'. Over the years, Osageballer has been idolized by thousands of Halo3Forum fans as being the individual embodiment and iconization representative of the the masses of drueling, hand-wringing bad kids who actively trolled various Halo forums in search of ways to circumvent the Halo2 Matchmaking system to their advantage.
Osageballer927 was the 3,664th registered user on THF. At the time he lived in Missouri, birthplace of gods, but nobody knows where he is today. Little else is known about Osageballer, but to this very day, his legend lives on.
May your name never adorn the halls of Mensa.
Last edited by slater ohm; 02-01-2015 at 03:11 AM.
Lots to say. Will come back to edit this later.
Im lost? Whats going on ?
We've been building a new site, and have talked about it for some time now.
Our precious post counts are safe.


It's no secret we're huuuge fans of the Overlook Film Festival and its spiritual parent the Stanley Film Fest. While last year's Overlook took place in the snowy environs of Oregon's Timberline Lodge, this year it's happenin' in the Big Easy! Look out New Orleans because a few thousand wild horror fans and ultra-dedicated immersive gamers are about to descend on your city. The fest kicks off today and we've got a preview of just a few of the films and events taking place at the fest. Check out the Festival Website for a look at everything they've got in store.
Click on over... if you dare!
One of the faves from SXSW was Michael Tully's (Septien) atmospheric horror about an artist who travels to Ireland for an extra special job. The film is great and features a particularly scary performance by Anna Margaret Hollyman. Don't sleep on this one.
There was no more talked about film at Sundance than this uber creepy horror from Ari Aster. A24 will be bringing it to audiences on June 8, but not until it scares the crap out of Overlook-goers as the festival's closing night gala.
This has been going on since Stanley but it really took center stage last year when nearly 100 people went deep, soooo deep into Bewaring Sanity October. There's a new team running things this year led by producer Mali Elfman with designers Scott Gilles and Nick Tierce. If you see people running around frantically, chances are they're hunting down clues as to just who or what the Celestial Raven really is.
This year's opening night film is Stephen Susco's Blumhouse laptop killer horror. This one had audiences tearing out their hard drives when it premiered at SXSW.
This year's selection of VR includes Wolves in the Walls, Masters of the Sun (see our Sundance VR round up), Night Night (see our AFI Fest VR round up coverage), Campfire Creepers (see tomorrow's Tribeca VR round up), and the world premiere of Delusions: Lies Within (see our upcoming Overlook coverage).
IFC Midnight picked up this Martin Freeman-starring anthology after it premiered at the London Film Fest. It's directed by veteran TV writer Jeremy Dyson and hilarious British actor Andy Nyman. The film hits theaters and VOD April 20.
Author Clay McLeod Chapman is a fixture of Overlook and he's back for 2018 with two different shows and a whole suite of one on ones. Friday Clay will be dropping some brand new stories in a show he's calling New Skulduggery. Saturday he gives an encore presentation of some of the best Pumkin Pie stories of the last 20 years. Then Sunday it's one-on-one time, if you're lucky enough to get a spot, that is.
While many Fantastic Fest-goers know Owen Egerton as the raucous host of the Fantastic Debates, the man is a talented filmmaker as well. He follows up his debut Follow with this Rooster Teeth-produced horror comedy about a group of horror fans hunted at a haunted horror festival.


hi you ladylovers! you guys rok cuz u like to get girls at your own disposal and like to get them on dates and stuff like that and you can only join if you really like girls NO GAYS!! i have nothing against them but no gays can join this group sorry to make you gaysfeel like crap but that's just to bad and that's also your decision so go do your gay things that you do all day. so all straight people in the world come and join now please or im gonna sue you..... NOT!!


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Frederick Magazine Menu
The Messenger Legacy – Art Blakey Centennial Celebration
« Open Coworking
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Arguably, no other drummer is more qualified than Ralph Peterson Jr. to lead a band with such depth. Thirty years ago, Peterson, then just 21-years-old, was chosen by Art Blakey to play in the 1983 version of the Jazz Messengers. Peterson remained the second drummer in the big band collective until Blakey's passing in 1990. This group of musicians wishes to preserve, protect and honor the legacy of a man who was much more than a bandleader.
https://weinbergcenter.org/shows/the-messenger-legacy-art-blakey-centennial-celebration/
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(PRLEAP.COM) Birmingham, MI, February 2007 — Michigan Entrepreneur is a weekly television talk show featuring businesses from start-up to stellar. The program for the Week of March 5, 2007 features Ren Carlton, president and CEO of DAS Professional Services.
DAS Professional Services specializes in business consulting, management advisory services, and financial management. Ren Carlton is an active member of the Michigan Association of Certified Public Accountants (MACPA) and the American Institute of Certified Public Accountants (AICPA). He's also the host of The Business Reality Network, a radio talk show that can be heard on Saturdays 10:00 AM - 12:00 noon on 1310 AM WDTW, via the Clear Channel Radio Network.


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Everything you need to know about Facebook's cryptocurrency Libra
Posted on 2019-07-18 2019-07-18 by Shadman Wahid
We're all familiar with the term cryptocurrency, and perhaps with its nature too. Cryptocurrency itself didn't work out as well as expected in the long term. But the concept might be put to good use by none other than Facebook.
How did the crypto hype start?
Cryptocurrency at its peak looked nothing more than a "make money quick" scheme or an electricity bill hazard. But the possibilities such a concept could bring about were left unexplored. A form of currency separate from cash or cards promises added convenience and liquidity and would be the kind of thing we see in sci-fi films. Which is probably why Facebook has decided to adopt a form of cryptocurrency.
How does Libra work?
The Libra cryptocurrency, named after the Roman unit of coin measurement is set to launch in the first half of next year. This is certainly the best-supported effort to bring cryptocurrency technology into the mainstream. As the project is backed by 27 prominent companies, the likes of MasterCard, Uber and Spotify chief among them. The currency sets itself apart from other cryptocurrencies like bitcoin by having a group of major currencies like the US Dollar and the British Pound backing it. This is sure to bring stability to its value. The major reason for the failure of Bitcoin and others in establishing themselves is the fluctuating values they experience in a short time.
Libra promises to facilitate instantaneous money transfers all over the world and fulfilling the potential the cryptocurrency concept originally had. Facebook will also launch a wallet app named Calibra for use in payments over Messenger and WhatsApp.
The Libra promise
Libra has an association of its backers dubbed the Libra association. Each member exercises equal rights over the product, so Facebook doesn't necessarily own Libra. Different backers have also implied that they will use their expertise to help the cause in different ways. In addition to a strong group of overseers, Libra also has its value regulated by established currencies. Thus, expectations of its success are very valid. Let's see how it goes.
Posted in TechTagged bitcoin, Calibra, cryptocurrency, facebook, facebook cryptocurrency, facebook cryptocurrency libra, facebook libra, internet, Libra, libra cryptocurrency, libra facebook, technology, wallet app
Teach your younger ones consent with this educational video by BRAC
When Mandela came to Bangladesh
© 2018 HiFi Digital


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Alex Cox, Cello
Alex Cox Website
Alexander Cox is quickly making a name for himself as a vibrant up and coming American cellist. Mr. Cox was named winner of CIM's coveted concerto competition and subsequently made his Cleveland orchestral debut performing Bloch's Schelomo with the CIM orchestra conducted by James Feddeck. He has had the great fortune of being accepted to participate in numerous competitions, most recently in the Hudson Valley Philharmonic Competition, The Sphinx Competition and the Stulberg International Co...
Omer Quartet Accepted to the senior division of the Fischoff Competition
Omers will be competing in the 2012 Fischoff Competition
Recent Recordings
Omer Quartet
Tribute to Sofia Gubaidulina
Piano and Strings Concert II
Steans Music Institute
Top Works click for more info
Beethoven: Quartet for Strings no 8 in E minor, Op. 59 no 2 "Razumovsky" N/A N/A
Artists: Mason Yu (First Violin); Erica Tursi (Second Violin); Jinsun Hong (Viola); Alex Cox (Cello)
Ensemble: Omer Quartet
Allegro (10:01) N/A N/A
Molto adagio (11:59) N/A N/A
Allegretto (6:40) N/A N/A
Finale: Presto (5:53) N/A N/A
Bartók: Quartet for Strings no 3, Sz 85/BB 93 N/A
Composer: Béla Bartók
Prima parte: Moderato (4:53) N/A
Seconda parte: Allegro (5:54) N/A
Ricapitulazione della prima parte: Moderato (3:00) N/A
Coda: Allegro molto (2:26) N/A
Schumann: Quartet for Strings in A minor, Op. 41 no 1 N/A
Composer: Robert Schumann
Andante espressivo - Allegro (9:08) N/A
Scherzo: Presto (3:57) N/A
Adagio (6:13) N/A
Presto (7:06) N/A
Webern: Bagatelles (6) for String Quartet, Op. 9 N/A
Composer: Anton Webern
Mäßig (0:46) N/A
Leicht bewegt (0:31) N/A
Ziemlich fließend (0:31) N/A
Sehr langsam (0:52) N/A
Äußerst langsam (1:22) N/A
Fließend (1:22) N/A
Debussy: Quartet for Strings in G minor, Op. 10 N/A
Composer: Claude Debussy
Venue: Ravinia Festival Grounds: Bennett-Gordon Hall (Highland Park)
Recording Date: Thu 7 Jul 2016
I - Animé et très décidé (6:19) N/A
II - Assez vif et bien rythmé (3:50) N/A
III - Andantino, doucement expressif (7:22) N/A
IV - Très modéré (7:05) N/A
Cellist wins 2011 Stulberg Internatio...
http://www.mlive.com/entertainme...


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Water usage at CSUN comes into question as drought persists
CSUN is able to keep the Orange Grove pond and several other campus fountains active while meeting the water quota. (Trevor Stamp / Multimedia Editor)
Michael Arvizu
Filed under Campus, Featured, News
With a student population numbering this semester at over 36,000 students, the very notion of water conservation on campus may seem far-fetched — even impossible.
But a series of present and future sustainability measures could put CSUN ahead of the curve in water conservation.
Experts say California's drought is the result of lower-than-average snowpack and rainfall, particularly in the foothills of the Sierra Nevadas, where snowpack has been the lowest since 1950.
Snowpack levels in the Sierra Nevadas are only a fraction of what they have been in years past. This winter, almost no snow fell there, compared to an average of five feet.
"Most people don't know that we rely so much on snowcaps," said Marina Slijepcevic, a CSUN sophomore geology major.
In years past, it was common to see the region packed in snow as late as May or June. Now, photographs of the region show, in stark contrast, foothills devoid of any snow, and only pockets of snow at that.
"You've also got increased population, increased demands on water, climate change," said Chris Bonds, senior engineering geologist with the California Department of Water Resources and CSUN alumnus, during a presentation at the university on April 17 on the California drought. "You look at the historic record and you've got wet and dry cycles. Sometimes you've got numerous wet years in a row, and sometimes you've got a lot dry years in a row. It's part of the natural cycle."
Reservoirs and dams that were once filled to the brim are at levels so low that their lake beds are exposed.
"We've had droughts in the past," Bonds said. "This particular drought cycle that we're in is definitely setting some records."
Between October 2011 and March 2014, California experienced its driest 30 months since recordkeeping began in 1895. It is the fourth driest season on record between 1906 and 2014, Bonds said.
On April 1, in an unprecedented move in response to the ongoing drought, California Gov. Jerry Brown issued an executive order calling on the entire state to cut water use by 23 percent by the year 2020.
In its draft 2014 CSU Sustainability Report, the California State University Chancellor's Office issued a directive calling for all of its 23 campuses to reduce water use by 10 percent by 2016, and 20 percent by 2020, from a baseline water usage average of 243.1 million gallons. The baseline average uses figures taken from fiscal year 2013/2014 average water usage.
The executive order by the governor — to be adopted by the CSUs — would see the university system further reduce water usage by as much as 25 percent below the average baseline.
"Basically, we have to meet all of these goals," said Austin Eriksson, CSUN Sustainability Program manager.
The most recent total figures of water use saw the school using about 239 million gallons of water in fiscal year 2013/2014, or one percent below the Chancellor's Office Baseline of 243.1 million gallons.
For fiscal year 2014/2015, the school so far has used 112.2 million gallons of water. By the end of the fiscal year, the university is projected to use a total of about 205.7 million gallons of water, a 10 percent reduction from the Chancellor's Office Baseline, which meets the 2016 goal.
In fiscal year 2015/2016, the school is expected to use about 186.2 million gallons of water, or about 23 percent below the Chancellor's Office Baseline, which meets the 2018 goal.
"Our goal was to get ahead of the water challenge," said Jason R. Wang, senior director of CSUN Physical Plant Management. "We use quite a bit of water. A lot of it ends up going to irrigation. Our biggest challenge was how to change our landscaping to be more drought-tolerant in areas that don't need grass. Are there any [areas] out there that really are just grass for the sake of being grass? We are progressively trying to remove those."
CSUN measures roughly 350 acres, Wang said, with about a quarter of it landscaped, including athletic fields, fields used by academic programs and the Oviatt Library lawn.
"With the new executive order, we'll be a little more aggressive with our turf removal strategies," Eriksson said.
The CSUN campus has several initiatives in place, through its Institute for Sustainability, to save water and to educate students and the general public on the importance of water conservation.
The sustainability initiatives, however, are not in direct response to the drought, but have been in place for the last five or six years. They are a part of the university's efforts to conserve energy resources and promote greener alternatives in a variety of campus sectors, including transportation, energy, irrigation and landscaping.
"It's ongoing, but it's definitely been more aggressive because of the drought and the mandate from the chancellor's office to reduce our water usage," said Sarah Johnson, Institute for Sustainability program coordinator of Brown's mandate. "We work very closely with facilities on their projects."
Many of CSUN's projects aimed at conserving water include planting drought-tolerant and native plants, installing decomposed granite, placing mulch and installing low-flush and dual-flush toilets in campus restrooms.
"We literally turned the water off for a year, and they're fine," Eriksson said of the native plants on campus.
The university also has plans to install smart sprinklers connected to a campus weather station, which would activate or deactivate the system based on weather forecasts. A new system would also detect broken sprinkler heads or malfunctioning sprinklers.
"Sometimes, I do see the sprinklers going off," said Cate French, a CSUN senior geology major. "It's gotten a lot better in the past couple of years, where I go out at 9 o'clock at night and I see the sprinklers on, and I'm, like, 'Yes! They're going now, not at 9 a.m.'"
Tiered rebates from the Los Angeles Department of Water and Power's Water Conservation Rebate Program has allowed CSUN to fund most of its drought tolerant landscaping projects, Eriksson said. The school can receive upwards of $3 per square foot for replacing anywhere between 250 and 10,000 square feet of turf with water-wise landscaping features.
One such project is taking place around Redwood Hall, where the school received $119,434, Eriksson said.
"It costed us money to do this project," Eriksson said. "That money is paying for that project, and we're also taking whatever money is left over … to really fund the next series of projects."
The efforts by CSUN are not unlike other conservations effort taking place at other CSU campuses across the state.
From San Diego to Humboldt, every university is undertaking unique projects and research aimed at learning more about the environment, conserving water and maintaining and promoting sustainability.
At Cal State Chico, for example, campus vehicles are washed only at car washes that use recycled water.
Faculty research at Cal State Sonoma is reconstructing climate history over the last 10,000 years and measuring human impacts to the natural environment. The facilities department at Cal Poly San Luis Obispo has installed a 260,000-gallon rainwater catchment and storage system.
"It surprised me. I didn't think it was that bad," said Slijepcevic, after attending Bonds' talk. "I thought maybe it was dramatized a little bit. I really don't feel the impact. But seeing that — the pictures — really changed how I thought about it."
For more information on projects being undertaken by CSUN's Facilities department, visit www.csun.edu/facilities.
For more information on projects, research and activities by CSUN's Institute for Sustainability, visit www.csun.edu/sustainability.
Tags: alumnus, Cal State Chico, California, Chancellor, DWP, Jerry Brown, sustainability
Michael Arvizu, Author
Looking back on campus life Spring 2019
Mysterious rooster appears on campus
Volunteers harvest oranges to fight hunger
International office's Coffee Hour
Photo Essay: CSUN Farmer's Market
Therapy dogs help students hit 'human reset' button
Photo essay: Humans of CSUN
Music department holds their first ChamberFest
Music therapy major follows her calling
Ron Artest III: Familiar name, different game


ISLAMABAD (APP): Chief of Army staff General Qamar Javed Bajwa spent his day visiting Headquarters 10 Corps Rawalpindi and troops on forward locations on the Line of Control.
He was briefed in detail about prevailing security situation at LOC in view of recent violations and escalation by Indian troops and own response, a press release of ISPR said.
Appreciating troops for their operational readiness and befitting response given to unprovoked Indian firing in violation of cease fire agreement, the COAS directed them to keep highest level of vigil at all times.
Each violation of any kind must be responded with full force in the most effective manner.
The COAS said Indian aggressive posture solely aims to divert attention of the world from atrocities being committed by their troops in Indian occupied Kashmir.
He said core issue of Kashmir will have to be resolved between the two countries in the line with UN resolutions and aspirations of the people of Kashmir, for lasting peace in the region.
Lt Gen Malik Zafar Iqbal, Commander of 10 Corps received the COAS at Corps Headquarter and later accompanied him during his visit to LoC .


After nearly a year of constant delays, Apple is finally shipping out the white version of the iPhone 4 Thursday.
If you needed serious proof that the iPhone 5 isn't coming til the Fall, here you go.
After all, why would Apple ship this if a whole new phone was coming in a mere 6 weeks or so? Then they'd just have a bunch of seriously pissed white iPhone owners on their hands.
So go ahead and pick this up if you really want one. Of course, you could have some patience and wait until September for the iPhone 5, but I'm not one to judge people for a lack of patience. Much.


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 * @copyright  Copyright (c) 2010 Nimbles Framework (http://nimbl.es)
 * @license    http://nimbl.es/license/mit MIT License
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redpajama_set_name: RedPajamaGithub


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The Edge Spring Season
Kristy Stott, Theatre Editor
Image courtesy of The Edge.
The Edge Spring Season at The Edge Theatre and Arts Centre, Chorlton, 3 March–21 April 2022 - Book now
With another incredible programme of new writing, comedy, spoken word and live music, The Edge promises a thrilling Spring Season of high-quality performance and events.
Following a huge transformation to its 19th-century building, which was formerly a Red Cross Hospital in the centre of Chorlton, The Edge welcomed audiences back into its newly renovated building in autumn 2021. Now, building on the success of the reopening season, the arts centre brings another spectacular line-up of performance.
Another incredible programme of new writing, comedy, spoken word and live music.
Highlights include the welcomed return of the satirical musical comedy night, That Sketch Show. Following the huge success of last season's inaugural edition, the witty (and bonkers) show will delight audiences once again. With an emphasis on topical content, the night takes an irreverent look at some of the week's headlines and bonkers news stories. Performed by some of the best comedy and musical talent, writers at any stage in their careers are invited to submit sketches and one-liners, with a hand-picked selection making it onto The Edge's stage. There will also be plenty of laughs to be had at the popular 'bring your own baby' stand-up show Mum's The Word, and later in the season, the cabaret night Tickle Your Fancy.
Highlights include the return of the satirical musical comedy night, That Sketch Show.
The Edge Theatre and Arts Centre Spring Season
Part dance party and part performative protest, How To Keep Up With The Kardashians launches this explosive season of performance. Based on a collection of interviews with female-identifying individuals living in the UK, this empowering show by So La Flair examines the damaging effects of concept advertising on body image and celebrates our uniqueness.
Drama-seekers should definitely seek out Paper Mug Theatre's award-winning comedy-drama, A Partnership. Witty and honest, this beautiful two-hander explores the changing face of homophobia and the relationship of two young men living in modern-day London. Garnering five-star reviews, this vital and heartbreaking show was a sell-out hit at Edinburgh Fringe in 2019.
Writer and performer Caroline Burns Cooke in Testament of Yootha at The Edge.
Performer and writer Caroline Burns Cooke brings her third show, Testament of Yootha to The Edge this March. Based on the life of Yootha Joyce, the glamorous 1970s legend, the show takes audiences on a rollercoaster ride through the sitcom star's life – her fantastic acting career and her struggle with alcoholism, and tragic death at the age of 53.
Additionally, Manchester Active Youth Theatre will bring revenge, power and magic when they perform a modern version of Shakespeare's Tempest. And award-winning poet Luke Wright returns to The Edge with a brand-new spoken word show this April. Tackling pandemic politics, ageing parents, and the endless culture war, the popular poet and theatre-maker delivers an inventive and energetic evening of spoken word.
Cheerful in the day and a perfect meeting spot in the evening, The Edge has its own on-site cafe bar too.
Alongside this inspiring and welcoming programme of performance, we love that The Edge has its own on-site cafe bar too. Whether you're looking for post-performance drinks or a pre-theatre warmer, The Dressing Room Cafe Bar is cheerful in the day and a perfect meeting spot in the evening.
The Edge Spring Season at The Edge Theatre and Arts Centre, Chorlton
3 March–21 April 2022
Theatres in Manchester
If you're looking for theatre in Manchester, these are our top places to explore.
Beech Road Chorlton, Manchester
A laid-back mix of gift shops, independent outfitters, restaurants, pubs and parks, on a sunny weekend afternoon it's heaving.
Chorlton, Manchester
Chorlton is a left-leaning suburb a few miles south of Manchester's city centre (and only…
Makers Markets
The Yoga Rooms
The Dressing Room Cafe Bar
Into The Woods Chorlton
CBD Manchester
Vinyl Fiction
Barbecue Coffee Manchester
Mary & Archie Chorlton
Rachel Goodyear: Stirrings at Salford Museum & Art Gallery
Activity Until 6 March 2023, from £6.00
Shake it off: Music Video Dance Class with Girl Gang
Families Until 11 March 2023, from £20.00
The Lion King at the Palace Theatre
Exhibitions Until 13 March 2023, FREE
Brick by Brick: Architectures of potential at the Portico Library
Childrens Until 18 March 2023, FREE
Outdoor Art Club at The Whitworth
Activity Until 22 March 2023, FREE
Guided Tours at People's History Museum


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Sim Highlights Big Performances from Factory Alums
March 8 Steve Bernhardt NewsShare This Article
This week we continue to highlight outstanding performances from Baseball Factory alumni at all levels of college baseball. We'll start with the amazing night that former Baseball Factory All-American Kevin Sim had to power his University of San Diego squad to a victory over Dallas Baptist.
PERFORMANCE: In leading the University of San Diego to a 9-8 victory over Dallas Baptist last Friday, Sim went 5-5 with 2 HRs and 7 RBI. He hit his 2nd HR of the game in the bottom of the 8th to draw the Toreros within a run, but they found themselves down by 2 again when Sim stepped to the plate with 2 outs and the bases loaded in the bottom of the 9th. His bases clearing double walked it off for USD and ended the historic night for the sophomore.
PERFORMANCE: Tulane's Ethan Groff was named the AAC Player of the Week for the 2nd consecutive week! His monster 11-17 week included a walk-off HR in one of the Green Wave's two victories over defending National Champion Mississippi State over the weekend. Ethan is now hitting .475 on the season with an OBP of .585, and is a big reason why his squad cracked the Top 20 this week.
PERFORMANCE: Former teammates at the 2020 Baseball Factory All-Star Classic both excelled on the mound. Freshman Mason Marriott seems to have taken over the closer duties for Baylor and earned saves against both UCLA and LSU at the Shriner's Classic over the weekend. Vanderbilt's Carter Holton also excelled on the mound where he went the distance to beat Hawaii, striking out 9 in his 7 innings pitched. He pushed his record to 2-0 for the season.
PERFORMANCE: Caleb Farmer has been on fire for Colorado Mesa. In a 4-game sweep of Adams St over the weekend Caleb had 2 doubles, 4 home runs and drove in 8 runs. He's hitting .422 on the season with 11 HR and 28 RBI.
PERFORMANCE: Matt has been a major reason why Division III Shenandoah is off to a 10-3 start. In 6 appearances on the mound, House is 1-0 with 4 saves and has yet to allow a run.
PERFORMANCE: We first saw LHP Colby Ring way back in 2011 while filming and evaluating players at the Little League World Series. He was representing Canada in Williamsport at the time and last week he was selected the NAIA Pitcher of the Week. The talented lefty for Antelope Valley no-hit Bethesda University of California, striking out 11 in the 7 innings.
PERFORMANCE: Caleb McNeely has been swinging a hot bat while helping to lead Walters State to their #1 national ranking. Caleb is slashing .426/.567/.882 with 8 homers and 23 runs driven in.


The festive season is all about the gathering of family and friends and having fun. You get to enjoy all your favorite meals and drinks. We cannot talk about drinks during holidays without mentioning wine. As the year draws to an end, an independent wine merchant, UK Vintners PLC which deals with the acquisition and sale of the finest wines has provided a list of the best wines you can get for the holiday season. The top five wines for the 2016 holiday season, chosen by experts at UK Vintners, are as follows.
Ducru Beaucaillou is one of the great options for the holidays. The wine originates from the Ducru Beaucaillou winery (among the oldest in the Saint-Julien appellation in Bordeaux, France). A bottle of the wine which is a decade old (from 2005) is dark purple in color and has an aged flavor.
Pichon Baron 1998- it is mature and ready for consumption this festive season. The wine blend has traces of black currants, charcoal, and sweet tasty oak. The amount of acid in it is low. Its origin is the Pauillac appellation in Bordeaux, France.
Beychevelle – the wine is from 2008 and is mature considering that the recommendation is to consume it within 15 years of bottling. The soft, fruity wine has a tinge of cranberry and raspberry.
Montrose 1998 – it comes from the St. Estephe region and is an excellent option for merrymakers this holiday season. Merlot grapes make up a large part of a bottle of Montrose 1998.
D'Yquem 2009 –considering that honey, apricot, sweet spiced pears and many other spices are included in the making of a bottle of D'Yquem, it is perfect for consumption especially after meals during the festive seasons. It gets its name from where it comes from Chateau d'Yquem in Graves, France. The place is famous for wine because they have been making them for around four centuries.
UK Vintners is an independent wine company which works hand in hand with an extensive network of wine traders, brokers and merchants in a bid to find the world's finest wine. The company has a team of wine consultants who use their experience to come up with a list of the best wine and champagne for various occasions. The primary duty of the company is to provide the market with wine for investment and consumption. The other is to act as brokers for people/institutions which wish to sell investment grade wine held in a UK bond.
The dedicated team of wine consultants at UK Vintners utilizes their wealth of knowledge to guide their customers through the many options of wines available. If a client has any specification, he/she can always contact one of the team members. The company's mission is to help their customers in choosing the most prestigious wines from some of the most famous vineyards in Spain, Italy, and France. Some of the clients look for wine for drinking while others wish to invest on the finest wines for sale in the future. Vintners in the UK have connections in the wine trade that enable them to handle all types of wine clients.
Buy wine from UK Vintners online here.


text:
Voided
The document ceased to be valid since October 28, 2017 according to Item 8 of the Order of the Ministry of Finance of the Republic of Moldova of August 28, 2017 No. 118
Registered by
On September 16, 2010 No. 774
ORDER OF THE MINISTRY OF FINANCE OF THE REPUBLIC OF MOLDOVA
of September 6, 2010 No. 115
About approval and filling of standard form of the source document of the strict accounting "Tax Delivery Note"
In pursuance of provisions of the Law on financial accounting No. 113-XVI of 27.04.2007 (Monitorul Oficial al Republicii Moldova, 2007, No. 90-93 the Art. 399) and Item 3, part 2 of the Order of the Government No. 294 of 17.03.1998 "About accomplishment of the Presidential decree of the Republic of Moldova No. 406-II of December 23, 1997" (Monitorul Oficial al Republicii Moldova, 2007, No. 30-33 to the Art. 288), I ORDER:
1. Approve:
1) Form of standard form of the source document of the strict accounting "Tax Delivery Note" (appendix No. 1).
2) the "Appendix to Tax Delivery Note" Form (appendix No. 2) which is integral part tax delivery note;
3) No. 199 is excluded according to the Order of the Ministry of Finance of the Republic of Moldova of 10.12.2015
4) Instruction for filling of standard form of the source document of the strict accounting "Tax Delivery Note" (appendix No. 4).
2. The form of tax delivery note printed with typographical method contains the following degrees of protection:
1) special paper which has no luminescence in ultraviolet rays;
2) two-color watermark;
3) guilloche elements;
4) color threads;
5) rosettes;
6) microtext;
7) barcode.
3. Establish the following color scale for copies of the form of tax delivery note printed with typographical method:
1) the first copy – beige color;
2) the second copy – lilac color;
3) the third copy – turquoise color;
4) the fourth copy – green color;
5) the fifth copy – pink color.
4. The Main State Tax Authorities (MSTA) to impute obligation centralized printing of tax delivery notes with protective marks, series, numbers, and also their registration, accounting, storage and issue to business entities – to subjects of the taxation of the VAT.
Issue of forms of the tax delivery notes printed with typographical method is performed by GGNI through the territorial subdivisions.
5. The business entities having computer system of primary accounting have the right of independent seal of tax delivery notes and appendix to them on paper with protective marks for documentation of the deliveries. Degree papers for independent seal of tax delivery notes and appendices to them are sewn up it is determined according to requirements and opportunities of the taxpayer. The paper with protective marks used for independent seal of tax delivery notes shall contain at least one degree of protection established in Item 2 of this order or any other sign of protection (for example: emblem of the company, the logo, heading, etc.) established by business entity and approved by the internal order.
Rendering the right to independent seal of tax delivery notes and appendices to them is performed by giving of request through the electronic system "Comanda on-line" with the subsequent issue of the receipt electronically.
The main state tax authorities before entry into force of this order will provide implementation of electronic system of the order and automatic issue of series and range of numbers for independent seal of tax delivery notes to business entities who have computer system of primary accounting.
Economic agents who were granted the right of independent seal of tax delivery notes with assignment of series and range of numbers have the right to have this right throughout the entire period in which they have the status of the payer of the VAT, without the need for repeated confirmation".
Use of forms of tax delivery notes as printed by typographical method, and with uses of the right to independent seal is allowed.
5-1. No. 199 is excluded according to the Order of the Ministry of Finance of the Republic of Moldova of 10.12.2015
6. Use of forms of the tax delivery notes operating before entry into force of this order, before complete use of the remaining balance which is at subjects of taxation and the State Tax Administration is allowed.
7. This order becomes effective since 1.11.2010.
Vyacheslav Negrutsa
Appendix No. 1
to the Order of the Ministry of Finance of the Republic of Moldova of September 6, 2010 No. 115
See Appendix 1 (12Kb In original language)
See Appendix 2 (9Kb In original language)
It is excluded according to the Order of the Ministry of Finance of the Republic of Moldova of 10.12.2015 No. 199
Instruction for filling of standard form of the source document of the strict accounting "Tax Delivery Note"
1. This instruction provides procedure for filling of standard form of the source document of the strict accounting "Tax Delivery Note".
2. Basic concepts:
1) the supplier - person registered as the subject of the taxation of the VAT, according to provisions of the Section III of the Tax code, performing leviable delivery of goods (services);
2) the buyer - person to whom the supplier delivers goods renders services (work).
3) purchase price – the price of the foreign producer / distributor less the amount of the provided trade discount specified in source documents taking into account payment of the rights to commodity import (except for the value added tax which is subject to offsetting), transportation expenses (as necessary, depending on delivery conditions), counted in national currency (lei), according to the official rate of Moldovan leu established by National Bank of Moldova on the date of implementation of customs transactions;


text:
trha@trha.co.tt
Emergency #: +1-(868)-639-4444
About TRHA
Division of Health, Wellness & Social Protection
Health Centres
Internet Resources for Healthcare Providers
Resources for the Healthcare Professions
General Resources For Healthcare Information
Medical Electives Application Form
Patient Safety Reporting Form
UpToDate is an evidence-based, physician-authored clinical decision support resource that serves to inform diagnostic and treatment decisions at the point of care through Links to Full-Text Articles, Drugs & Drug Interactions, Medical Calculators, Graphics Search, Patient Information, and Practice Changing UpDates and other related information.
MEDCARIB
Searchable database records for healthcare documents published in or about the English-speaking Caribbean. To access the search box, click on "MEDCARIB" link.
PubMed / MEDLINE
Searchable database records for over 9 million articles in 4,000+ biomedical journals, with some links to full-text journals and other documents on the web. Public version, complete with treatment and medication advice, dictionaries, and other resources: MEDLINEplus
National Library for Health (U.K.)
Provides comprehensive searches and links for information essential for healthcare providers and managers; as well as a complete listing of drugs for the British National Formulary. Also includes link to a public version, complete with diagrams and self-help guides.
Centre for Evidence-Based Medicine (U.K.)
Sponsored by Oxford University this website provides support and resources for the development, teaching and promotion of evidence-based health care. Also provides extensive links to other centres for evidence-based health care (dentistry, nursing, pathology, pharmacotherapy, physiotherapy, social; services, child health etc.) as well as teaching materials, fulltext journals and books.
Cochrane Collaboration
Abstracts of Cochrane reviews; password required for fulltext. Also provides links to respected Internet resources for evidence-based health care.
Provides professional educational tools and updates specifically for physicians, nurses and pharmacists. However, the information and links are useful for all healthcare providers.
HIRC
Phone:1-868-660-4744 ext. 2104/3113/3114
Email:hirc@trha.co.tt
© 2021, Tobago Regional Health Authority. All Rights Reserved.


text:
Tehnička oblovina je drvo koje je prerađeno u trupce i pilansku oblovinu, što je faza u procesu proizvodnje drva. Drvo se uglavnom koristi u konstrukcijske svrhe, ali ima i mnoge druge namjene.

Može se isporučiti grubo piljeno ili obloženo na jednoj ili više strana. Osim celuloze, neobrađeno drvo je sirovina za izradu namještaja i drugih predmeta koji zahtijevaju rezanje i obradu drveta. Dostupno je u mnogim vrstama, uključujući tvrdo (hrast lužnjak, bukva i dr.) i meko drvo (crna joha, bijela topola i dr.), koje ima nižu cijenu. Gotova građa isporučuje se u standardnim veličinama, uglavnom za građevinsku industriju.

Dvije su glavne prirodne sile odgovorne za nastanak grešaka u drvu: abnormalni rast i pucanje tkiva. Puknuće tkiva uključuje pukotine u drvu. Greške drveta mogu smanjiti čvrstoću drva i izgled, stoga smanjiti kvalitetu drveta i mogu uhvatiti vlagu, potičući propadanje. Neke od grešaka drveta su: kvrge, urasla kora, ikričavost, paljivost, okružljivost, zakrivljenost, koničnost, zimotrenost i dr.

U razdoblju od 1995. hrvatske norme (HRN) za tehničku oblovinu obuhvaćaju: trupce za furnir (listače i četinjače), trupce za ljuštenje (listače i četinjače), trupce za rezanje (listače i četinjače), trupce za pragove (željezničke), trupce za kombiniranu namjenu, rezonantno drvo i trupce za furnir oraha, a za izravnu uporabu rudničko i tunelsko drvo, pilote, stupove za vodove, kolarsko drvo i sitno tehničko drvo.

Izvori

Šumarstvo
Drvoprerađivačka industrija
Građevinski materijali

redpajama_set_name: RedPajamaWikipedia


Block everything you can at your network border, where you have the largest pipe, or better yet, get your upstream provider to block them for you. Many Internet providers offer this type of... Choose Extensions and find Anti-DDos ransomware and its related threats. At last, select all extensions that you don�t want to keep on your browser and tap Remove to uninstall Anti-DDos ransomware completely from PC.
31/03/2017�� How To Stop A DDOS Attack and Twitch Streamer Ninja Getting DDOS Attacked. In this video I explain how to see if your getting DDOS and how to stop a DDOS attack.... 19/01/2015�� We find it difficult to be immune to Trojan.ddos.14m3 invasion, which is a type of Trojan horse. Some victims complain that this Trojan confuses them and affects their working efficiency.
The original Code Red worm initiated a distributed denial of service (DDoS) attack on the White House. That means all the computers infected with Code Red tried to contact the Web servers at the White House at the same time, overloading the machines. While Windows NT machines were vulnerable to the... Botnet Malware can be tough to detect and remove, but if you get infected you absolutely must get rid of this plague. It's not just your safety on the line. It's the safety of everyone online. It's not just your safety on the line.
Hackers use botnets as storage, or to launch Distributed Denial of Service (DDoS) attacks. You need antivirus programs and anti-malware products like Malwarebytes, Spybot Search and Destroy, or Superantispyware to get rid of malware and not become a zombie.
Each of these endpoints or 'bots' regularly interface back to a charge and control (C&C) server and the entire botnet can be utilized to control gigantic DDoS (distributed denial of services) attacks, and in addition attempt information burglary/misrepresentation or spam-promoting on a mass scale.
5/06/2017�� Best way to get rid of Virus, Botnet�s and Rootkits Best way to get rid of all the virus,malware and rootkits without using Antivirus like K7, Kaspersky, Esetnode-32..etc. They actually slow down our pc and reduces the performance of our computers.


text:
Eco i Narcís és una pintura datada el 1903 obra del prerafaelita John William Waterhouse. Il·lustra el poema d'Eco i Narcís d'Ovidi a Les Metamorfosis.

John William Waterhouse (1847–1917) va ser un pintor anglès classificat com a Prerafaelita a causa del seu estil i temes, però de fet és més exacte descriure'l com a pintor neoclàssic. Va realitzar més de 200 obres, principalment en els gèneres de mitologia clàssica, i de temes històrics o literaris. Un dels seus temes comuns és el femme fatale, la dona que captiva un home.

L'Eco i Narcís formen part del gènere de mitologia clàssica. A la versió d'Ovidi del mite, el Narcís era el fill del déu de riu Cefís i la nimfa Liríope, a qui l'oracle li va dir que arribaria a vell "mentre no es conegués". Narcís va refusar totes les nimfes i dones que van caure enamorades d'ell. Una d'aquests era la nimfa Eco, qui estava tan trastornat pel seu rebuig que es va llevar la vida i es va consumir fins que l'únic que quedava era un murmuri. Les seves oracions van ser escoltades per la deessa Nèmesi que va provocar que Narcís s'enamorés del seu propi reflex a l'aigua. Va continuar observant el seu reflex fins que va morir. Una flor de narcís va créixer en el punt on va morir.

La pintura és un oli sobre tela que mesura 109,2 cm per 189,2 centímetres. Forma part de la col·lecció victoriana en la Galeria d'Art Walker a Liverpool, Merseyside, Anglaterra, i va ser adquirida pel museu el 1903.

Referències

Enllaços externs
 La pintura en el J. W. Waterhouse Pàgina web
Quadres del Neoclassicisme
Quadres de John William Waterhouse
Obres pictòriques del 1903


With a stay at Ramada Birmingham Solihull, you'll be centrally located in Solihull, within a 10-minute drive of National Exhibition Centre (NEC) and Resorts World Birmingham. This 4-star hotel is 5.5 mi (8.8 km) from Genting Arena and 8.5 mi (13.6 km) from Cadbury World.
Stay in one of 145 guestrooms featuring LCD televisions. Complimentary wireless Internet access keeps you connected, and digital programming is available for your entertainment. Private bathrooms with bathtubs or showers feature complimentary toiletries and hair dryers. Conveniences include phones, as well as safes and desks.
Take advantage of recreation opportunities such as a fitness center or take in the view from a terrace and a garden. This hotel also features complimentary wireless Internet access, wedding services, and barbecue grills.
Enjoy international cuisine at George Restaurant , one of the hotel's 2 restaurants, or stay in and take advantage of the 24-hour room service. Snacks are also available at the coffee shop/café. Mingle with other guests at the complimentary reception, held daily. Wrap up your day with a drink at the bar/lounge. Buffet breakfasts are available daily from 7:30 AM to 10 AM for a fee.
Featured amenities include express check-in, express check-out, and complimentary newspapers in the lobby. This hotel has 6 meeting rooms available for events. Free self parking is available onsite.
The preferred airport for Ramada Birmingham Solihull is Birmingham (BHX).


Thailand Property Report by Dawn Ferguson ñ With housing allowances in the range of Bt70,000 to Bt100,000 a month, Bangkokís high-paid expatriates have money to burn – and they want homes with all the Western-amenities theyíre accustomed too.
For condominium and apartment owners, this segment of the market is a potential gold mine, particularly given most of these expects are here on a short-term basis. The statistics certainly are promising, but as competition grows, itís not an easy market to enter.
CB Richard Ellis Thailand executive director James Pitchon told Property Report Thailand that demand for high-end rentals increased in 2006 and the number of expatriates in Bangkok with work permits grew to 67,412 in 2006, a 12.5% increase year on year according to statistics by the Alien Occupational Control division of the Department of Employment. The largest segment of this market is Japanese – 22% – as the so-called ìland of the rising sunî is the largest foreign direct investor in Thailand.
Pitchon noted that the rental market is in actuality even higher, as those numbers exclude diplomats and agencies such as the United Nations. They also exclude foreigners without work permits, but Pitchon says they consider most of these to be part of the retiree market, who traditionally buy their units.
ìThe good news is that demand increased. Last year there was only a limited amount of new supply in apartments, and there were only about 330 units completed last year. But the number of condominium units grew by over 4,000 units. That will continue to be the case in the next two to three years,î he said, but added this figure excluded serviced apartments, which are considered a very different product ñ somewhere in between a hotel and an apartment. Many now have a hotel license, so theyíre operating on a more short-term basis.
This means that competition is going to be tight in the coming year. Generally, expats given the choice would prefer a single ownership apartment, says Pitchon, because the owner is able to service all their requirements whereas in a condo the owner might not even be in Thailand. And in many cases the owner has not put in place a local manager to look after his apartment. So the challenge for condominium owners who have bought to lease out is how to manage their units because tenants will have questions.
This includes implementing pest control contracts, regular A/C maintenance contracts, and, most importantly, there has to be a clear understanding between the owner and the tenant of whoís responsible for doing what.
The most popular area for expats is still Sukhumvit, followed by Central Lumpini and the Sathorn area. There are two satellites, one being around the International School of Bangkok and there is also a smaller cluster around Bangkok Pattana School. As for the up-and-coming riverside, currently there is limited demand from expatriate tenants, generally because of access issues. A small segment of expats are heading to other areas, such as Thonglor. ìAgain youíve got access to the skytrain but in a slightly lower density environment,î said Pitchon.
The expat rental market is driven generally by housing allowances granted to employees and employees generally spend all of their allowances, but not put their own money in. ìThe biggest change in the market has been that Japanese with families now receive higher allowances than they did previously,î says Pitchon. ìSome will give Bt70,000 or Bt75,000 for a three-bedroom apartment. The Japanese tend to be at the lower end of the market but they are a significant level of demand.
As for two-tiered pricing for Thais and Foreigners, there really isnít a Thai rental market. Given that Thais have the freedom to buy and sell what they choose, unlike foreigners, those with high salaries and incomes just wonít go out and rent 75,000 a month apartments. So there is no Thai market above Bt15,000 a month.


text:
import React from 'react'
import ReactDOM from 'react-dom'
import { Provider } from 'react-redux'
import { createStore } from 'redux'
import rootReducer from './reducers'
import App from './components/App'
import './index.css'

const store = createStore(rootReducer)

ReactDOM.render(
  <Provider store={store}>
    <App />
  </Provider>,
  document.getElementById('root')
)


Stone Foundation's new album, Everybody, Anyone, was recorded at Paul Weller's Black Barn Studios in Surrey and features a sprinkling of guest musicians.
The Midlands based band's fifth studio album was produced by Stone Foundation founding members Neil Jones and Neil Sheasby and engineered by Charles Rees.
The band, buoyed & encouraged by the reception to their last album Street Rituals, have taken a slightly different direction and hit upon a creative formula that clearly works.
"We wanted to make tunes that would unite people no matter what their background or beliefs may be and also for the first time in a while explore topics closer to home that effect us all, such as family, loss and finding comfort in some of the darker times we all face.
"It was important we changed the sound and made it harder and heavier and ultimately funkier and to me these eleven tracks sound like eight musicians maturing and developing as players (with a little help from some good friends)"
Guests on the album include Kathryn Williams, Dr Robert, Mick Talbot, Steve White, & The Average White Band"s Hamish Stuart. And unable to stay away, Paul Weller (who produced and featured on the last album) sneaks back in with a bit of piano, guitar and BVs on a couple of tracks.
After a long period of extensive touring, the band went straight back to the studio to start work on Everybody Anyone while the creative juices were still flowing.
The album sees a harder, heavier funk vibe than it's predecessor but with the great grooves comes great songs.
"In recent years I've heard a lot of records with great grooves but there's no song, the message & melodies were still key to the records creation.
"To me it sounds like a very cohesive collection of tunes, a body of work that hangs well as a complete album. The next natural step for Stone Foundation"
The first track to be released from the album is the soulful Standing On The Top which clocks in at over seven minutes.
With its heavy bass-line complimenting a floating guitar hook that links in the gorgeous backing vocals, it gives a real glimpse of the new sound.
A video of the track has been done with filmmaker Joe Harvey.
Shot in various locations that are close to the band, it created the perfect visual atmosphere for the song.
Stone Foundation's new album 'Everybody, Anyone' is out now. The band play Patterns Brighton on 23rd November 2018.


text:
Video Storytelling | Consulting | Documentary
"FOOD FIGHT" – Trailer
Client:Food Fight Films, LLC
Official Trailer for the documentary film "FOOD FIGHT - Inside the Battle for Market Basket". Produced by Food Fight Films, LLC. foodfightfilm.com. Winner "Best Content", Boston Int'l Film Festival. "Audience Award", Newburyport Film Festival. "Filmmaker of the Year" NH Film Festival. Throughout the summer of 2014, a corporate food fight played out in dozens of communities impacting tens of thousands of workers and the economies of three states. When the faction of the Market Basket board headed by Arthur S. Demoulas fired his cousin and arch-rival Arthur T. Demoulas as long-time CEO of the successful supermarket chain, it set off a firestorm that sparked one of most unique corporate dramas in American history. It's what Esquire Magazine calls "the last stand for the middle class". FOOD FIGHT is the story of the battle to save Market Basket, and about the power of ordinary, passionate people to rewrite corporate history.
Video Storytelling | Consulting | Documentary © 2021. Privacy Policy


It doesn't matter whether you were building a 100 storey high riser or a simple house, the foundation is what matters the most. On the other hand, there are many other occasions where the conditions of the existing ground isn't in favor, so excavating is the only solution that works. Before you process into any type of an excavation, there is a certain set of mandatory factors to consider. This would help you to acquire a more suitable approach on each type of occasion.Here are 4 basic yet mandatory factors to consider before initiating a dig-up.The extent of the dig-upThe depth up to which a certain ground should be excavated is normally indicated in engineering drawings in terms of MSL levels and so on. But that is the professional approach of this. The contractor is highly likely to be aware of the underground conditions since the drawings are drafter considering the geological features. Even if the approach was professional or not, you need to have a rough idea of the extent of the excavation you're to do. Because if there were underground establishments such as high voltage wires, pipes or even tunnel, they could be affected.The nature of the soilNot all grounds share the same identical features. Due to this variation of the moisture content, residual materials and so on, the nature of the soil plays a significant role in the process of an excavation.
Be sure to invite the professional over to the location before paying for all sorts of excavation services hire Frankston. This would ensure that you're not overpaying nor underpaying. In addition, the nature of the soil can be a direct deciding factor of the rapidity of the progress.The types of machinery usedThe nature of the used machinery; both vehicle wise and tool wise differ from occasion to occasion. That's why it is ideal to consult a professional excavation company. However, if you already have the assistance of a group, it's ideal to be alert on what they do.
For a typical residential dig up, going for a best Bobcat hire would be ideal because that only would speed up the process. This tiny locomotive is capable of operating in tight spaces fast so that the clients will be able to visually witness the progress. In the same way, you should always acquire the needed machinery of all sorts.The location of the dirt dumpingAny excavated site will have a considerable amount of soil and/or dirt of all kinds. You can either them as backfilling materials or just dump them. However, you should be legally clear to stick to the chosen dumpsite because Australian doesn't tolerate environmental pollution that much.


text:
Exhibition Records,
Search Results » Overview Contents
National Museum of African Art. Curatorial
17 cu. ft. (17 record storage boxes)
This accession documents closed, denied, and unfinished exhibitions at the National Museum of African Art (NMAfA). These records contain correspondence, research, notes, checklists, label texts, brochures, floor plans and designs, clippings, loan information, photographs, slides, transparencies, and negatives. Some materials are in electronic format.
Exhibitions documented in this accession include "Traditional Costumery and Jewelry in Africa;" "Traditional Costumes and Jewelry of Egypt;" "Life Afterlife: African Funerary Sculpture;" "The Stranger Among Us;" "African Emblems of Status;" "From the Earth: African Ceramic Art;" "African Islam;" "African Mankala;" "Patterns and Forms;" "Praise Poems: The Katherine White Collection;" "African Masterpieces from the Musee de l'Homme;" "History, Context and Materials: Selections from the Permanent Collection of the National Museum of African Art;" "The Rising of a New Moon: A Century of Tabwa Art;" "A Human Ideal in African Art: Bamana Figurative Sculpture;" "Patterns of Life: West African Strip-Weaving Traditions;" "African Art in the Cycle of Life;" "Objects of Use;" "The Permanent Collection of the National Museum of African Art;" "Images of Power and Identity;" "Images from Bamum: German Colonial Photography at the Court of King Njoya, Cameroon, West Africa, 1902-1915;" "Shoowa Design: Raffia Textiles from Zaire;" "Kalabari Ancestral Screens: Levels of Meaning;" "Echoes of the Kalabari: Sculpture by Sokari Douglas Camp;" "Gold of Africa: Jewelry and Ornaments from Ghana, Cote d'Ivoire, Mali and Senegal;" "Sounding Forms: African Musical Instruments;" "The Essential Gourd;" "Icons: Ideals and Power in the Art of Africa;" "Yoruba: Nine Centuries of African Art and Thought;" "African Reflections: Art from Northeastern Zaire;" "Africa Illustrated: Fantasy and Reality before 1900;" "Art of the Personal Object;" "Purpose and Perfection: Pottery as a Woman's Art in Central Africa;" "Between Man and the Gods: Sacrifice and Ceremony on a Cast Metal Ring;" "New Dimensions: Selections from the Contemporary Collection;" "Elmina: Art and Trade on the West African Coast;" "Astonishment and Power: Kongo Minkisi and the Art of Renee Stout;" "Asen: Iron Altars from Ouidah, Republic of Benin;" "Face of the Spirits: Masks from the Zaire Basin;" "Beaded Splendor;" "Mohammad Omer Khalil, Etchings; Amir I. M. Nour, Sculpture;" "Ancient Nubia: Egypt's Rival in Africa;" "The Ancient Nubian City of Kerma, 2500-1500 B.C.;" "The Ancient West African City of Benin, A.D. 1300-1897;" "Art from the Forge: Tuareg Metalwork;" "Three Explorations: Yoruba, 'Temne,' and Baga;" "Crowning Achievements: African Arts of Dressing the Head;" "Ceramic Gestures: New Vessels by Magdalene Odundo;" "Adire: Resist-Dyed Cloths of the Yoruba;" "Treasures from Tervuren: Selections from the Belgian Royal Museum for Central Africa;" "The Poetics of Line: Seven Artists of the Nsukka Group;" "Gifts to the National Collection of African Art;" "A Spiral of History: A Carved Tusk from the Loango Coast, Congo;" "Olowe of Ise: A Yoruba Sculptor to Kings;" "African Forms in the Furniture of Pierre Legrain;" "Baule: African Art/Western Eyes;" "Hats Off! A Salute to African Headwear;" "Wrapped in Pride: Ghanaian Kente and African American Identity;" "A Concrete Vision: Oshogbo Art in the 1960s;" "The Artistry of African Currency;" "Transatlantic Dialogue: Contemporary Art In and Out of Africa;" "Audible Artworks: Selected African Musical Instruments;" "Identity of the Sacred: Two Nigerian Shrine Figures;" "Chant Avedissian: A Contemporary Artist of Egypt;" "In the Presence of Spirits: African Art from the National Museum of Ethnology, Lisbon;" "Making the Grade: Arts of Initiation;" "Spectacular Display: The Art of Nkanu Initiation Rituals;" "The Last Supper Revisited;" "Gifts and Blessings: The Textile Arts of Madagascar;" "A Personal Journey: Central African Art from the Lawrence Gussman Collection;" "Ethiopian Passages: Dialogues in the Diaspora;" "The Fabric of Moroccan Life;" "InSights;" "Playful Performers;" "Treasures;" "TEXTures: Word and Symbol in Contemporary African Art;" "Where Gods and Mortals Meet: Continuity and Renewal in Urhobo Art;" "African Gold: Selections from the Glassell Collection, The Museum of Fine Arts, Houston;" "BIG/small;" "Body of Evidence;" "Resonance from the Past: African Sculpture from the New Orleans Museum of Art;" "First Look: The Walt Disney-Tishman African Art Collection;" "African Vision: The Walt Disney-Tishman African Art Collection;" "Inscribing Meaning: Writing and Graphic Systems in African Art;" "Encompassing the Globe: Portugal and the World in the 16th and 17th Centuries;" "The Art of Being Tuareg: Sahara Nomads in a Modern World;" "El Anatsui: Gawu;" "Treasures 2008;" "Treasures II;" "TxtStyles/Fashioning Identity;" "Desert Jewels: North African Jewelry and Photography from the Xavier Guerrand-Hermes Collection;" "Artists in Dialogue: Antonio Ole and Aime Mpane;" "Mami Wata: Arts for Water Spirits in Africa and its Diasporas;" "Artful Animals;" "African Vision: Disney-Tishman Highlights;" "Yinka Shonibare MBE;" "The Healing Power of Art: Works of Art by Haitian Children after the Earthquake;" "Grass Roots: African Origins of an American Art;" "Paul Emmanuel: Transitions;" and "A Brave New World."
Smithsonian Institution Archives, Accession 12-375, National Museum of African Art. Curatorial, Exhibition Records
Use Restriction
Restricted for 15 years, until Jan-01-2027; Transferring office; 4/18/2012 memorandum, Yowell to Monsted; Contact reference staff for details.
Traditional Costumery and Jewelry in Africa (Exhibition) (1981: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Traditional Costumes and Jewelry of Egypt (Exhibition) (1981: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Life . . . Afterlife: African Funerary Sculpture (Exhibition) (1981-1982: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Stranger Among Us (Exhibition) (1982: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
African Emblems of Status (Exhibition) (1982-1983: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
From the Earth: African Ceramic Art (Exhibition) (1983: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
African Islam (Exhibition) (1983-1984: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
African Mankala (Exhibition) (1984: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Patterns and Forms (Exhibition) (1984: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Praise Poems: The Katherine White Collection (Exhibition) (1984-1985: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
African Masterpieces from the Musee de l'Homme (Exhibition) (1985: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
History, Context, and Materials: Selections from the Permanent Collection of the National Museum of African Art (Exhibition) (1985-1986: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Rising of a New Moon: A Century of Tabwa Art (Exhibition) (1986: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
A Human Ideal in African Art: Bamana Figurative Sculpture (Exhibition) (1986: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Patterns of Life: West African Strip-Weaving Traditions (Exhibition) (1987-1988: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
African Art in the Cycle of Life (Exhibition) (1987-1988: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Objects of Use (Exhibition) (1987-1988: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Permanent Collection of the National Museum of African Art (Exhibition) (1987-1992: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Images of Power and Identity (Exhibition) (1992-2004: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Images from Bamum: German Colonial Photography at the Court of King Njoya, Cameroon, West Africa, 1902-1915 (Exhibition) (1988: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Shoowa Design: Raffia Textiles from Zaire (Exhibition) (1988: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Kalabari Ancestral Screens: Levels of Meaning (Exhibition) (1988-1989: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Echoes of the Kalabari: Sculpture by Sokari Douglas Camp (Exhibition) (1988-1989: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Gold of Africa: Jewelry and Ornaments from Ghana, Cote d'Ivoire, Mali and Senegal (Exhibition) (1989: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Sounding Forms: African Musical Instruments (Exhibition) (1989: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Essential Gourd (Exhibition) (1989-1990: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Icons: Ideals and Power in the Art of Africa (Exhibition) (1989-1990: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Yoruba: Nine Centuries of African Art and Thought (Exhibition) (1990: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
African Reflections: Art from Northeastern Zaire (Exhibition) (1991-1992: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Africa Illustrated: Fantasy and Reality before 1900 (Exhibition) (1991: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Art of the Personal Object (Exhibition) (1991-2007: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Purpose and Perfection: Pottery as a Woman's Art in Central Africa (Exhibition) (1997: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Between Man and the Gods: Sacrifice and Ceremony on a Cast Metal Ring (Exhibition) (1992: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
New Dimensions: Selections from the Contemporary Collection (Exhibition) (1992: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Elmina: Art and Trade on the West African Coast (Exhibition) (1992-1993: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Astonishment and Power: Kongo Minkisi and the Art of Renee Stout (Exhibition) (1993-1994: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Asen: Iron Altars from Ouidah, Republic of Benin (Exhibition) (1993-1994: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Face of the Spirits: Masks from the Zaire Basin (Exhibition) (1994: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Beaded Splendor (Exhibition) (1994: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Mohammad Omer Khalil, Etchings; Amir I. M. Nour, Sculpture (Exhibition) (1994-1995: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Ancient Nubia: Egypt's Rival in Africa (Exhibition) (1995: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Ancient Nubian City of Kerma, 2500-1500 B.C. (Exhibition) (1995-1998: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Ancient West African City of Benin, A.D. 1300-1897 (Exhibition) (1995-2004: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Art from the Forge: Tuareg Metalwork (Exhibition) (1995-1996: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Three Explorations: Yoruba, 'Temne,' and Baga (Exhibition) (1995-1996: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Crowning Achievements: African Arts of Dressing the Head (Exhibition) (1996: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Ceramic Gestures: New Vessels by Magdalene Odundo (Exhibition) (1996-1997: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Adire: Resist-Dyed Cloths of the Yoruba (Exhibition) (1997: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Treasures from Tervuren: Selections from the Belgian Royal Museum for Central Africa (Exhibition) (1997: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Poetics of Line: Seven Artists of the Nsukka Group (Exhibition) (1997-1998: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Gifts to the National Collection of African Art (Exhibition) (1997-1998: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
A Spiral of History: A Carved Tusk from the Loango Coast, Congo (Exhibition) (1998: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Olowe of Ise: A Yoruba Sculptor to Kings (Exhibition) (1998: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
African Forms in the Furniture of Pierre Legrain (Exhibition) (1998: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Baule: African Art/Western Eyes (Exhibition) (1999: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Hats Off! A Salute to African Headwear (Exhibition) (1999: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Wrapped in Pride: Ghanaian Kente and African American Identity (Exhibition) (1999-2000: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
A Concrete Vision: Oshogbo Art in the 1960s (Exhibition) (1999-2000: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Artistry of African Currency (Exhibition) (2000: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Transatlantic Dialogue: Contemporary Art In and Out of Africa (Exhibition) (2000: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Audible Artworks: Selected African Musical Instruments (Exhibition) (2000-2001: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Identity of the Sacred: Two Nigerian Shrine Figures (Exhibition) (2000-2001: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Chant Avedissian: A Contemporary Artist of Egypt (Exhibition) (2000-2001: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
In the Presence of Spirits: African Art from the National Museum of Ethnology, Lisbon (Exhibition) (2001: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Making the Grade: Arts of Initiation (Exhibition) (2001-2002: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Spectacular Display: The Art of Nkanu Initiation Rituals (Exhibition) (2001-2002: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Last Supper Revisited (Exhibition) (2002: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Gifts and Blessings: The Textile Arts of Madagascar (Exhibition) (2002: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
A Personal Journey: Central African Art from the Lawrence Gussman Collection (Exhibition) (2002: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Ethiopian Passages: Dialogues in the Diaspora (Exhibition) (2003: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Fabric of Moroccan Life (Exhibition) (2003: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Insights (Exhibition) (2004: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Playful Performers (Exhibition) (2004: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Treasures (Exhibition) (2004-2005: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
TEXTures: Word and Symbol in Contemporary African Art (Exhibition) (2005: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Where Gods and Mortals Meet: Continuity and Renewal in Urhobo Art (Exhibition) (2005: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
African Gold: Selections from the Glassell Collection, The Museum of Fine Arts, Houston (Exhibition) (2006: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
BIG/small (Exhibition) (2006: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Body of Evidence (Exhibition) (2006-2008: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Resonance from the Past: African Sculpture from the New Orleans Museum of Art (Exhibition) (2006-2007: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
First Look: The Walt Disney-Tishman African Art Collection (Exhibition) (2006: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
African Vision: The Walt Disney-Tishman African Art Collection (Exhibition) (2007-2008: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Inscribing Meaning: Writing and Graphic Systems in African Art (Exhibition) (2007: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Encompassing the Globe: Portugal and the World in the 16th and 17th Centuries (Exhibition) (2007: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Art of Being Tuareg: Sahara Nomads in a Modern World (Exhibition) (2007-2008: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
El Anatsui: Gawu (Exhibition) (2008: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Treasures 2008 (Exhibition) (2008: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Treasures II (Exhibition) (2008: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
TxtStyles/Fashioning Identity (Exhibition) (2008: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Desert Jewels: North African Jewelry and Photography from the Xavier Guerrand-Hermes Collection (Exhibition) (2008-2009: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Artists in Dialogue: António Ole and Aimé Mpane (Exhibition) (2009: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Mami Wata: Arts for Water Spirits in Africa and its Diasporas (Exhibition) (2009: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Artful Animals (Exhibition) (2009-2010: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
African Vision: Disney-Tishman Highlights (Exhibition) (2009- : Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Yinka Shonibare MBE (Exhibition) (2010: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
The Healing Power of Art: Works of Art by Haitian Children after the Earthquake (Exhibition) (2010-2011: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Grass Roots: African Origins of an American Art (Exhibition) (2010: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
Paul Emmanuel: Transitions (Exhibition) (2010: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
A Brave New World (Exhibition) (2010-2012: Washington, D.C.) Corporate Name Search Smithsonian Collections Search ArchiveGrid
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Art, African Topic Search Smithsonian Collections Search ArchiveGrid
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Compact discs Genre/Form Search Smithsonian Collections Search ArchiveGrid
Digital versatile discs Genre/Form Search Smithsonian Collections Search ArchiveGrid
Floppy disks Genre/Form Search Smithsonian Collections Search ArchiveGrid
Electronic records Genre/Form Search Smithsonian Collections Search ArchiveGrid
Floor plans Genre/Form Search Smithsonian Collections Search ArchiveGrid
Black-and-white negatives Genre/Form Search Smithsonian Collections Search ArchiveGrid
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All of a sudden, wines have become the flavour of the month. In Mumbai and Delhi , and to some extent in Bangalore and Pune, they've become regulars on any buffet menu, or are being ordered in impressive quantities in hotels and restaurants.
The demand is spurring supply. As a result, more and more variety is available in terms of regions, styles, blends, varietals and price range. From a wine connoisseur's point of view, this has made the job of F&B managers enviable, because for every bottle placed on the menu, they get to taste 20 to 30 different wine s. These may include cheap, obscure and indifferent wine s, but they also get to drink some really fine wine s.
The excitement comes with the responsibility of buying wines at the best possible prices. With thousands of brands around, it is not easy to keep track of or have a thorough knowledge of all. It may be a simpler exercise to hook up with a known supplier and depend on his judgment, but this may not get you the best choice available.
Every wine producer takes pride in the quality of his wine . Even the promoters of the cheapest wine s claim their products have a complex bouquet and a long after-taste, and all the other features they can lay claim to. It is not easy, as a result, for F&B and purchase managers to zero in on the wines that give the best value for money. To help them arrive at the right decision, I have developed an assessment tool called the Purchase Parity Ratio, and I successfully put it to test while finalising the wine list of Olive, Mumbai and Delhi .
Purchase Parity Ratio (PPR) has nothing to do with quality. Purchase represents the international price of the wine being evaluated. Parity is what we are trying to establish with it in relation to the net quoted price by the seller.
Let me now define the variables and explain the rationale behind the equation, which is simpler than it looks and is an effective tool as well.
International Price (IP): If you have access to the Internet, it is not difficult to find the international price of any decent wine (I presume we are not in the market for plonk). For the sake of uniformity and homogeneity, I follow the average retail price of wine in the US . There are many helpful websites, but I find http://www.wine-searcher.com very comprehensive. It is a free site, though the Pro Version, available at a nominal cost, is very useful when I need to get more details, or the wine is not easily available. Many big US retailers, like Zachys, Specs and Sam's Liquor, also list most of the wines we get in India . Even UK retailers like Tesco, Sainsbury or Oddbins have representative prices. Vintage Direct, meanwhile, is a great source for wines from Australia and New Zealand -- check out http://www.nicks.com.au .
Exchange Rate (R): Simply convert USD into rupees. At today's rates, the value of R may be taken as 44.
International Retailer's Profit Margin (IPF): It has implications for the importer's costs, including his overheads.
Sea/Air Freight (FF): A realistic sea freight of 10% means that the Freight Factor (FF) = 0.1. Air freight should be higher. But same percentage factor should be selected, irrespective of whether the import is from Chile , US, Australia or Europe . This helps to balace out the anomalies of higher freight rates from certain countries.
Import Duty (DF): The current import duty of 240% on most low-end wine s pegs the Duty Factor at 2.4. For higher-end wine s, it can be suitably adjusted to 1.5 or more, depending on the slab. For hotels importing at zero duty, DF will be zero. For more accurate comparisons, the cost of clearing goods can be included in either DF or FF.
Importer's Profit Margin (PF): If the importer's profit margin is 30%, this should be pegged at 0.3; for 40%, it becomes 0.4; and so on. It is a subjective figure. For instance, I may chose 30% as the reasonable profit margin for a vendor, but someone else may believe that 40% may be more realistic.
Vend Fee (V): It varies from state to state. In Delhi , for instance, it is currently Rs 150 .
Obviously, some of the factors can be assessed subjectively and are variable, but for any hotel or restaurant, it will not make much difference in the final results, because all the PPRs will be equally affected by the factors and the tool's objective is to make comparisons.
PPR & The Supplier: The essence of this exercise is to help the buyer. It prevents the supplier from resorting to marketing hype -- including a list of medals, which means nothing much, or high scores given by Wine Spectator or Wine Advocate -- to overcharge a hotel or restaurant. Frequently, PPR may help even the importer to re-negotiate or bargain with his principals to make the prices fall in line with international standards and become more competitive. This can go a long way in helping importers maintain long-term relationships.
PPR & W ine Pricing: The sale price of a wine is based on several factors: cost price, mark-up policies of the hotel or restaurant concerned, and the competition. Sometimes a wine label may have to be given space in the menu for extraneous reasons like the varietal, country, region, size of the wine list, and so on. Even though the PPR may be on the higher side or not acceptable, these factors may oblige the management to keep the wine as part of the menu (that it may become a painfully slow mover is another matter altogether).
There can be occasions when a wine may be procured at a very low PPR. It should be priced at a higher level so that it yields a better margin. Ideally, the wine s to sell would be those with low PPRs but high market prices due to the demand factor. Good examples would be the Italian varietals, like Soave, Orvietto and Pinot Grigio, or the Chilean wines.
PPR & Quality: Critics of PPR will argue that this method of evaluating wine s does not take into account the quality variations. But why must we re-invent the wheel when quality has already been factored into the international prices? For instance, a Pinot Grigio from one winery may be more complex and fruity than the other. More often than not, the international price will already reflect this difference. One may really like a wine, but it may cost $2, for which the importer may expect Rs 2,000 just because one loves the taste.
Our Experience With Olive: While preparing the wine list for Olive, we came up with some interesting results. Based on the parameters of freight, taxes, vend fees and so on, we decided that the average PPR should be 1.5. Anything above 2.0 should not be acceptable, whereas 1.0 or less would be great buys. Of course, the analysis was done only for wine s that were tasted and found of a quality the restaurant would be proud to serve within a certain price range.
We found that most of the wine s selected ranked between 1.0 and 2.0. So we knew the range established was correct. But the Spanish wine s, including those from Torres, were close to 1.0 or even under. We found that the US wine s had a much higher PPR, some at even close to 3.0.
Within the same company portfolio, too, the variation was significant. For instance, Kendall Jackson Collage Semillon Chardonnay had a PPR of 1.82 (on the higher side but acceptable), whereas the Zinfandel Shiraz had a PPR of 2.41. Obviously, this could be because either the vendor did not get a good price for the red, or he was pricing it higher to leave room for negotiation. In any case, it gave the buyer an opportunity to look at both the options and also think of another, that of not putting the label on the list. He might choose to keep it on the menu and price it higher if he feels there is a reasonable demand for the brand, but the tool gives him power to take proper action.
Another interesting observation was that most of the c hampagnes were available at low PPRs of close to 1.0. Interestingly, even though the Dom Perignon '95 was available at 1.04, the Moet & Chandon Rosé was pegged at 1.51! Here again, the buyer had the option of re-negotiating for the Rosé, or pricing it higher on the menu (thereby losing potential sales), or being on the lookout for an alternative from another source.
Similarly, a Chateauneuf-du-Pape from a vendor was being quoted at a PPR of 1.62 and the Pouilly Fumé was very high at 2.65. The classic example was the availability of the Australian Brands of Coonawarra Shiraz at 1.18, even as Jacob's Creek Cabernet Shiraz, which costs less than half, had a higher PPR of 2.04!
The concept of PPR works very well for most wine s being imported into India . The formula can help hotels and restaurants scrutinise their wine lists and make considerable savings by re-negotiating the prices of wines with low PPRs. At last they have a scientific tool to counter the marketing hype and slick salemanship of importers.
-- The author is the President of the Indian Wine Academy . He can be contacted at arora@indianwineacademy.com.