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Symbiotic Homeostatic Disequilibrium in Playworking Interaction
plā′wėrk′ings, n. Portions of play matters consideration; draft formations.
Quiet: thoughts on playworker boredom in some children's play
A small but significant aspect of playwork practice has been quietly playing itself in and out of my thoughts lately (that is to say, if the playwork in question is of the flavour that involves children's wishes for the adult to participate to some degree in the play). Here's the scenario: a child (more often than not, in my experience, this situation will involve a single child rather than a group of them, but not always) has invited or 'cued' the playworker into the play of the moment (say, one-touch 'wallsy' football against the fence, pushing on the roundabout, some variations of catch and throw); the child shows the signs that they're reasonably happy that they're being supported in their play choices; the playworker plays along; the child just keeps repeating or reinventing the play so that the playworker is expected to stay involved and so that the play can carry on; the playworker gets bored of it.
That's the small but significant aspect of practice that's been troubling me as of late. It comes and goes, and it doesn't happen very often but when it does it sets up a whole string of processes of thinking. Boredom of repetition or involvement shifts from this to some other stimulation of the mind, but this is hardly the point: the playing child has chosen this playworker (for reasons of positive relating or sometimes for some attention, let's face it, or for conditions in between), and so this playing child requires focus and consideration. Some of the processes of thinking are along the lines of 'potential get-out clauses': how do I remove myself from this scenario so that the play can still carry on in some way, or so that the playing child won't be offended? When another child comes along and asks to play, or when they show signs that they might like to, there's a small window of opportunity to leave quickly and quietly, but at just the right time, so that the fragile bubble of play can shift from one circumstance to the next without popping. When done well, then job done.
Some processes of thinking are along the lines of 'when did this play shift from relating/being in the joint arena of play to the being relied upon?' This can happen when some children are our personal shadows (those children who follow you around for whatever reason that they need to). Some shadows I've had know exactly what they're doing and turn this, in itself, into play by following me precisely in every movement, and so I can reciprocate, and so this can unfold in different ways. However, when the shadows just follow because of other reasons, then this can become difficult, and when the shadows do everything they can to keep you contained within their play, then this becomes more difficult still. A colleague has spotted one of my occasional shadows and we've also talked about this in de-briefs too. Now he'll call over to the child in question when he feels she's shadowing, and he'll spin her away into something else for a while. It's a fine line though, sometimes, between the child relating and playing in probably mentally healthy ways with the playworker, and them falling into a brief grey zone of neediness. How do we know the threshold if it isn't always so obvious or, in fact, if that shadowing/neediness time is brief? We have to develop an acuteness of awareness around certain children and their chosen ones.
The shadowing is an issue that sits alongside the main enquiry here: what to do, as the playworker, when you shift into a small boredom of the repetitions or reinventions of play that you've been involved in? Thinking in one respect, we shouldn't get bored of the play, but we do. We're human, and although much of play is a stimulation in the observation for the concerted playworker, some play troubles me (though not here for its 'risky' or expressive qualities, which seem to be those of the other end of some people's 'being troubled' spectrum). Maybe some play operates at such a slow wavelength, as it were, that engaging with it proves personally difficult. Observing such play is fine, but being asked to be a part of it is a different thing. Maybe this is why I don't work with babies: I have done and I found it slow and, frankly, uninspiring. I've always felt it takes a particular type of person to be able to work well with babies, and I'm not one of them.
If I find myself in the thinking situation that is the shift from 'willing engagement because the child asks it so' to 'how do I get myself out of this now?', quite often there's a string of thinking that also plays through me along the lines of 'I've been in this particular play too long'. It isn't the case that I'm wanting to take over the play and change it for my own good; rather, it's more to do with feeling that my presence should by now have outstayed its welcome. I'm no longer performing my role of being there for anyone else. I'm no longer in a position where I can observe the unfolding play that swills around, and I do like to be in a position where I can see as much as possible: it's a means of fixing markers in my mind, but it's also a means of being in-between, mostly, though ready if that needs to shift into something more specific to someone or some group or something on the playground.
This condition of shifts in states of mind isn't as simple as just stating 'OK, I'm bored now.' There are plenty of processes of thinking that are strung through it all. It troubles me, in a low level kind of way (at the other end of the 'troubling spectrum' to someone blatting the life out of an ex-wooden thing with a claw hammer thrown back behind their heads, or someone standing up high on something slippery, or suchlike): are these moments of minor boredom justifiable in amongst all the stimulus of moving and thinking about play, observing it, being a part of it, relating with and laughing and wondering at the incredible inventiveness of expression and exploration that children often display in their play?
It doesn't happen all that often, such a moment of minor boredom, but it happens every now and then, and its small but significant quietness scuffs and tumbles around inside — like it, itself, is a shadow-child trailing all my other thoughts.
Playworkings will be taking a break for a week or maybe a little longer (there are parts of the world to explore!)
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Reflections of a playworker in Tottenham
Last week saw a trip out across the far reaches of the other side of the city of London (that is, a trip up the Victoria line, and then a fair hike up Tottenham High Road!) to pay a visit to Somerford Grove Adventure Playground. I have been to Somerford before, some seven or eight years ago, and I have some clear memories of the play that was taking place that day in the sun, but what struck me this time, from the vantage point of coming from within the playground culture of one part of west London, was that there are similarities in what's at stake and what takes place in those playgrounds, and there are uniquenesses too.
Cathy and Tam at Somerford received us with plenty of stories, trials and tribulations, passions and celebrations, and there were plenty of these that I, for one, could relate to (if not always directly, then with a certain sympathy). I've met Cathy that once before, and I feel confident in saying we seem to be 'of the same page', as it were. Tottenham, as I read it through these stories in our short visit, is somewhat of a melting pot of cultures, and the playground is more than just the mere superficiality of that simple word. Later in the day, I was left reflecting on how this person called 'playworker' is, or can also be, someone to rely on, someone to support, someone to be pushy in the face of adversity, someone who stands up to a multitude of adult agendas, someone who might be (lower case initial letters) some form of 'pastoral help', 'advisor', 'protector': in short, much more than merely someone who's seen in terms of 'so, you put things out for children to play with', as I paraphrase of many discussions I've had, or erroneously as 'so, you teach children how to play?'
There are some similarities between the two playgrounds of north and west London here (as there are, perhaps, between all the playgrounds in the city and beyond): in this comparison of north and west alone, there are similarities in that there is a cultural mix, there are various peripheral groups, the potential for or actuality of gangs, to greater or lesser degrees, the continuity of the playworkers within it all, the ebb and flow and swill of the playground and its constituent parts. Where there are uniquenesses, I suppose (without a full understanding of Somerford) I concentrate on the particular comings and goings of individuals we know well, of the way of the local community, and of the general way of things farther out beyond the estate.
As an aside, on matters of a local flavour, I was surprised to overhear the contents of some workmen's conversations the other day, whilst I was painting signs that are strung up on the outsides of our fences. They, the workmen, were hanging around in the street, in the preliminary stages of putting out road blocks in order to pedestrianise the street immediately to the side of our most public fence. One of their number was telling another, in a broad accent I couldn't place, but which I figured not to be local to where we were, that (and I paraphrase) 'these sorts of estates are full of crime, of course; we've got these sorts of places where I'm from'. I had to smile because I thought I have to say something. I waved my paintbrush in the air and I put on my best local accent (even though I'm 'not from around here' either!) and told him, sure, there were police stats (I've seen them) about recent crime levels, but a third of those were for 'anti-social behaviour' and I wondered out loud if that might not correlate to 'play' in our books!
The point is that (apart from my opportunity to blat on about play to some unsuspecting souls), we should rein in our preconceptions, shouldn't we? Yes, the playground is dead-smack in the middle of rows of tenements and the estate is, pretty much, a zone in its own right, but let's not discount everything and everyone therein because of what we think we might know about it and them. The playground, perhaps, also comes under this sort of scrutiny: people might well look through the fence and see all the half-mangled stuff and bits of wood and old tyres and general air of 'disorder' and think to themselves 'well, that could do with a good scrub up'; however, what they'd completely miss is all the play therein, the possibilities and the histories of that play, and all the otherness of 'being playworker' that flows right through it, or could flow through it. That said, the term 'playworker' would, I suspect, not register on such thinking processes. There's time to address this though.
I digress. Coming back from Tottenham, and on further reflection, I'm quite acutely aware of the challenges we all might face, and the privileges we're afforded, in and around the playgrounds in the communities in which we work. I'm also aware of the fact that we are, or that we could be, or that we might someday be called upon to be, more than just, simplistically, 'that person who puts out the gloop and the paint, and who makes sure the zipwire's up, or who knocks up something out of an old pallet, or who chops up a couple of days' worth of wood for the fire'. There are considerations of gang influence to be had, as well as the possibilities of drugs, or of the affects of developing hormones in the older playground users and their peers; there are the skills needed to understand the varying needs and expressions, the disturbances and the inter-disturbances of individuals and groups who might aggregate in terms of gender, age, beliefs, family background and culture, or any combination of these and more; there are the constantly fluxing ways of interacting and understanding, or trying to understand, the agitations of the fads and fashions of growing up, or just being, in that place that those children are in; there is the need to be able to bring everything to a point of 'being on the children's side' (as paraphrased of the attitude of A. S. Neill, of Summerhill School), putting aside personal difficulties for long enough to be significant in those children's lives, indirectly, when fighting their corner with every other adult around. Some days might be smooth, some days might not be.
Play runs through it all, of course, and play will happen without us, but playworkers can help show that 'this is play' when others see it otherwise, or they can be that 'something else' (lower case initial letter, insert any given other here), if that play, as such, is so detrimental to the well-being of the individual, the group, or the community at large. This is not to say that playworkers should be (capital letters) 'Teachers', 'Policers', 'Leaders of Social Reform Amongst the Young'; this is to say that they are, potentially, part of something larger than just the geographical and psychological area inside the fence. This is how I read the work of those at Somerford Grove, and potentially of others based at other playgrounds around and about. Thanks Cathy and Tam, if ever this writing finds its way to you: I trust there'll be many more stories that can be shared.
a. s. neill
behaviours
The question of the how of speaking other languages about play
It occurs to me that even though we happen to be speaking the same language, we may in fact be speaking different languages altogether. That is to say, when speaking about play, it might not be the thing itself that's the contentious issue: it might just be the language that we speak to describe it. After all, isn't the play itself the same thing no matter which way up you hold it? What the difference is is the person doing the viewing. I'm aware that I've tended to come around to the same subject matters plenty of times in my writing, but that's all fine if those subject matters can be seen from different angles. When we discuss play, there's often a playing with words itself to do this: I'm thinking this post will be no different in that respect, but the slight tweak is the view of languages used.
A small moment of minor epiphany arrived recently when I realised that, in order to communicate with someone, we may have to speak more of their language. My language, in this writing on these posts, is the language of 'this is play, for the sake of play, for the hell of it, for no developmental outcomes or other future-looking gains', or variations of this. None of us are perfect adults, all of us are continuing the process of being and are being in our becomingness, in the here and now: there's no reason, in my language, why children shouldn't be viewed in the same way. We're occupied by the same genetic material, adults and children, and many adults tend to forget that they were children once too. They've forgotten because they think they're fully formed, wise, more. These are not rational assumptions to have because none of us are, or ever will be, 'complete'. We all occupy the same streets, and we all make our way, day by day. Here ends the brief précis of this language that I've been speaking for a while now.
However, it seems that in order to communicate with someone, we may have to speak more of their language. How, though, do we talk the languages of education, law and order, health, funding, and so on, whilst maintaining the core of what we believe to be true? These are questions for the asking, not answers yet for the giving. When I'm communicating with children, either by words or by gestures, but more often than not by play, I'm speaking their language, their codes and culture. We can speak more than one language within the overall language of the shared words and actions that we use. The task then is how to translate that skill into passionate advocacy for play with other adults who, by and large, don't usually come to play from the same angle.
'We have really everything in common with America nowadays, except, of course, language', as attributed to Oscar Wilde (not as commonly misquoted of George Bernard Shaw), is testament to more than the words of an actual language themselves, of course, but is also relevant in this 'adults coming to play' discussion: what we know is that we all view it differently, and that we speak of it in different terms — what is so obvious that it hasn't occurred too frequently though is that we do have the ability to speak others' languages, as difficult as this may be. Or, at least, if that proves ethically tricky, we have the capability of listening.
We're all right, of course, though. That is, we wouldn't position ourselves so absolutely in our ethical or principled camps if we didn't believe that what we were saying was 'the truth'. Is it possible that there is more than one truth? Can we really be living in a more than binary world of right/wrong? When I talk of play I talk about its here-and-now-ness, and I have great concerns about the rhetoric others use in tub-thumping with equal fervour about all things only-developmental. This is a simple binary, though I know the picture is more complicated than this in reality. Could it be that children's play offers them something for the future too, in conjunction with the just-now-ness? Yes, of course it does. Play has many benefits. Here, though, I break from the self-imposed attempt to see things in other ways, when saying: how about others seeing that same set of words in the last few lines the other way around too?
Back to the task in hand: how to see play by speaking others' languages of it. The present UK government, and the possible next, sees children in terms of educable entities. Of this I'm convinced, judging by the rhetoric that comes directly from politicians and indirectly via media reports of their policies and statements. How can a here-and-now play person (I deliberately avoid the 'playworker' term here for now) speak the language of education without diluting the core belief that play is essentially made of magic? I don't write this frivolously: if we are all made of carbon, if we are all made of star-dust, so it is that play is something 'other' than we might ordinarily always see. Play, from this perspective, is glitter that we can't catch. Here we are again, back at the esoteric, the poetic, the speaking of languages not understood.
Yet, the epiphany still stands: in order to communicate with someone, we may have to speak more of their language. The question is not in the 'what' of the words (these we can say because we have them in common anyway, of sorts), but in the 'how' of them. Perhaps, as 'developed' as we consider our adult selves to be, as 'fully formed', as 'wise', as 'more', we can come round to the conclusion that we can understand more of the 'how' by learning from children. In my experience, children often seem fairly adaptable to the how of speaking the different languages of adults around them: sure, they can co-opt adults into their own language of play to assimilate them into the nature of their thoughts, but they can also be adept at role and character mimicry, and much more than this too. Children often seem skilful at playing the language of any given adult, which may be altruistic — if there is such a thing — but which may serve their needs all the more succinctly. Maybe it's an evolutionary trait; maybe some of us, as fully formed as we think we are, un-develop it.
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Down on the Farm: Yankees power prospect Aaron Judge raking again
June 20, 2015 Updated: July 24, 2017 11:20 p.m.
Now that Kris Bryant, Joey Gallo, even Kyle Schwarber (for now) are up in the majors, the most fearsome power hitter in the minor leagues just might be Aaron Judge.
A 6-foot-7, 275-pound right fielder who draws obvious comparisons to Dave Winfield, Judge has overcome a prolonged mid-season slump and is raking again for Double-A Trenton. He's clubbed three homers to go with eight RBIs in his last seven games and raised his season average to .286. Judge, 23, hasn't even fully tapped into his power ability yet. He's got 11 homers in 61 games for the Thunder this season. He's also struck out 68 times in 243 at-bats, but that's pretty much par for the course for young power hitters these days.
Local fans could see Judge, the Yankees' first-round pick in the 2013 draft, come through New Britain Aug. 11-13. Of course, he could very well be up with Triple-A Scranton/Wilkes-Barre at that point ... or maybe even in the Bronx.
New York Yankees right fielder Aaron Judge has clubbed three homers to go with eight RBIs in his last seven games.Carlos Osorio — The Associated Press
He hails from hoops-crazy Indiana, and add that to his 3-pointer name, you'd think Trey Ball would be a basketball player.
But no, Ball is a left-handed prospect in Boston's system, and he's starting to live up to his potential. The Red Sox' top pick in the 2013 draft had one of the best starts of his career for High-A Salem recently, striking out a career-high nine batters over 5 2/3 innings in a 12-0 blanking of Lynchburg on June 10.
The 6-foot-6 southpaw struck out seven of the first 10 batters he faced and didn't allow a hit until a leadoff single in the fifth. It was the third scoreless outing in four starts for Ball, who relies on a mid-to-low-90's fastball, mixed with a curveball and changeup.
Ball, 20, has had his workload ramped down in his past two starts, working just four and three innings, respectively. He allowed just a pair of earned runs over both outings. He's 5-5 with a 3.73 ERA in 12 starts for Salem.
Remember Brandon Nimmo, the kid the Mets took with the 13th overall pick of the 2011 draft — one pick ahead of Jose Fernandez? Well, after a month-long absence due to a knee injury, he's back with Double-A Binghamton and swinging it quite nicely, thank you.
Nimmo, a centerfielder, went 2-for-5 with a pair of doubles, two runs scored and an RBI in his return to action at Portland Thursday night. He's hitting .301 on the season with an .802 OPS.
Nimmo hit .278 with 10 homers in 127 games between High-A St. Lucie and Binghamton last season.


Martin Mine - Benton, Wisconsin.
Lead ore was the first metal ore mined in Wisconsin, followed by zinc and iron. Although southwestern Wisconsin is best known today for its rich farmlands, place names such as Mineral Point, Hardscrabble, New Diggings, Black Jack and Lead Mine evoke an earlier time when local mines produced much of the nation's lead. In the early nineteenth century, Wisconsin lead mining was more promising and attractive to potential settlers than either the fur trade or farming. Its potentially quick rewards lured a steady stream of settlers up the Mississippi River and into Grant, Crawford, Iowa, and Lafayette counties in the early nineteenth century. By 1829, more than 4,000 miners worked in southwestern Wisconsin, producing 13 million pounds of lead a year.
During the 1820s, lead was discovered around the Fever River (now the Galena River), in northwestern Illinois. By 1828, mining had spread north into southwestern Wisconsin, where more extensive lead deposits were found near Mineral Point and by 1829, more than 4,000 miners worked in southwestern Wisconsin, producing 13 million pounds of lead a year. By the mid-1830s, news of the "lead rush" in the Upper Mississippi Valley had reached all the way to Cornwall and a steady stream of skilled, hard-rock miners began to filter into Mineral Point. The Mineral Point, Wisconsin land office was opened in 1834.
In 1850, about 7,000 of the 27,000 British immigrants in Wisconsin were Cornish. Records show that by 1850, some 6,000 Cornish immigrants were living in the counties of Grant, Iowa and Lafayette in Wisconsin. Lead mining in the area went into decline during the 1850s, and many of the Cornish moved on to the copper mines of Upper Michigan and the gold mines of California. It is recorded that during the period, some 700 people left for California from Mineral Point. On one particular day, 60 wagons left, all headed west.
Using new technology in the 1850s, miners began to extract zinc ore from deposits where it was found with lead. For a short period of time in the 19th century, Mineral Point had the largest zinc smelter in the world.
Although iron mining in Wisconsin had its beginnings in Sauk, Dodge and Jackson counties in the southern part of the state in the 1850s, discoveries of vast new deposits shifted the focus to northern Wisconsin in 1880. The major iron mining area from the mid-1880s to the mid-1960s was the Gogebic Iron Range, which extends for 80 miles from Lake Gogebic in Michigan to Lake Namekagon in Wisconsin. Forty-five of the 70.7 million tons of ore produced from the Gogebic Iron Range in Wisconsin came from the Cary Mine near Hurley and the Montreal Mine at Montreal. The remaining ore came from smaller mines such as the Ottawa, Atlantic, Iron Belt, Germania, Windsor, Tyler Forks and Plummer mines, most of which ceased operation before World War I. The Montreal and Cary mines closed in the 1960s when the steel industry changed from using high-grade iron ore from deep shaft mines to using abundant taconite ore that could be economically mined by the open-pit method, mostly in Minnesota. At the time of their closing, the Montreal and Cary mines were producing ore from workings nearly one mile deep. The last iron ore from the Gogebic Iron Range in Wisconsin was shipped from the Cary Mine in 1965.
The Gogebic Range refers both to the range of mountains that runs along the route and to the surrounding communities that built up during a boom period in the 1880s. The term Gogebic Range is also used to refer to the same area extending across the border into Wisconsin in Iron County, and extending west through a portion of Bayfield County, Wisconsin. The Gogebic Range area experienced an initial speculative boom in the mid-1880s, and saw recurring booms and busts from 1884 to 1967.
For decades in the late 19th century and into the 1920s, the Gogebic Range was one of the nation's chief sources of iron. Iron from the Gogebic Range helped to fuel the industrial boom in the Upper Midwest during these years. Mining was winding down in 1930s with mines beginning to close, amid a national economy also suffering from the Great Depression. The result was widespread economic devastation in the Gogebic Range.
In 1818, a young man name Jesse Shull began buying furs for John Jacob Aster of the American Fur Co. He was sent to the Fever River in the summer of 1819 and built a trading house where Perry Street in Galena Illinois is now. From this Galena IL trading house, he followed the Indian trails in search of better locations. His first camp, where Shullsburg WI is now located, was made in 1820-21. During this time he was also investigating the mining lands of the area and in the summer of 1826 he was shown by Indians locations of rich ore deposits. A migration of miners followed, the first of which were called Badgers because many lived in holes they dug in the ground.
From the mid-1820s to the Civil War, lead mining was the reason Shullsburg Wisconsin grew and prospered but hard times fell upon the town during and after the Civil War. But by 1880, the mines were again being worked. The yield was great enough to bring the railroad to town, creating another era of growth and prosperity. Shullsburg WI continued to do well for several decades as many of the mines operated through the 1940's. The last mining operation came to a halt when the Eagle-Picher Mine closed in 1979.
The first European settlement at Mineral Point began in 1827. During the following year, large quantities of galena, or lead ore, were discovered around the settlement in shallow deposits. Lead had many uses at the time, and settlers began to flock to the region hoping to make a living by extracting the easily accessible mineral. Prospectors, miners and adventurers swarmed through the hills and lived in crude shelters known as "badger holes", from which Wisconsin got its nickname: The Badger State. Lead deposits extended throughout an area that also included Dubuque, Iowa and Galena, Illinois, but Mineral Point became the center of lead mining operations within the bounds of present day Wisconsin (then part of Michigan Territory). By 1829, the region's growing population led to the creation of Iowa County, which included all of the lead mining lands within the borders of Michigan Territory at the time. Mineral Point was established as the county seat later that year.
Mineral Point remained an important lead mining center during the 1840s. Although the most easily accessible lead deposits on the surface were becoming exhausted, new immigrants began to arrive with more refined techniques for extracting ore. The largest group came from Cornwall, which had been a copper, lead and tin mining center for centuries. Experienced Cornish miners were attracted to the lead mines in Mineral Point, and by 1845 roughly half of the town's population had Cornish ancestry.
Lead continued to be produced in abundant quantities by the Cornish miners. In 1847, the Mineral Point Tribune reported that the town's furnaces were producing 43,800 pounds of lead each day. Mining activity in Mineral Point began to decline in the following years. In 1848, the same year that Wisconsin achieved statehood, gold was discovered in California. Many experienced miners left Mineral Point to look for gold, and in all, the town lost 700 people during the California Gold Rush. While the lead industry in Mineral Point continued into the 1860s, the town never recovered its former importance.
As lead mining declined in Mineral Point, zinc mining and smelting became important new industries. Zinc ore was discovered with increasing frequency near the bottoms of old lead mines. The Mineral Point Zinc Company was founded in 1882, and by 1891 it was operating the largest zinc oxide works in the United States at Mineral Point. Zinc mining and processing continued on a large scale until the 1920s.
Platteville was a small farming and fur trading community along the Platte River, from which the town got its name. In the 1820s, lead ore or Galena was discovered in the area, a mining boom followed. The mining district encompassed a significant portion of southwest Wisconsin. More specifically, the counties of Grant, Iowa, Lafayette, and Jo Davies County (Illinois) played a major role in the mining of lead and zinc ore. The Galena, Illinois mining district, an area south of Platteville, had been known to many for years. Beginning in 1825, lead prices saw a dramatic boost and the Platteville economy flourished. The "grey gold" (a common nickname for lead ore) was brought development of businesses and schools. Platteville's landscape was shaped by the mining that helped build the town, and mineral holes abounded everywhere.
In 1827, Major John H. Rountree and Major John H. Campbell purchased Metcalf's lode and opened a general store. Two years later, this small 150-person community was named Platteville. The town was planned in a style reminiscent of Yorkshire, England - quaint and practical - with access to the town's mine entrances.
By the 1849s lead ore production was decreasing. However, the mining of zinc ore quickly filled the void for prospective work. Platteville was now an established town, complete with schools, an academy, newspaper, several churches, and a telegraph service as of November 1849. During this time, a teachers' college and a mining college were founded. The Wisconsin Mining Trade School opened in January 1908.
In 1827, Henry Dodge, his family and about 40 miners set up camp in the vicinity of present East Fountain Street. Tales were told of lead deposits so abundant in this area that ore actually lay on top of the ground! Upon coming to the area and seeing firsthand the rich quantity of lead, a pact was made with the local Winnebago Indian leaders and a crude fort was built near our present-day city hall. From a crude smelter, Dodge processed and shipped tons of lead ore. Within a short time, about 100 miners were working claims on the ridges of Dodgeville.
Due to a fluctuation of lead prices and Indian scares, Dodgeville continued to grow slowly until 1833 at which time it consisted of two settlements. Dodgeville was located in the present-day Fountain and Iowa Street areas, and the Dirty Hollow-Minersville settlement was located in the vicinity of Spring and North Main Streets. The first residents were Americans of English, Irish, Scots and French descent generally hailing from Kentucky, Missouri or adjacent states. Within a few years, Welsh and Cornish miners arrived from the British Isles. Around this same time, in 1836, Henry Dodge became the first Wisconsin Territorial Governor.
After the rise of lead production in the area in 1845, many miners left for the California Gold Rush of 1849. Those who stayed, notably the Cornish, used their mining expertise to extend the life of the mines through hard-rock mining, water diversion and explosive powders. After the Blackhawk Indian War and the Civil War, mining subsided and was replaced by farming and mercantilism.
Wisconsin's iron mining began in the southern part of the state in 1849 in Dodge, Sauk and Jackson counties, and in 1900 in the Baraboo Iron Range. Iron mining on a large scale began in the Gogebic Iron Range on the Wisconsin-Michigan border between 1884 and 1886, after its discovery in 1883. The southern Wisconsin iron deposits paled in comparison to the deposits of the Goegebic Range. Wisconsin also included a small segment of the Menominee Iron Range in Florence County.
In the Mayville District of southern Wisconsin we find the Mayville and Iron Ridge Mines. The Mayville Mine opened in 1892, operated until 1928 and reportedly produced 2,144,000 tons of ore from an open pit operation. The Iron Ridge Mine worked a formation that was 15 to 25 feet thick.
The Iron Ridge Mines are located along the Niagara Escarpment within the Iron Ridge/Neda Iron District. The district is located between the towns of Iron Ridge and Mayville, just east along highway 67. During the time the district was active from the 1850's to 1915 four iron mines and one limestone quarry sprung up in the area producing millions of tons of mid to high grade iron ores. The mines that thrived there at the time are listed from south to north. The Iron Ridge Mine aka the Neda Mine or Oliver Mine, the Mayville Open Pit Mine, the Mayville Shaft Mine and the Unnamed Mine.
The Baraboo Range is located in the Baraboo Hills of Sauk County. Mines began operation here in 1904. The Illinois Mine operated from 1904 to 1916 and produced 315,000 tons of ore. The Cahoon Mine opened in 1919 and produced 238,000 tons of ore before closing in 1925. Ores on this range were usually found at depths of less than 500 feet.
The Menominee Range is situated mainly in the valley of the Menominee River, which lies on the boundary between the Upper Peninsula of Michigan and northern Wisconsin. That iron was located here seems to have been known before the Civil War, but mining dates back only to the 1870s. The Breen Mine was opened in 1872, and other locations opened soon afterward. Active shipments, however, had to await construction of a branch of the Chicago and North Western Railroad from Powers, Michigan, on the main line of the Peninsular Division, which reached the district in 1877. The best outlet for the range was at Escanaba, on Little Bay De Noc of Lake Michigan, to which the North Western constructed a direct line. The Chicago, Milwaukee, and St. Paul Railroad also penetrated the region and shipped ore over the Escanaba and Lake Superior line until it reached a pooling agreement for shipment over the North Western. Mines were opened at Vulcan, Norway, Quinnessec, Iron Mountain, and Iron River, Michigan, and at Florence, Wisconsin.
Penna Benton Mine - New Diggings, Wisconsin.


The title asks a question and of course it begs an answer, but we cannot give a straight answer to that particular question as it is too vague at this moment. So how can I answer the question "How much does it cost to start a bakery"?
I cannot today tell you that your bakery will cost one hundred thousand dollars nor can I say it will cost a million dollars. But both dollar amounts are quite reasonable depending upon your definition of the word bakery.
The word bakery can be and is used to define a business that produces food for public consumption. But again we have used a generic term in the word "Bakery". You can see that just using the word bakery is like opening and umbrella. It covers a large area.
Let's start by saying we are going to start a bread bakery. We can also define the word as a cake bakery or donut bakery and even a bagel bakery. Plus there are other types of bakery that we can define that question too. Now we have defined our term bakery.
Can you see where I am going here?
Your business plan is going to define "YOUR" bakery! This is where you answer your own question of how much does it cost to start a bakery.
Another question I have to ask is, "Will I be starting a franchised bakery"? Because here again is the question, "how much does it cost to start a bakery"?
When I can answer to the type of bakery, I can say to some degree the total price of that bakery.
I can tell you that there are a number of pieces of equipment that are almost standard in every bakery. The type of equipment and the size of that equipment is again going to decide for you as to, "how much does it cost to start a bakery"?
In today's employment standards acts, there are rules and regulation that have been put in place to prevent some types of equipment from being used. So again we have a problem here to answer your first question.
Notice too that I did not say; "prevents that equipment from being sold". This is because pre-owned equipment is still for sale and some of this equipment is in today's market requires upgrading to today's employment standards. The equipment still works and still does that job it was originally designed for, and very likely the price it is offered at, is extremely attractive. Meaning; it peeks our interest, because it is such a great price.
There are food equipment auction houses that offer all kinds of equipment that can do the job we are looking to do, so we could get that equipment at perhaps as little as ten percent, or less, of buying the same piece of equipment brand new.
The age of these pieces being sold pre-own, also has a bearing on the sale price as does the condition. For instance on a mixer it is possible that the oil seal of the spindle is cracked or has stood un-used for some time and so could break when the machine is placed into regular use.
If you were to purchase an oven from a pre-owned operation, that oven will quite often have to be dismantled and rebuilt. The rebuild could be faulty or rebuilt without installing new components in the proper place, or rebuilt on uneven ground.
I can go on but we haven't answered your question of "how much does it cost to start a bakery"?
I have tried to answer you as best I know how. We could do more if you want to know how to start a bakery then we have a program in our book where we go into all the different types of equipment that is used within a bakery.
Not to scare you too much your bakery could cost you as little as a few thousand dollars to well over two million dollars. This of course will depend upon you and your business plan.


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Behold a glimpse of infinity. This is what you conjure up when opening a book to its first page. From...
Featured GalleryPhotos & VideosSunday Inquirer Magazine
Crime Wave
Crime has long been part of Filipino literature, with criminal and violent acts at the heart of many a literary...
ColumnsFeatured ColumnsSunday Inquirer Magazine
Love in the time of paperback romances
Contrary to the popular misconception that they are read only by the household help, Filipino romances rank among the most diverse and vibrant products of the Philippine publishing industry. They don't get a lot of love from the literati crowd, but are nonetheless the result of a dizzying creative process and have an extremely loyal following that continues to grow.
The man who can't stop writing
It is a challenge to figure out exactly where to begin when it comes to telling the story of Ed Maranan. Quite curious, considering how the man is a pro when it comes to telling stories. Stories for adults and children, poetry, plays… he literally breathes them. Even when he talks, the sentences slide and move from one story to another almost without gaps.
A lot on his plate
Like a hero in a science fiction story, Claude Tayag seems to live in three different worlds all at once. But if you ask him, it's the same world with different aspects to it. Widely known for being a visual artist and an accomplished chef with a devotion to Kapampangan cuisine, Claude has also emerged as an engaging food writer and author.
ColumnsFeatured ColumnsFeatured GalleryPhotos & VideosSunday Inquirer Magazine
Martial Law really happened. They were there
In this excerpt from the book, "Not on Our Watch: Martial Law Really Happened. We Were There," CNN correspondent and Beijing bureau chief Jaime "Jimi" FlorCruz recounts how he and a motley group of fellow student activists were stranded in China following a three-week tour in 1971. Fearing arrest and military reprisals, the group was forced to live in China after President Marcos first suspended the writ of habeas corpus and then declared martial law in 1972.
Sunday Inquirer Magazine
Consider for a moment the idea of books as the manifestation of an inspired kind of virus, when a single book could spread and replicate itself countless times until it took over its host.
ColumnsFeatured ColumnsPhotos & VideosSunday Inquirer Magazine
Diary of an '80s kid
What one remembers the most about Cyan Abad-Jugo is her remarkable gentleness. There is a winning shyness in her eyes and in the quiet way she speaks. It's like the lilting voice of a precocious child, and being able to see things from that angle is something she has always treasured. "The child's voice is my default voice," she says. "I like writing from a child's point of view."
The cult of Kikomachine
Extremely shy and low-key, casual and sporting a goatee, Manix Abrera is the last person you'd imagine leading a cult. But he is—in a sense. The 30-year-old cartoonist is the creator of the "Kikomachine" comic strip, whose books are among the country's best-sellers.
The Books of (Martial) Law
[tibak] Like the pages of an old diary, the years gone by since martial law come in different conditions. Some are dog-eared from constant scrutiny. Others are ripped from forceful amnesia, while others are brittle from having been dried after an encounter with water, most probably the business end of a water cannon. The handwriting can be smeared by tears and entire pages can be blank or gone missing.


This is my third year.. Made it last year all 14. This year will be another great opportunity to collab again. I have been using Songspace.com and Hooktheory.com to flesh out ideas and put them down.
I live in Montreal - play piano, guitar. I use Cakewalk to compose and make simple recordings. I love making something from nothing. I love telling stories. I love it when someone's voice and style adds life to one of my compositions.
Is there anywhere I can download "Too Hot to Handle" from last year? If not, can I give you my email address and would you send it to me? I really liked that song and I'd like a copy. Willing to pay a standard $1.29 if you'd like.
Yeah, the flat prairie of Manitoba where I now live seems like worlds away from Georgian Bay!
I'm game, I've hit a bit of a dry spot. I'll check in tonight and see what you've got posted.
Wow! I had a busy week and didn't log on for a while. As always, it's thrilling to hear my words made music. Thank you!
Sorry for the long delay. If you still have those sing lyrics you'd like me to look at, I'm happy to take a look.
Hey Marty, glad to see you here! Maybe we can do a collaboration or two again this year. And thanks for the kind words on "Jethro Burns".
I wasn't sure I'd join up this year, but here I am. Happy to collaborate if something catches your fancy.


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Asmik Grigorian (* 12. Mai 1981 in Vilnius, Litauische SSR, Sowjetunion) ist eine litauische Opernsängerin (Sopran).

Leben
Asmik Grigorian studierte Klavier und Chordirigieren an der Nationalen Mikalojus-Konstantinas-Čiurlionis-Kunstschule in Vilnius und legte dort 1999 ihr Abitur ab. Von September 1999 bis 2003 absolvierte sie ein Bachelorstudium und bis 2006 ein Masterstudium im Fach Gesang an der Litauischen Akademie für Musik und Theater in ihrer Heimatstadt Vilnius. 2004 gab sie in Batumi (Georgien) ihr Bühnendebüt als Desdemona in Verdis Otello und trat 2005 erstmals am Litauischen Nationaltheater für Oper und Ballett als Violetta in Verdis La traviata auf. Es folgten Engagements an der Lettischen Nationaloper, wiederum als Violetta, als Donna Elvira in Mozarts Don Giovanni und beim Opernfestival Riga 2010 in allen drei weiblichen Hauptrollen (Giorgetta, Suor Angelica und Lauretta) in Puccinis Il trittico. 2015 stellte sie an der Lettischen Nationaloper die Titelrolle in Puccinis Manon Lescaut sowie an der Oper Vilnius die Leonora in Verdis Il trovatore dar.

Seit 2011 wurde Asmik Grigorian auch häufiger außerhalb der baltischen Staaten engagiert. Den Auftakt des internationalen Wirkens machten Festivalauftritte als Micaëla in Bizets Carmen bei Les Soirées Lyriques de Sanxay (2011) und als Nedda in Leoncavallos Pagliacci beim Szeged Open-Air Festival (2012). Am Mariinski-Theater St. Petersburg debütierte sie 2012 wiederum mit den drei Hauptrollen in Puccinis Il trittico und trat dort weiterhin als Lisa in Tschaikowskis Pique Dame (2015) sowie als Desdemona in Verdis Otello (2016) auf. An der Flämischen Oper Gent gab sie die Rachel in Halévys La Juive (2015), an der Königlichen Oper (Stockholm) die Titelrolle von Umberto Giordanos Oper Fedora (2016) und am Theater Basel die Polina in Prokofjews Der Spieler(2018).

Im deutschsprachigen Raum fand sie Aufmerksamkeit als Hauptdarstellerin in Opern von Pjotr Iljitsch Tschaikowski: als Maria in Mazeppa an der Komischen Oper Berlin (2013), als Nastasja in Die Zauberin am Theater an der Wien (2014) und als Tatjana in Eugen Onegin wieder an der Komischen Oper Berlin (2016). Am Hessischen Staatstheater Wiesbaden stellte sie 2016 erstmals die Judit in Herzog Blaubarts Burg von Béla Bartók dar. Ihr Debüt bei den Salzburger Festspielen gab sie 2017 als Marie in Alban Bergs Wozzeck und fand damit Beachtung bei den Rezensenten. 2018 konnte sie ebenda mit ihrer gesanglichen und darstellerischen Leistung in der Titelrolle von Salome von Richard Strauss Kritik und Publikum gleichermaßen überzeugen, diesen inzwischen auch mit zwei Preisen gewürdigten Erfolg im Jahr 2019 wiederholen und im Jahr 2020 als Chrysothemis in Elektra daran anknüpfen.

In neuerer Zeit steht sie mehr und mehr auf den Besetzungslisten weltweit beachteter Opernhäuser. 2018 war sie am Gran Teatre del Liceu Barcelona als Tamara in Anton Rubinsteins Der Dämon zu erleben. Ihre Hausdebüts an der Mailänder Scala  als Marietta in Korngolds Die tote Stadt und an der Wiener Staatsoper als Cio-Cio-San in Puccinis Madama Butterfly gab sie 2019 und 2020. Am Teatro Real de Madrid stellte sie sich 2020 in der Titelrolle von Rusalka vor. 2021 debütierte sie bei den Bayreuther Festspielen als Senta in der Neuinszenierung von Der Fliegende Holländer und am Royal Opera House London in der Titrelrolle von Jenůfa.

2022 stellte sie Salome am Bolschoi-Theater dar und wirkte bei den Salzburger Festspielen in allen drei weiblichen Hauptrollen (Giorgetta, Suor Angelica und Lauretta) in Puccinis Il trittico mit. Im Konzertbereich trat sie im Rahmen der Gala der Aids-Stiftung an der Deutschen Oper Berlin und als Marie in Drei Bruchstücke aus Wozzeck am Teatro del Maggio und in der Elbphilharmonie auf. An der Wiener Staatsoper sang sie die Titelrolle in Manon Lescaut. Zum Abschluss der Saison kehrte Asmik zu den Salzburger Festspielen zurück, um alle drei Hauptrollen in einer neuen Produktion von Puccinis Il Trittico unter der Regie von Christof Loy zu singen.

Auf einem Konzert zum 30. Jubiläum der Unabhängigkeit Armeniens am 21. Juni 1990 und zum Gedenken an ihren Vater Gegham Grigorjan im Litauischen Nationaltheater für Oper und Ballett in Vilnius sang sie zum ersten Mal unter dem Dirigat ihres Bruders Warlam Grigorjan.

Asmik begann die Saison 2022/23 mit einer Fortsetzung ihrer Konzerttournee mit der Vorstellung ihres Albums mit dem Pianisten Lukas Geniušas.

Sie ist die offizielle Botschafterin für die Wohltätigkeitsorganisation Rimantas Kaukenas.

Opernrollen

Frühere Rollen

Konzertrepertoire

 Requiem Op. 96 – Mieczysław Weinberg
 Requiem - Andrew Lloyd Webber
 Requiem in D minor, K. 626 - Wolfgang Amadeus Mozart
 Stabat mater – Giovanni Battista Pergolesi
 Messa da Requiem - Giuseppe Verdi
 Symphony No. 8 – Gustav Mahler
 War Requiem, Op. 66 – Benjamin Britten
 Requiem, Op. 89 – Antonín Dvořák
 Stabat Mater, Op. 58 (B. 71) – Antonín Dvořák
 Die 14. Symphonie, Op. 135 – Dmitri Dmitrijewitsch Schostakowitsch

Familie
Asmik Grigorian ist die Tochter des armenischen Tenors Gegham Grigorjan (1951–2016) und der litauischen Sopranistin Irena Milkevičiūtė (* 1947), Professorin an der Litauischen Musik- und Theaterakademie. Sie hat drei Halbbrüder – aus der ersten Ehe ihrer Mutter Irvidas Česaitis (* 1971) und aus der zweiten Ehe ihres Vaters den Dirigenten Wardan Grigorjan (* 1992) und Tigran Grigorjan.

Auszeichnungen
 International Opera Awards 2016 (in der Kategorie junge Sängerin)
 Orden für Verdienste um Litauen, 2018
 International Opera Awards 2019 (in der Kategorie Sängerin)
 Österreichischer Musiktheaterpreis 2019 in der Kategorie Beste weibliche Hauptrolle für Salome bei den Salzburger Festspielen
 Sängerin des Jahres in der Kritikerumfrage der Opernwelt, 2019
 Premios Ópera XXI für die Darstellung der "Rusalka" am Teatro Real de Madrid, 2022

Diskografie

CD
 Dmitri Hvorostovsky sings of War, Peace, Love and Sorrow mit Asmik Grigorian als Duettpartnerin in Szenen aus Krieg und Frieden von Sergei Prokofjew und Der Dämon von Anton Rubinstein. Delos, August 2016
 Dissonance: Lieder von Sergei Rachmaninow. Mit Lukas Geniušas, Klavier. Alpha, März 2022

DVD / BluRay
 Alban Berg: Wozzeck (Asmik Grigorian als Marie), Salzburger Festspiele 2017. Wiener Staatsopernchor, Wiener Philharmoniker, Wladimir Jurowski. Harmonia Mundi, 2018.
 Richard Strauss: Salome (Asmik Grigorian in der Titelrolle, Julian Pregardien, John Daszak, Anna Maria Chiuri, Gabor Bretz), Salzburger Festspiele 2018. Regie: Romeo Castellucci; Wiener Philharmoniker, Franz Welser-Möst. Unitel, 2019.
 Richard Strauss: Elektra (Asmik Grigorian als Chrysothemis, Ausrine Stundyte, Tanja Ariane Baumgartner, Michael Laurenz), Salzburger Festspiele 2020. Regie: Krzysztof Warlikowski; Wiener Philharmoniker, Franz Welser-Möst. Unitel  2021.
 Antonín Dvořák: Rusalka (Asmik Grigorian in der Titelrolle, Eric Cutler, Karita Mattila, Katarina Dalayman). Regie: Christoph Loy; Teatro Real Madrid, Ivor Bolton. CMajor 2021.
 Richard Wagner: Der fliegende Holländer (Georg Zeppenfeld, Asmik Grigorian als Senta, Eric Cutler, John Lundgren, Dmitri Tschernjakow, Oksana Lyniv, Bayreuther Festspiele 2021) Deutsche Grammophon 2022
 Fuoco Sacro (Sängerinnen: Ermonela Jaho, Barbara Hannigan und Asmik Grigorian; Regisseur & Produzent: Jan Schmidt-Garre), Deutschland 2021

Weblinks

 Asmik Grigorian Agenturprofil

Einzelnachweise

Opernsänger
Sopran
Musiker (Vilnius)
Absolvent der Litauischen Musik- und Theaterakademie
Person (Salzburger Festspiele)
Träger des Ordens für Verdienste um Litauen
Sowjetbürger
Litauer
Geboren 1981
Frau

redpajama_set_name: RedPajamaWikipedia


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Criminal minds : the 12th season
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인기가 높은 트립입니다. 2,100명 이상의 게스트가 예약했어요.
Vietnamese cuisine frequently uses meat as one of the main ingredients. In this street food tour vegetarian choices will be more limited. Please inform me in advance if you are a vegetarian or vegan.


text:
Vision Is Front & Center In New 'Avengers: Age of Ultron' Promo Image
We are only six months away from Avengers: Age of Ultron! We're all counting down the days until we get to see the most exciting ensemble of comic books characters to date in the follow-up to the most successful comic book movie of all time. Just weeks ago we got our first look at the movie with the first official trailer, and it blew our minds. One big element was missing, the Vision. It makes sense to hold him back for the final trailer, but before that happens, here's a great look at him (with the team) in a new promo image!
The Vision is being played by Paul Bettany, who is also the voice of JARVIS, Tony Starks artificial intelligence. In the comics, the humanoid Vision is created by the extreme artificial intelligence Ultron (baddie of Age of Ultron) to have a partner in crime. Vision eventually realizes what Ultron is and becomes a core member of the Avengers team for many years to come.
In the movie universe, it's expected that either Ultron or Tony Stark will take Starks artificial intelligence buddy JARVIS and create Vision from him (hence having Bettany be both JARVIS and Vision). So far we have seen or heard no signs of Vision actually being a bad guy. But if the movie stays true to the comics, we will see Vision start out as an enemy alongside Ultron for at least a little bit, and then join the team to take him down, which is why we've seen Vision as an Avenger in promos.
We won't know for sure what the plan Kevin Feige and Joss Whedon have in store for Vision until he (hopefully) shows up in the next trailer, if not then, then when the movie hits in May. Until then, here's the new promo:
I've got to say, he looks completely badass. While his look has great resemblance to the comics, Whedon has put his own little twist on him and it couldn't have turned out better. Vision is definitely one of the more interesting characters, and it'll be extremely interesting to see how he interacts and fits in with the team. I for one can't wait to see him in action and what kind of powers he holds, and hopefully he's in the future plans of the MCU.
Marvel's Avengers: Age of Ultron will be released on May 1st, 2015. Directed by Joss Whedon starring Robert Downey Jr., Chris Evans, Chris Hemsworth, Mark Ruffalo, Scarlet Johansson, Jeremy Renner, Cobie Smulders, Samuel L. Jackson, Don Cheadle, Aaron Taylor-Johnson, Elizabeth Olsen, Paul Bettany, James Spader, Thomas Kretschmann, Anthony Mackie (Rumored), Haley Atwell (rumored), and Josh Brolin (rumored).
Tagged as: Aaron Taylor-Johnson, Anthony Mackie, Avengers: Age of Ultron, Chris Evans, Chris Hemsworth, Cobie Smulders, Don Cheadle, Elizabeth Olsen, Haley Atwell, James Spader, Jeremy Renner, Josh Brolin, Joss Whedon, Kevin Feige, Mark Ruffalo, Paul Bettany, Robert Downey Jr., Samuel L. Jackson, Scarlett Johansson, Thomas Kretschmann, Walt Disney Pictures
Check Out New Clips & B-Roll Footage for 'The Battle of the Five Armies'
Poll: What's Your Favorite 'Suicide Squad' Casting?


text:
John Hilary Sewell Winter
M, #1884, b. 11 January 1908, d. 23 April 1995
John Hilary Sewell Winter was born on 11 January 1908 in Victoria, British Columbia.1,2 He was the son of Cecil Burton Winter and Helen Lilian Moore.3 John Hilary Sewell Winter died on 23 April 1995 in Victoria, British Columbia, at the age of 872 and was interred in Royal Oak Burial Park Cemetery, Victoria, British Columbia.2
[S225] 1911 Canadian Census, British Columbia / Kootenay / 60 Greenwood / page 9.
[S5] William Darcy McKeough, McKeough Family Tree.
Mona Winter1
F, #21606, b. August 1904
Mona Winter was born in August 1904.1 She was the daughter of Cecil Burton Winter and Helen Lilian Moore.1
Walter James Winter1
M, #15098, b. March 1875, d. 1894
Walter James Winter's birth was registered in the quarter ending March 1875 in the St Faiths, Norfolk, registration district.2 He was the son of Lt. Colonel Henry Burton Winter and Maude Lavinia Sewell.1 Walter James Winter died in 1894 in Erpingham, Norfolk,2 and was buried on 11 April 1894 in Drayton, Norfolk.3
[S34] Unverified internet information, http://freepages.genealogy.rootsweb.com/~pillagoda/…
[S120] Free BMD.
[S89] Family Search, England Deaths and Burials, 1538-1991.
Walter John Winter1
M, #1880, b. 1896
Walter John Winter's birth was registered in the quarter ending 1896 in the Wirral registration district.2 He was the son of Major Harrie Sewallis Winter and Minnie Charlotte Bryan.1 Walter John Winter was christened on 21 January 1896 at St. Peter's, Rock Ferry, Cheshire.3 On 7 October 1916 he entered military service as a private, he was trained as a driver. He was demobilised on 27 July 1919 at Woolwich Dockyard and was granted a disability allowance.
[S89] Family Search, England Births and Christenings, 1538-1975.
Rudolph C. Winterhoff
M, #25629
Rudolph C. Winterhoff married Julia Helen Stuyvesant, daughter of Peter Stuyvesant and Julia Rebecca Martin, on 8 May 1862.
Mary Ann Winters1
Mary Ann Winters was born circa 1842 in Scotland.2 She married James Hatt on 9 November 1866 in Clinton, Huron, Ontario.2
Child of Mary Ann Winters and James Hatt
Francis Eleanor Hatt+1 b. 15 Mar 1876, d. 5 Feb 1912
[S232] Ancestry.com, Ontario, Canada Births, 1869-1909. Grey, 1876.
[S232] Ancestry.com, Ontario, Canada Marriages, 1801-1926.
Adam Winthrop1
M, #7669, b. 1548, d. 1623
Adam Winthrop was born in 1548.1 He was the son of Adam Winthrop.1 Adam Winthrop married Anne Brown, daughter of Henry Brown, on 20 February 1579.1 Adam Winthrop died in 1623.1
Child of Adam Winthrop and Anne Brown
Governor John Winthrop+1 b. 12 Jan 1587/88, d. 26 Mar 1649
[S21] Various editors, Dictionary of National Biography.
Adam Winthrop was born in 1498.1 He died in 1562.1
Child of Adam Winthrop
Adam Winthrop+1 b. 1548, d. 1623
Benjamin Winthrop1
Benjamin Winthrop married Judith Stuyvesant, daughter of Petrus Stuyvesant and Margaret Livingston, on 19 January 1785.1,2
[S625] Cuyler Reynolds, Southern New York, Vol. III, p. 1015.
[S626] William B. Aitken, Distinguished families, p. 11.
Governor Fitz-John Winthrop1
M, #7675, b. 14 March 1638, d. 1707
Governor Fitz-John Winthrop was born on 14 March 1638.2 He was the son of Governor John Winthrop of Connecticut and Elizabeth Read.1,2 Governor Fitz-John Winthrop. Governor of Connecticutt between 1698 and 1707.3 He died in 1707.1
Child of Governor Fitz-John Winthrop
Mary Winthrop4 d. 8 Jan 1712/13
[S20] Various editors, Encyclopaedia Britannica, Winthrop, J.
[S131] George Norbury MacKenzie, Colonial families of the United States, Vol. VI p. 334.
[S58] Various Editors, Dictionary of Canadian Biography, vol. 2 p. 436.
Forth Winthrop
M, #7686, d. 1631
Forth Winthrop was the son of Governor John Winthrop and Mary Forth. Forth Winthrop died in 1631 in England.
Henry Winthrop
Henry Winthrop was born in England. He was the son of Governor John Winthrop and Mary Forth. Henry Winthrop died in 1630 in Salem, Massachusetts, drowned.
John Winthrop1
John Winthrop married Ann Dudley, daughter of Governor Joseph Dudley and Rebecca Tyng, on 16 December 1707 in Roxbury, Suffolk County, Massachusetts.1,2
[S83] NEHGR, Vol. 10. p. 130.
[S89] Family Search, Massachusetts Marriages, 1695-1910, 1921-1924.
Governor John Winthrop1
M, #7668, b. 12 January 1587/88, d. 26 March 1649
Governor John Winthrop. Governor of the Massachusetts Bay Colony. He was born on 12 January 1587/88 in Edwardstone, Suffolk, England.1 He was the son of Adam Winthrop and Anne Brown.1 Governor John Winthrop married first Mary Forth, daughter of John Forth, on 16 April 1605 at Great Stambridge, Essex.2,3 Governor John Winthrop married secondly Thomasine Clopton, daughter of William Clopton, on 6 December 1615 at Groton, England, within six months of his first wife's death.2,3 Governor John Winthrop married thirdly Margaret Tyndal, daughter of Sir John Tyndal, on 29 April 1618 at Great Maplestead, Essex.2 Governor John Winthrop married lastly Martha Rainsborough, daughter of William Rainsborough, after 20 December 1647 they had one son.1,2,3 Governor John Winthrop died on 26 March 1649 in Boston, Massachusetts, at the age of 61.1,2
Children of Governor John Winthrop and Mary Forth
Mary Winthrop+1 d. 12 Apr 1643
Forth Winthrop d. 1631
Henry Winthrop d. 1630
Governor John Winthrop of Connecticut+2 b. 12 Feb 1605/6, d. 5 Apr 1676
[S64] Robert Charles Anderson and George F. Sanborn Jr. & Melinde Lutz Sanborne, The Great Migration, Winthrop, John.
Governor John Winthrop of Connecticut1
M, #6741, b. 12 February 1605/6, d. 5 April 1676
Governor John Winthrop of Connecticut was born on 12 February 1605/6 in Groton Manor, Suffolk.2 He was the son of Governor John Winthrop and Mary Forth.3 Governor John Winthrop of Connecticut married Martha Fones on 8 February 1631; they were first cousins.2 Governor John Winthrop of Connecticut married secondly Elizabeth Read, daughter of Colonel Edmund Read, on 12 February 1635 at England.2,4 Governor John Winthrop of Connecticut died on 5 April 1676 in Boston at the age of 70.2
Children of Governor John Winthrop of Connecticut and Elizabeth Read
Governor Fitz-John Winthrop+3 b. 14 Mar 1638, d. 1707
Chief Justice Waitstill Winthrop2 b. 27 Feb 1641/42, d. 7 Nov 1717
[S58] Various Editors, Dictionary of Canadian Biography, vol. II p. 436.
Lucy Winthrop1
F, #10453, b. 1601, d. 1679?
Lucy Winthrop was born in 1601.2 She married Emanuel Downing on 10 April 1622 in England.1,2 Lucy Winthrop died in 1679?2
Child of Lucy Winthrop and Emanuel Downing
Anne Downing1 b. 12 Apr 1633, d. 19 Apr 1713
[S99] Robert Charles Anderson, The Great Migration begins.
Mary Winthrop1
F, #5494, d. 8 January 1712/13
Mary Winthrop was the daughter of Governor Fitz-John Winthrop.2 Mary Winthrop married Colonel John Livingston, son of Hon. Robert Livingston, "First Lord of the Manor" and Alida Schuyler, in April 1701 in New London, Connecticut.3 Mary Winthrop died on 8 January 1712/13.3
[S44] George Dangerfield, Chancellor Livingston, Chart.
F, #7548, d. 12 April 1643
Mary Winthrop was the daughter of Governor John Winthrop and Mary Forth.2 Mary Winthrop married Rev. Samuel Dudley, son of Govenor Thomas Dudley and Dorothy Yorke, circa 1632.1,3 Mary Winthrop died on 12 April 1643 in Salisbury, Massachusetts.3
Children of Mary Winthrop and Rev. Samuel Dudley
Ann Dudley+4 b. c 1633
John Dudley5 b. 1635
[S62] William Richard Cutter, New England Families, p. 77.
[S70] Unknown author, The Chandler family. The descendants of William and Annis Chandler, who settled in Roxbury, Mass. 1637., p. 144.
[S70] Unknown author, The Chandler family. The descendants of William and Annis Chandler, who settled in Roxbury, Mass. 1637., p. 144 (calculation).
[S102] Annie Haven Thwing, Inhabitants of the Town of Boston, 29466.
Chief Justice Waitstill Winthrop1
M, #7684, b. 27 February 1641/42, d. 7 November 1717
Waitstill Winthrop (1643-1717)
Chief Justice Waitstill Winthrop was born on 27 February 1641/42.1 He was the son of Governor John Winthrop of Connecticut and Elizabeth Read.1 Chief Justice Waitstill Winthrop married Mary Browne before 1679 in Boston.2 The only man ever appointed Chief Justice twice, Winthrop first assumed the office in 1701 when Chief Justice Stoughton died. Winthrop, however, held aspirations of becoming governor, and to further his cause, resigned his place on the bench to accept an appointment as agent of the Province. When Joseph Dudley was appointed governor instead, Winthrop's agency was rescinded and he returned home. In 1708, he was appointed Chief Justice again and served in that capacity until his death.3 Chief Justice Waitstill Winthrop died on 7 November 1717 in Boston at the age of 75.1
[S34] Unverified internet information, http://www.sjchs-history.org/chiefjus.html#samuelsewall
Robert John Winton1
Child of Robert John Winton
Robert John Winton Jr.1 b. 8 Nov 1916, d. 20 Mar 1985
[S205] Newspaper, Portsmouth Herald, Portsmouth, New Hampshire, Monday, April 07, 1941. Page 2.
Robert John Winton Jr.1
M, #18921, b. 8 November 1916, d. 20 March 1985
Robert John Winton Jr. was born on 8 November 1916.2 He was the son of Robert John Winton.1 Robert John Winton Jr. graduated in 1939 from Dartmouth College.1 He married Elizabeth Carolyn Sewall, daughter of Judge Arthur Eugene Sewall and Katherine Weare, on 5 April 1941 in First Parish Church, York Village, Maine.1 At the time of his marriage he was working in the Boston office of the New England Telephone and Telegraph company.1 Robert John Winton Jr. died on 20 March 1985 in York County, Maine, at the age of 68 (his gravestone giving 22 March)3,4 and is buried in Lovell Lake Cemetery, Sanbornville, Carroll County, New Hampshire.5
[S210] Social Security Death Index.
[S89] Family Search, Maine, Death Index, 1960-1996.
[S392] Website findagrave.com (http://www.findagrave.com/) "Memorial #130644600."
[S392] Website findagrave.com (http://www.findagrave.com/) "Memorial # 130644600, Robert John Winton, showing gravestone photograph."
Edward Theodore Wise1
Edward Theodore Wise married Aimee Vaughan Selby, daughter of Prideaux Selby and Rose Anne Wise, on 10 November 1886 in St. Saviour's Church, Croydon.1
[S117] The Times Newspaper, Nov 12, 1886.
Child of John Wise
Rose Anne Wise+
Rose Anne Wise1
F, #20049
Rose Anne Wise was the daughter of John Wise. Rose Anne Wise married Prideaux Selby, son of George William Selby and Penelope Earles, on 31 August 1864 in Christchurch, South Yarra, Victoria, Australia.
Children of Rose Anne Wise and Prideaux Selby
Prideaux George Selby O.B.E., M.R.C.S., L.R.C.P.+2 b. c 1866, d. 26 Feb 1947
Aimee Vaughan Selby2 b. 1867
William Selby2 b. 16 Jun 1869, d. 8 Sep 1916
Lottie Knyvett Selby2 b. c 1872, d. 7 Nov 1934
Penelope Rose Selby2 b. c 1876, d. 8 Aug 1892
Dorothy Selby2 b. c 1878
[S89] Family Search, Unverified IGI information.
[S50] British Census 1881.
Mary Kate Wisner1
Mary Kate Wisner was born in Canada.1 She married William Clinton Brown.1
Child of Mary Kate Wisner and William Clinton Brown
Wiser Brown+1 b. 25 Oct 1893, d. 15 Feb 1974
[S89] Family Search, New York, County Marriages, 1847-1848; 1908-1936 Jefferson Marriage records, 1915-1922.
Icabod Wiswall1
M, #6638, b. 1637?, d. 1700
Icabod Wiswall was born in 1637?2 He married firstly Remember (Unknown) before 1670 at Duxbury ?2 Icabod Wiswall married secondly Priscilla Peabody between December 1677 and 1679 at Duxbury.2 Icabod Wiswall died in 1700.2
Child of Icabod Wiswall and Remember (Unknown)
Mercy Wiswall+1 b. 4 Oct 1670, d. 12 Nov 1716
[S56] J.Y.W. Lloyd, History of he Lords Marcher.
Mercy Wiswall1
F, #6637, b. 4 October 1670, d. 12 November 1716
Mercy Wiswall was born on 4 October 1670.1 She was the daughter of Icabod Wiswall and Remember (Unknown).1,2 Mercy Wiswall married John Wadsworth, son of John Wadsworth and Abigail Andrews, on 25 January 1704 in Duxbury, Plymouth County, Massachusetts.1 Mercy Wiswall died on 12 November 1716 at the age of 46.1
Child of Mercy Wiswall and John Wadsworth
Deacon Peleg Wadsworth+1 b. 29 Aug 1715, d. 28 Jun 1799
Nellie Witham1
Nellie Witham was born in Belgrade, Kennebec County, Maine.1 She married Albert A. Stanley.1
Child of Nellie Witham and Albert A. Stanley
Grace A. Stanley+1 b. 1 Apr 1901
[S89] Family Search, Maine Vital Records, 1670-1921.
Mary Witherell1
F, #10260, b. 11 July 1786, d. 17 June 1864
Mary Witherell was born on 11 July 1786 in Norridgewock, Somerset County, Maine.1 She was the daughter of Major Obadiah Witherell and Mary (Unknown).1 Mary Witherell married Henry Sewall, son of Rev. Jotham Sewall and Jenny Sewall, on 15 January 1816 in Norridgewock, Maine.1 Mary Witherell died on 17 June 1864 in Chesterville at the age of 771 and is buried in what now is Zions Hill Cemetery, North Chesterville, Franklin County, Maine.2,3
Children of Mary Witherell and Henry Sewall
Mary Jane Sewall+4 b. 5 Jan 1817, d. 9 Nov 1891
Otis Henry Sewall+4 b. 13 Nov 1819, d. 20 Jan 1912
[S106] Maine Families in 1790, Vol. 7 p. 455.
[S392] Website findagrave.com (http://www.findagrave.com/) "# 41831794."
[S641] Kristine Lewis, "Henry Sewall," e-mail to John Rees, 2017 et seq., 4 April 2022.
[S153] Charles Nelson Sinnett, Sinnett's Sewall genealogy, p. 69.
Major Obadiah Witherell1
Major Obadiah Witherell married Mary (Unknown).1
Child of Major Obadiah Witherell and Mary (Unknown)
Mary Witherell+1 b. 11 Jul 1786, d. 17 Jun 1864


text:
News > Medscape Medical News > Conference News > WSC 2021
No Reduction in WMH Progression With Allopurinol After Stroke
Erik Greb
Use of allopurinol did not reduce white matter hyperintensity (WMH) progression for patients with ischemic stroke or transient ischemic attack (TIA) in a randomized trial.
In the study, the difference in Rotterdam Progression Score (RPS) between patients who received allopurinol, a xanthine oxidase inhibitor, and those who received placebo was 0.17, a difference that was not statistically significant.
"We are surprised not to have seen a difference," study author Jesse Dawson, MD, professor of stroke medicine at the University of Glasgow, Glasgow, United Kingdom, told Medscape Medical News. He cited small experimental studies in which allopurinol appeared to make small blood vessels within the brain more flexible.
"However, I think we recognize that WMHs probably have a number of other causes beyond simply brain blood vessel flexibility," Dawson added. "A lack of effect is in keeping with the very complex pathophysiology of WMHs that we know exists."
The findings were presented at the 13th World Stroke Congress (WSC) 2021, which was held online.
Uric Acid and Stroke
Previous research has shown that increasing serum uric acid levels are associated with risk for negative cardiovascular outcomes, including stroke. Xanthine oxidase inhibitors reduce blood uric acid levels and consequently might influence stroke risk.
A meta-analysis of small studies indicated that allopurinol lowers blood pressure to a modest extent and may reduce the risk for cardiovascular events in people with established cardiovascular disease.
On the basis of these findings, the current researchers conducted a study of whether allopurinol reduces WMH progression, a marker of stroke risk, and blood pressure following ischemic stroke or TIA. They enrolled patients aged 50 years or older at 22 sites in the United Kingdom.
After a 4-week run-in phase, the researchers randomly assigned participants to receive allopurinol 300 mg twice daily or placebo for 104 weeks. All underwent brain MRI at baseline and at week 104, as well as ambulatory blood pressure monitoring at baseline, week 4, and week 104.
The researchers chose WMH progression, measured using the RPS, as their primary outcome. MRIs were evaluated by raters who were blinded to treatment assignment. Secondary outcomes included mean daytime systolic blood pressure at week 4 and week 104.
No Significant Difference
The investigators enrolled 464 participants into the study and randomly assigned 232 participants to each treatment arm. The mean age at baseline was 66 years, and approximately two thirds of participants were men.
In all, 189 participants in the placebo group and 183 in the allopurinol group underwent MRI at week 104. The RPS was 1.33 in the allopurinol group and 1.51 among control patients. The between-group difference, -0.17, was not statistically significant.
The change in daytime systolic blood pressure at week 4 was -2.3 mm Hg with allopurinol and 0.8 mm Hg with placebo, yielding a between-group difference of -3.33 mm Hg (P = .0034). At week 104, there was significant loss to follow-up. At that time, the between-group difference in daytime systolic blood pressure was -2.95 mm Hg (P = .058).
The rates of adverse events generally were similar between groups, but rashes were more common with allopurinol (4.8%) than with placebo (1.3%).
In various meta-analyses of small studies of allopurinol, the magnitude of blood pressure reduction was equal to that observed in this study. "We weren't surprised to see the blood pressure reduction that we saw, although we are a little bit disappointed, obviously, that it wasn't larger," said Dawson.
The results of the ALL-HEART study, which examined the effect of allopurinol in more than 5000 patients who had ischemic heart disease, may be published in the coming year. "We will wait and see what that study shows before we completely abandon the theory," said Dawson.
The current focus is on identifying the patients who experienced the biggest blood pressure reductions with allopurinol, he added. "If we can identify people who have a 5- to 10-mm Hg reduction in their blood pressure due to allopurinol, that could be clinically important and clinically useful to us. I think that's really the only avenue open to us at the moment following stroke."
"Lots of Paradoxes"
The study "draws attention again to uric acid, but there are lots of paradoxes regarding uric acid," said Louis R. Caplan, MD, professor of neurology at Harvard Medical School, Boston, Massachusetts, who commented on the findings for Medscape Medical News.
Epidemiologic studies have indicated that people with high uric acid levels are at increased risk for stroke. But other data have suggested that uric acid may have positive effects. A 2016 study showed that treatment with uric acid might prevent early ischemic worsening after acute stroke in patients who undergo thrombolysis.
"The whole story of uric acid is something that is evolving and is interesting," said Caplan. "It just needs a lot more work, especially animal work."
Also relevant is the lack of correlation between WMH and neurologic deficit, Caplan added. WMHs are not infarcts, and "it's hard to know what the changes on the MRI really mean," said Caplan.
The trial was funded by the UK Stroke Association and the British Heart Foundation. Dawson and Caplan have disclosed no relevant financial relationships.
13th World Stroke Congress (WSC) 2021: Abstract LB102. Presented October 28, 2021.
Follow Erik Greb on Twitter: @MedscapeErik.
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Send news tips to news@medscape.net.
Cite this: No Reduction in WMH Progression With Allopurinol After Stroke - Medscape - Nov 15, 2021.
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In the United States, there is a home burglary that takes place every 13 seconds, 4 burglaries a minute, 240 an hour and nearly 6,000 a day! Many of you think that you are safe and that a burglary will never happen to your home, but with the number of burglaries so high, chances are that at some point in time everyone is likely to have their home or vehicle broken into. The best way to deter burglars from entering your home is by installing a home security system.
FBI burglary rates of homes state that 1 in 3 homes without a security system will fall victim to a burglary as compared to 1 in 250 homes that do have a security system. Overall, the primary reason to invest in a home protection and security system. is simple. You'll gain peace of mind knowing that your family and home are secure. whether your at home or traveling. When your traveling you know that your home protection system will alert you about any intruders.
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FLAG : The flag is a tricolor of three horizontal stripes—red, white, and black—with the national emblem in the center white stripe.
ANTHEM : The Arab Republic of Egypt Hymn.
MONETARY UNIT : The Egyptian pound ( E £) is a paper currency of 100 piasters or 1,000 milliemes. There are coins of 1, 5, 10, and 20 piasters and notes of 25 and 50 piasters and 1, 5, 10, 20, 50, and 1000 pounds. E £1 = $0.1706 (or $1 = E £5.86) as of May 2003.
WEIGHTS AND MEASURES : The metric system is the official standard, but various local units also are used: 1 feddan, consisting of 333.3 kassabah, equals 0.42 hectare (1.038 acres).
HOLIDAYS : New Year's Day, 1 January; Evacuation Day, 18 June; Revolution Day, 23 July; Armed Forces Day, 6 October; Popular Resistance Day, 24 October; Victory Day, 23 December. Movable holidays include Sham an-Nassim (Breath of Spring), of ancient origin, as well as such Muslim religious holidays as 'Id al-Fitr, 'Id al-'Adha', and the 1st of Muharram (Muslim New Year).
Ethnic groups of Eastern Hamitic stock make up about 99% of the population of Egypt; these include Egyptians, Bedouins, and Berbers. They are a product of the intermixture of ancient Egyptians with the invaders of many millennia from various parts of Asia and Africa. The remaining 1% of the population is made up of minorities, including mainly Nubians, Armenians, Greeks, and other Europeans, primarily Italian and French.
There are no forests in Egypt. In 2000, Egypt imported $796.3 million in forest products. The construction and furniture-making industries rely on wood imports. Furniture production engages about 40,000 persons and is concentrated in the Damietta Governorate in the northern part of the Nile Delta. Softwood products come from Sweden, Finland, and Russia; hardwood products from Western Europe.
Aftandilian, Gregory L. Egypt's Bid for Arab Leadership: Implications for US Policy. New York: Council on Foreign Relations Press, 1993.
Asante, Molefi K. Culture and Customs of Egypt. Westport, Conn.: Greenwood Press, 2002.
Baker, Raymond William. Sadat and After: Struggles for Egypt's Political Soul. Cambridge, Mass.: Harvard University Press, 1990.
Botman, Selma. Egypt from Independence to Revolution, 1919– 1952. Syracuse, N.Y.: Syracuse University Press, 1991.
Bunson, Margaret. Encyclopedia of Ancient Egypt. New York: Facts on File, 2002.
Goldschmidt, Arthur. Historical Dictionary of Egypt. Metuchen, N.J.: Scarecrow, 1994.
——. Historical Dictionary of Egypt. [computer file] Boulder, Colo.: net Library, Inc., 2000.
Handoussa, Beha, and Gillian Potter (eds.). Employment and Structural Adjustment: Egypt in the 1990s. Cairo, Egypt: American University in Cairo Press, 1991.
Hansen, Bent. Egypt and Turkey. New York: Oxford University Press, 1991.
Harik, Iliya F. Economic Policy Reform in Egypt. Gainesville: University Press of Florida, 1997.
Metz, Helen Chapin. Egypt, a Country Study. 5th ed. Washington, D.C.: Library of Congress, 1991.
Oweiss, Ibrahim M. (ed.). The Political Economy of Contemporary Egypt. Washington, D.C.: Georgetown University, 1990.
Rossellini, Ippolito. The Monuments of Egypt and Nubia. Cairo: American University in Cairo Press, 2003.
Rubin, Barry M. Islamic Fundamentalism in Egyptian Politics. New York: St. Martin's Press, 1990.
Shaw, Ian (ed.). The Oxford History of Ancient Egypt. Oxford: Oxford University Press, 2000.
Supples, Kevin. Egypt. Washington, D.C.: National Geographic Society, 2002.
Weiss, Dieter. The Economics and Politics of Transition to an Open Market Economy: Egypt. Paris: Organisation for Economic Cooperation and Development, 1998.
Zuehlke, Jeffrey. Egypt in Pictures. Minneapolis: Lerner, 2003.
There are no 1 piaster coins, instead we have now 50 and 100 piasters coints.
There are no 1000 Egyptian Pounds note probably you meant 100 and 200 are the maximum!
i am intested to know about the discreption of it.i want to study that type course so which university belongs to that type of course?


Complete your Bain Wolfkind record collection. Discover Bain Wolfkind's full discography. Shop new and used Vinyl and CDs. 15 Apr - 4 min - Uploaded by bryan nope Bain Wolfkind "Down Down Down" off the album Lone Wolf. BAIN WOLFKIND. K likes. " Bain Wolfkind the lounge lothario who creates tunes for the back rooms and darkened corners of the crime-ridden future.".
11 Aug By Danger Coolidge Unbelievably Bad Editor. chatten-met-vreemden.com Bain Wolfkind is a creepycrawler in leather who throws stoic. 24 Jan Bain Wolfkind is back from the seedy Russian immigrant underbelly of Little Odessa, NYC with his 8th release, Hand of Death. With this album. The music of Bain Wolfkind could be described as a Lynchian take on artists like Lee Hazlewood with dark brooding vocals and slow blues, rock, country.
21 Mar Bain Wolfkind is back with his new LP "Hand Of Death", released by Tesco Germany. This time, he seems to have found a way to shake up his. 3 Sep Speaking for myself, the ceremony that best accompanies Bain Wolfkind's music falls under the category of drinking. Hand of Death, his most. Listen to music from Bain Wolfkind like Shiny Steel Blade, The Crossroads & more. Find the latest tracks, albums, and images from Bain Wolfkind. Bain Wolfkind, Actor: X. Bain Wolfkind is an actor, known for X (). Bain Wolfkind discography and songs: Music profile for Bain Wolfkind. Genres: Gothic Rock, Punk Blues, Gothic Country. Albums include Music for Lovers.


text:
Marvin Humes urges men to reach out to each other on Father's Day
Marvin Humes has urged men to reach out to their loved ones to check on their mental health on Father's Day.
Spice Girls reunion inspired my 'empowering' new album, says Mel C
Melanie Chisholm has said that the Spice Girls' reunion helped her embrace her past as Sporty Spice and inspired her "empowering" new album.
Sunday Brunch presenters return to studio
Sunday Brunch presenters have returned to the studio.
Sunday Brunch host Simon Rimmer cooks lamb from lockdown during Easter special
Host Simon Rimmer celebrated Easter Sunday by cooking a roast lamb live from his own kitchen, as Sunday Brunch continues to broadcast from its presenters' homes.
Simon Rimmer shares Spam burger recipe on Sunday Brunch as he co-hosts from home
Simon Rimmer showed Sunday Brunch viewers how to make a burger using Spam as he co-hosted the programme from home for the second week in a row.
Sunday Brunch returns with presenters in their homes
Sunday Brunch returned after a week away, with the hosts presenting from their homes.
Sunday Brunch cancelled at last minute due to coronavirus concerns
Sunday Brunch has been pulled from the Channel 4 schedule due to coronavirus concerns.
Sunday Brunch host Simon Rimmer to have surgery for cyst on vocal cord
Sunday Brunch host Simon Rimmer has revealed he will undergo surgery to remove a cyst on his vocal cords.
Sunday Brunch briefly off air with technical fault
A live broadcast of Sunday Brunch was interrupted due to a technical fault.
Simon Rimmer suffers awkward wardrobe malfunction on Sunday Brunch
Sunday Brunch host Simon Rimmer joked about boosting ratings as he suffered an unfortunate wardrobe malfunction during the show – a hole in his jeans near the crotch.
Anton Du Beke on Strictly kiss drama: We've all had enough of it now
Strictly Come Dancing star Anton Du Beke has said "we've all had enough" of the drama surrounding Seann Walsh and Katya Jones's controversial kiss.
Andrew Marr and Sunday Brunch hosts wear waistcoats in Southgate tribute
Andrew Marr has joined other stars in wearing waistcoats in support of England manager Gareth Southgate, following the football team's win over Sweden.
Sunday Brunch viewers in hysterics as hosts attempt ballet dancing
Sunday Brunch viewers were left in hysterics as hosts Simon Rimmer and Tim Lovejoy attempted ballet dancing.
Social media-savvy Lily – I spend five hours a day on Twitter
Singer Lily Allen has said she spends around five hours a day on Twitter in a conversation about her use of social media.
Viewers enjoy throwback moment as Jason Priestley appears on Sunday Brunch
Jason Priestley has said that Sunday Brunch is "everything to everyone" as he appeared slightly confused during his appearance on the show.
Bradley Walsh gives insight into top secret Doctor Who prep
Comedian Bradley Walsh has told of Doctor Who bosses' meticulous methods to make sure stars do not reveal show spoilers ahead of time.
Sandi Toksvig in tears again as she remembers saying goodbye to Bake Off's Julia
The Great British Bake Off presenter Sandi Toksvig broke down in tears all over again as she remembered the hearbtreaking moment she told young hopeful Julia that she had been eliminated from the show.
Strictly Come Dancing: Hillsborough survivor Simon Rimmer to waltz to You'll Never Walk Alone
Liverpool fan and TV chef Simon Rimmer has said he will feel "emotional" as he dances to You'll Never Walk Alone on Saturday night.
I thought I did OK but Strictly judges were harsh – Simon Rimmer
Sunday Brunch host and chef Simon Rimmer has said he was surprised at how "harsh" the judges were with their comments on the opening night of Strictly Come Dancing.
I don't want to dress up as a chef on the Strictly stage – Simon Rimmer
Strictly Come Dancing hopeful Simon Rimmer has urged the show's creators not to make him dress up as a chef when he takes to the stage for the series return.


MEMPHIS, Tenn. — Police have released surveillance footage showing a man suspected of killing 63-year-old Kenny White.
The Shelby County Medical Examiner said White was killed from an intentional hit-and-run.
Police have already released footage of two persons of interest in the case, and now there is also video of the suspect.
The crime happened around 7 a.m. Nov. 16 at the Walker Home Grocery at 315 W. Mitchell.


Maharishi Dayanand Saraswati was founder, of the Arya Samaj, He was the first to give the call for Swarajya in 1876. He was person who gave the knowledge of Vedas to the world. Vedas which is the true knowledge.
Arya Samaj upholds the true Vedantic tradition and is works to remove social evils like casteism; untouchability; dowry; child marriage; atrocities on women etc. and support widow marriage; equality; girl education. Lets remember him the founder of Arya Samaj; Happy Maharshi Dayanand Saraswati Jayanti.


In this episode, we wish you a Happy New Year and chat about some [mostly Craft-related] technologies and trends we're looking forward to in 2017: Craft CMS 3, Yii 2, the Craft plugin store, VueJS, Google AMP, Facebook Instant Articles, Apple News, content marketing, CMFs (content management frameworks), and a golden age of #perfmatters. We wrap up with some philosophical conversation about activism, empathy, and breaking out of your bubble.
Michael & Andrew interview two developers who have made the switch from Drupal to Craft CMS: Patrick Harrington and Marko Srdoč. Some very interesting discussion ensued about the strengths of Craft CMS, and also where Craft CMS could learn from Drupal. The unique perspective that two experienced Drupal developers offer on their take of Craft CMS is quite insightful, and provoked a nice discussion of how to pitch Craft to clients that have heard of Drupal, but not Craft CMS.
Andrew & special guest host Earl Johnston interview long time ExpressionEngine developer Sean Smith from http://caffeinecreations.ca/ , discussing his recent transition to using Craft CMS. We cover both the moments of unbridled joy, and the moments of frustration as Sean discusses his approach to learning to use Craft, and the contrasts between it and ExpressionEngine.
Michael & Andrew continue the conversation about website performance. This time we cover server-side performance, and the benefits of embracing performance-minded server tech like PHP7, Nginx, MariaDB, and HTTP2. As in our previous episode, we cover the practical implications, how to educate your clients about these technologies, and why you should build these improvements into your estimates and maintenance contracts.
In this episode, we talk with Andrew Welch about SEO: What does SEO mean in 2016? How do we tell if we're doing well? What are the modern best practices, and how do we implement them in Craft? Meta tags, structured data, JSON-LD, Twitter Cards, Facebook Open Graph, Page Speed - we cover a ton of ground. Equally as important as the technical implementation, we also discuss how to sell SEO to clients, and discuss why SEO matters from a business perspective.
In this episode, Les calls Michael in Singapore to talk about how to get involved in the CraftCMS community, the importance of StackExchange, Slack etiquette, and how we're all in this to make each other better.
In this follow-up to Episode 4, Michael — joined again by our friend Steven Grant — talks about Craft's technical merits and explains how Craft adds value to projects from a developer perspective. We discuss Craft's flexible, content-first architecture, the benefits of API dogfooding, why developers love Twig, and how Craft makes it easy to create great end-user experiences. Michael says the word "stuff" way too much.
Leslie walks us through his value-first sales philosophy and explains how to make an effective pitch for Craft as a business solution.


At Regents Park we encourage our students to take part in a large variety of after school activities. Listed below are the current clubs and classes, however this is subject to change. We have also included below our PE timetable detailing the extra curricular sport clubs and fixtures.
In addition to the above the school also has external providers using its facilities in which students and parents can participate.
Please contact the school reception if you require further details on these clubs.


Pixar Animation Studios is known for making surprisingly dark, bold storytelling choices in its movies. For movies that are meant to be accessible to children, they can be sharply daring in the directions they take. Ellie Fredricksen's life montage at the beginning of Up, the toys grimly facing oblivion together at the end of Toy Story 3, and Bing Bong's tear-jerking decision in Inside Out all tap into painful emotions around death in order to underline the joy the characters feel around life. But none of these films gets as dark as Borrowed Time, a short film that Pixar animators Lou Hamou-Lhadj and Andrew Coats made as a side project. The piece, which has toured film festivals and is now available on Vimeo for a limited time, is expressly about loss and mourning.
"A goal for us was to make something that kind of contested the notion of animation being a genre, and one for children specifically," Hamou-Lhadj says in a making-of short that debuted on Vimeo alongside Borrowed Time. "We really wanted to make something that was a little bit more adult in the thematic choices, and show that animation could be a medium to tell any sort of story."
Read next: The Verge interviews Borrowed Time's animators on how evolving Pixar tech made them "scramble to not fall apart"
The piece certainly is more adult, but it still has the familiar Pixar look, with marvelously expressive characters and a tremendous attention to environment and modeling. The first close-up on the central character is so detailed, you can see the fraying, stains, and stitching on his old shirt, and the rough nap of his corduroy vest. As he limps across the cliffside, reliving awful memories, the fine detail of the rocks and sand around him is just as apparent. Even the physics of the coach's movement, its splintering crash, and the dust cloud it raises all feel real. And like so many Pixar features, Borrowed Time is expressly about family bonds, and how they heighten emotions — in this case, guilt and disappointment. This is a short vignette, but it's effective and powerful.
Granted, an actual Pixar film would certainly make a point of relieving the tension and sorrow this short sets up, and would use it to some spectacular end. Hamou-Lhadj (a Pixar character developer on Inside Out and animator on Brave and Cars 2) and Coats (a character modeler and artist on Brave, The Good Dinosaur, and various Pixar shorts) have set up what feels like the beginning to a terrific story. Here's hoping they keep it going, past this tragic moment and on to the rest of the story of this man's life.
a short film that Pixar animators Lou Hamou-Lhadj and Andrew Coats made as a side project. The piece, which has toured film festivals and is now available on Vimeo for a limited time, is expressly about loss and mourning.
And like so many Pixar features, Borrowed Time is expressly about family bonds, and how they heighten emotions — in this case, guilt and disappointment.