Well that someone is South, that somewhere is the Peckham Palais, and the sometime is 10.00pm on Saturday October 20th.
If you're not familiar with South yet fear not, you're in safe hands. The opening night in September featured the like of Boddika, Oneman, Eliphino and Mickey Pearce and the pre-opening night last June had folks such as Loefah, Randomer & Fantastic Mr Fox on duty. They also kindly stepped in to pick up some of the slack after that whole Bloc fiasco with a lineup including Jacques Green, Actress and Martyn... We were supposed to be there, but got too pissed on gin and fell asleep in a pub. Let's move on.
This Saturday's event sees a line up of no class sheen than those before it, and for a mere £7.00 you can enjoy the selections of Tim Hinson, Snalka, Sion, Seb Wildblood, Dauwd, Breach and Will Saul (pictured). That works out at less than a quid a DJ and it's definitely cheaper than your TV license, so nip over to Resident Advisor and spend a few quid on something other than staying in with a takeaway this weekend!
In the meantime why not also download the excellent FACT mag mix recently assembled by Breach? There is probably sod all on the telly.


However the side patio doors did not open at all.. it was a hot weekend but it meant we couldn't walk out to the patio without having to go through the front door and meant we couldn't get air into the property. This was the only drawback of the weekend but it is something that needs addressing soon.
Being the first time we have used your firm (before it was Helpful Holidays) - I highly recommend your Company and the cottage was very comfortable and we hope to come back again. Many thanks.
The location was wonderful.... Walked to beach daily. Did 3 coastal walks.... longest being 8 miles. Absolutely loved it! Already thinking about how I can get back to this side of the Pond!
Cottage was very clean and everything you would need provided.
Add a bbq. A gate to stop dogs getting out of terrace.Sweeping brush and better hoover. Stones outside untidy. Metal tongs in kitchen. Patio door upstairs difficult to open. Window locks in kitchen and downstairs bathroom difficult to close. Need a mirror in main bedroom upstairs.
Lovely property with everything you need for a great stay.
Around the headland from Constantine Bay, in the hamlet of Treyarnon (sandy beach with low-tide rock pool for swimming, café, beach shop with surfboard hire), a practical and comfortable end-of-terrace cottage in a modern development of holiday apartments and cottages called Ocean Blue, just 50 yards from the splendid beach.
To the side, small enclosed terrace (table/chairs) with rural views.
Open-plan living/dining/kitchen (dishwasher, microwave, freezer, larder fridge, electric oven/gas hob) with TV/DVD, PlayStation 3 and sliding doors to terrace.
Across the hallway, a pretty twin bedroom (footboards) with en suite shower-room (suite, washer-drier).
Stairs up to two more bedrooms - a double with balustrade, and a room with 3' bunks (no clothes-hanging space).
A hassle-free beachside base for relaxing and rejuvenating and exploring the fabulous headland and beyond. Constantine Bay: village (shop, hotel restaurant) and beach on Trevose Head, a chain of at least seven superb sand/surf beaches.
Good golf course and country club (tennis, swimming) behind the dunes.
St Merryn (pubs, restaurants), 1 mile; Padstow and sailing on the Camel estuary, 4.
Three bedrooms: one double, a room with adult bunks and a ground floor twin with en suite shower room with shower, basin and WC. Family bathroom with bath, shower over, basin and WC. Open plan living area with kitchen kitchen, dining area and sitting area.


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Don't fret just because it's April 15
WASHINGTON – The calendar shows April 15, and you haven't even started on your federal tax return? Chances are, you ...
Don't fret just because it's April 15 WASHINGTON – The calendar shows April 15, and you haven't even started on your federal tax return? Chances are, you ... Check out this story on greatfallstribune.com: http://gftrib.com/1krs6Ph
Stephen Ohlemacher Published 10:00 p.m. MT April 14, 2014 | Updated 10:16 p.m. MT April 14, 2014
The IRS has received almost 100 million tax returns but expects about 35 million more by tonight.(Photo: Getty Images/iStockphoto)
WASHINGTON – The calendar shows April 15, and you haven't even started on your federal tax return? Chances are, you don't need to fret.
If you're due a refund — and about three-fourths of filers get refunds — April 15 isn't much of a deadline.
The Internal Revenue Service doesn't like to talk about it, but penalties for filing late federal tax returns apply only to people who owe money. The penalty is a percentage of what you owe. If you owe nothing, 5 percent of nothing is ... nothing!
But it doesn't make much sense to file late. If you are owed a refund, why wouldn't you want it as soon as possible? And if you have unpaid taxes, the late fees add up quickly.
"Most people with refunds are filing early in January, February and March because they'd like the refund early," IRS Commissioner John Koskinen said. "So we don't see an incentive and we don't see much experience of people waiting later for us to keep the money longer."
The failure-to-file penalty is generally 5 percent of your unpaid tax bill for every month, or part of a month, you are late. It kicks in April 16. In general, the maximum penalty is 25 percent of your original tax bill.
There also is a penalty for failing to pay your tax bill, separate from the penalty for failing to file at all, but it's much smaller. That's because the IRS wants you to file a return even if you don't have enough money to pay what you owe.
The failure-to-pay penalty is 0.5 percent of your unpaid taxes for every month, or part of a month, you don't pay.
About 12 million taxpayers are expected to request extensions, giving them an additional six months to file their returns, according to the IRS. However, these taxpayers still must pay at least 90 percent of their tax bill by today to avoid the failure-to-pay penalty.
What if you wait years to file your tax return?
If you're really late, the IRS will take your refund after three years, turning it over to the Treasury.
Last month, the IRS said it had $760 million waiting to be claimed by an estimated 918,600 taxpayers who did not file returns for 2010.
Some of these people weren't required to file returns because they didn't make enough money. But they still may have had taxes withheld from their pay. The 2010 returns were due April 15, 2011, so those taxpayers have until today to claim their refunds.
The IRS expected to receive about 35 million returns in the last week before the deadline. Most come with payments instead of refund requests.
Some other numbers, through April 4:
• Individual returns filed: 99.9 million.
• Refunds issued: 78.8 million.
• Share of taxpayers getting refunds: 79 percent.
• Total amount of refunds: $220 billion.
• Average refund: $2,792.
• Where's my refund? Visits to IRS.gov: 236 million.
• The rise of computers: 90 percent of returns have been filed electronically.
Read or Share this story: http://gftrib.com/1krs6Ph

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Arts & Entertainment Reviews
Perfect - The Idea Of North
Unlike other film to stage adaptations, Dreamworks captures the essence of Shrek's appeal through its storybook sets, one hand and three man operated puppets, gags and industrious choreography of tap dancing rats. It expands on the backsto…
Perfect. The Idea of North, an amazing multi-award winning cappella group, performed at North Sydney's Independent Theatre last week in a Sunday afternoon of fun and games. I can only describe the performance as a joy to listen to, and…
When it comes to extravagance, bawdy humour, and political intrigue, there's no period quite like the English Restoration. Emerging from the wake of a decade of Civil War and an almost equally arduous decade of Cromwell's Puritan rule, the rei…
For those unfamiliar with the world of professional motor racing, the compelling ability of Ford v Ferrari to draw you into this world and its story will surprise you and make you look at the relationship you have with your car differently.
This is a production for the seasoned theatre goer and lover of drama as we're taken into an era more than half a century ago where younger audiences would find the language and social references difficult to relate to. The script is a …
In spite of the heavy material and confronting subject matter, the speed and intensity of the storytelling will have you on the edge of your seat, as the horrific details of CIA's Detention and Interrogation Program are revealed.
Enormous crowds, unusually warm weather and record breaking competitor achievements have been the highlights of the annual Tatts Finke Desert Race for 43 years. It's a motor cross event that brings together trail bike enthusiasts and professio…
Terminator Dark Fate: a remake in disguise?
James Cameron always knows how to throw a cinematic party with signature car and in-flight explosions, with the crackling crescendo of guns and missile launchers using Schwarzenegger's classic Cyberdyne Systems Model 101 character to provide comic relief.
This original work by Anchuli Felicia King is as fresh as they come.
Wit – by Margaret Edson @ Seymour Centre
Award-winning play fathoms what matters at end of life…
Totally the most unique musical theatre to hit the stage, with book, music and lyrics by Yve Blake. And starring Yve Blake - in the most edgy quirky individual performance.
Rogues Double Bill Fringe HQ
An outstanding example of local theatre from 2019 Sydney Fringe Festival at Fringe HQ, a double bill by Company of Rogues - Robbi James & Erica Lovell.
Kira Puru: Why Don't We Get Along
Why Don't We Get Along is a pop song that flows the genre in the new decade. Kira Puru is the woman to watch. But use your ears as well.
Bring It On: The Musical
High energy pom pom squads of sass and camp! Opening last night, Bring It On: The Musical ends its tour from Melbourne a…
The Nightingale's meditation on the roots and effects of such injustice make for a moving and captivating film.
Chicago Storms Sydney
CHICAGO in Sydney. TOTALLY enjoyable and entertaining. The perfect date night, not to be missed.
Safy Nebbou's exploration of identity in his latest film Who You Think I Am beautifully moves in the spaces between illusion and truth as questions about how we connect with each other in our modern society are raised. An adapt…
One-Act Play Festival's Opening Week
Sydney's inaugural one-act play festival NO: INTERMISSION launched in Chippendale this week presented by Theatre Travels. The first two plays Queenslander and Albumen played a…
Stuber is a 2019 American action comedy directed by Michael Dowse and starring Kumail Nanjiani (The Big Sick 2017) and Dave Bautista (think Drax the Destroyer from Guardians of the Galaxy). Already, this absurd duo has got us viewers ready …
Woollahra Philharmonic Orchestra
Destinations and Adventures On a freezing rainy Saturday night this June we headed to the warmth of Woollahra's St Columba Church to mingle with the friendly Woollahra local community and experience an uplifting musical …


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Parcs d'attractions

Ouverture
 Duinrell ()
 Luna Park Sydney () Ouvert au public le .
 Meli Park () Aujourd'hui connu sous le nom Plopsaland.

Attractions

Montagnes russes

Autres attractions

Liens externes
 Liste complète des montagnes russes 1935 sur rcdb.com

Parcs de loisirs
Chronologie des parcs de loisirs

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Q: understanding bash redirection using > char I am learning bash and am not able to understand what is going wrong with the output redirection in the following example:
I have a file called myfile.txt with the following content.
Practice makes Perfect
I am going to use tr command to replace P with p:
cat myfile.txt | tr P p

This does what I want, now I am going to put the result back into the original file:
cat myfile.txt | tr P p > myfile.txt

But after executing the above command myfile.txt is empty... why is this happening?

Update:
If I send the output to a different file, then it works as expected:
cat myfile.txt | tr P p > anotherfile.txt

A: Bash (and other POSIX-compliant shells) follow two  rules that explain this behavior:

*

*Redirection happens before commands run.

*If a file exists, it is truncated (emptied) when redirection goes to the file as in > myfile.txt.
So because there is > redirection the contents of the myinput.txt get discarded and cat prints nothing, cat exits and closes the pipe and tr closes the file without writing anything to it. Order in which commands start is not particularly important ( and it is not guaranteed, see Gille's answer here). But what is important is that redirection occurring before commands starting; that is each command's standard streams are prepared, and that's what causes empty file in the end.
But it is possible to edit the same file  tools like sponge, just not in this particular case.
See also:

*

*Redirection executed before a command

A: Use: sort -o instead of redirection. I n such a way you will be able to write to the same file.
cat myfile.txt | tr P p | sort -o myfile.txt

A: In my opinion cat is not used in the correct intention. Normally cat is used to combine files, but often also misused to just use display simple files.
In your case I would use the tr command in the following way:
tr P p < myInput.txt > myOutput.txt

redpajama_set_name: RedPajamaStackExchange


The floodplain isn't precisely dry, but after quite a bit of hot weather, the groundwater has sunk about six or eight inches below the surface. Which means that Mark is now able to get the ATV to the edge of our new footbridge, about 370 feet from the trailer. And roughly two-thirds of the distance from motorized transport to garden is easily traversable by wheelbarrow. Yep, the combination of factors finally makes it worthwhile to haul in ten bales of straw!
This isn't the time of year to buy straw. Since no one has cut their overwintering grains yet, any straw available hails from last year and is expensive --- $8 a bale, and only available a 45-minute drive away. But I couldn't stock up on our usual supply of straw last year because the offerings turned out to be full of grain seeds, so the extra time and money is worth it now to keep the spring garden in good shape. It's even worthwhile to haul the straw one bale at a time up the hill pictured above.
I'm thinking about collecting cardboard - from all the online orders we make, and our local recycling center - covering my beds with that, and putting weed scraps underneath to do a combo mulch/compost in place.


This package includes everything you need for your Ferrari 488 GTB to have a professional installation. This is a 7 piece kit that requires NO HOLES to be DRILLED and comes with a LIFETIME WARRANTY.
Included in this kit you will receive all of the pieces with 3M double-sided tape applied and instructions to perform a professional installation. The installation process will take less than an hour and the bumper remains on. Feel free to contact us with any questions.


Bat & Bar Mitzvah means "daughter" or "son" of the Commandments. The ceremony sybolizes that the young person is knowledgeable enough to begin to be held accountable for their Jewish responsibilities. As part of the Bar/Bat Mitzvah process children will learn how to lead many of service prayers as well as chanting several verses from the Toarh, and giving a D'var Torah (talk).
Students begin working with one of our Bat/Bar Mitzvah tutors at least one year out from their ceremony. Please contact Geri Copitch or Harvey Spector to make arrangements. There is a fee for their time and services.** You are welcome to tutor your child on your own, or make arrangements with someone else as long as the guidelines are followed and you keep in touch with the rabbi about your plans.
For a list of required prayers, as well as family obligations, please download and read the following.
**For member families concerned about finances, rest assured that our tutors will try to work with your family budget to help ensure your child is well prepared for this rite of passage.


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Featured Festivals
Festival Directory
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In the Roots of Music, from Folk to Blues and Acoustic to Alternative. Wednesday 20 January 2021
Golden Horizons, Benji Kirkpatrick interview
Categories: Features | Music
With a brilliant, melodic, hard hitting new band /album and membership of the most enduring of British roots rock groups, Benji Kirkpatrick is without question one of the hottest artists on the roots scene at the moment. Putting his past, present and possible future into context, Simon Jones chats about everything from family, inspiration to the relevance of the number three.
"I like the number three," muses Benji Kirpatrick, " it somehow seems to be the perfect format. I love bands like the Jimi Hendrix Experience, The Police, they all had that balance, the dynamic which made for thrilling music."
His new group – as if he wasn't in or hasn't been in enough already- has three members, himself, ex Bellowhead colleague / drummer Pete Flood and Megan Henwood bassist Pete Thomas. He's labelled them The Excess.
Is that anything to do with approach I venture.
"No, more to do with the way we live, and by we, I mean humans. Life is such a mess at the moment on differing levels and so much of it is down to excess. That could be excess in what we use, how we view the world, the speed at which we live our lives, in emotional terms…" he pauses, " there doesn't seem to be any space or consideration nowadays. Everything is turned up to the max, it can't be good to have everything at that setting."
It's a bright, sunny afternoon, quite pleasant to sit outside the New Vic theatre in their environmental garden and consider matters in the world Kirkpatrick. Benji offers thoughts and explanations to Spiral Earth as we rewind; how was it being raised with three brothers and parents who were Folk Elite? (John Kirkpatrick and Sue Harris, if you were wondering.) " My parents were very open even though they were heavily involved in traditional music, however they also worked for the theatre providing music and helping with historical settings and customs. In fact much of it here in this very theatre which I always found very exciting as it appealed to my love of performing arts."
You and your brothers learned different instruments? Benji still has an occasional ceilidh band with his Dad and brothers, perhaps not unsurprisingly dubbed Kirkophany.
"True, I began on piano but there were always loads of instruments around, lots of folk things… I had a primary school teacher who played guitar and that took my fancy, I was playing trumpet as well around that same time. There were never any pressures put on any of us and once I got into the guitar that was my kind of path decided really."
We are family, I got all my brothers with me and my dad. Kirkophany Benji first left.
So that explains your love of Jimi Hendrix…
" Before Hendrix it was rock'n'roll, I found a load of cassettes by Little Richard, Chuck Berry, mainly Jerry Lee Lewis, that was all of my own accord but the music was bloody great, the rhythms they used still come out in my playing to this day."
You don't see traditional music then as something that's sacrosanct?
"No, it's a body of material that's there to be worked with, you don't freeze it in time, you can put too much emphasis on heritage. The music has to move forward and adapt, that's what it does naturally anyway, you can think and analyse too deeply."
You've always mixed with people who pushed the envelope, Oyster Band, John Jones, Faustus, Seth Lakeman, Bellowhead, that's just skimming the surface. Does Benji Kirkpatrick have a plan or do things happen as a series of happy coincidences?
"I'm not one of life's planners really and I'm lucky lots of things have fallen into place; when it comes to my own creativity I do have as goal, all my albums thus far have been stepping stones in one sense of another, so Boomerang and the Hendrix album have paved the way for the band I have now The Excess," he stops to consider for a moment, " most of what I choose to write about is to do with the dysfunctionality of human society, for want of a better term sociological issues and how there are struggles surviving day to day."
The Excess:Thomas, BK, Flood.
Being raised in a rural setting where life ran on a communal, caring basis with what some may see as old fashioned values and morals he admits may have shaped some of his thinking when it comes to composition.
"The area I was brought up in (South Shropshire) has a big part to play in me and my general attitude in a subconscious way. I'm a country boy but I don't live in the country any more though I will admit that there is cushioning to that kind of lifestyle, you don't see things quite so starkly as you do in an urban environment. I did have the advantage though of travelling around quite a lot with touring musicians as parents and family in London and Coventry, which meant I experienced different settings and aspects of life outside of my home community."
Does he see himself commenting on society in the same way as the folk process has always done or is his writing more edgy and blunt?
" I think there is a bit of both there, I write in a narrative way through someone's specific story like the track about homelessness, The Undesirable, which is very specific to one person but aims at the wider problem in its intention and impact. I wouldn't call it folk music as such because that can mean different things to different people. I hope though what I've done before this means it can be appreciated quite widely."
Was it hard to find people to join the Excess as no doubt being just a trio the right personalities were key?
Bellowhead live action with Pete Flood
"Pete Flood is just a percussive genius, he's wide open to inspiration and I worked with him in Bellowhead and beyond, I've always been struck with his playing and his versatility is important because not everything I come up with is straightforward. Anything you throw at him he can do and expand on. I came across Pete Thomas the bassist through fellow Faustus Saul Rose who recorded him and of course he worked with Mawkin too though the regular gigs people will know him from are with Megan Henwood and Jackie Oates."
You've tried the band at some gigs, were the venues all safe bets?
"A few of them were I suppose you could say finding our feet, we struggled in some places because the band is new and whenever you try that it takes a time for people to get used to it, no matter who you've played with before. Though I'd like to think that because I've worked so much that I could pull an audience from wider appreciation. We do salt the set with some of the tracks from Boomerang and a couple of numbers from the Hendrix CD though the entire point of the latter was to strip the tracks away from a rock trio approach."
Had that been easy to do, Hendrix's material is so rooted in our psyche as the blueprint of guitar rock?
"No, not all of it was easy, some things fell into place naturally, I'd always messed around with Hendrix riffs and chords on the instruments I play. It was on the banjo that Voodoo Chile came about, then I tackled The Wind Cries Mary, then it became a project rather than just trying things out so I realised I needed more songs. Angel though, that was a complicated chord structure, Little Wing too was tricky and of course I decided specifically to not play guitar because Hendrix did that. So it wasn't all plain sailing but I was very pleased with the results."
How did writing shall we say social conscience material first come about?
"I suppose it was The Levellers in the early 90s when they were on top of their game, as I was late teens then what they were writing about struck chord and increased my social awareness. I wrote pseudo Levellers songs for a while until I gradually found my own voice so to speak."
Time to switch then to telling Spiral Earth all about the album that's been unleashed, best place to start being obviously where it was recorded. Gold Has Worn Away is just a little bit wonderful… you owe it to yourself and musical credibility to own a copy forthwith.
"We recorded in early 2019 mostly at Henwood Studios in Oxfordshire a great little facility and then did the overdubs and extra bits at Adventures In Audio. >I like going to a proper studio to work, give me a mic and headphones any day! I had a fairly strong vision of what the album would be, I produced a lot of it along with Matt Williams and Pete Brown who owned the studios we recorded in, they'd add things in or suggest ideas that improved the overall sound. It's a mixture of electric and acoustic but all tracks have the full band, I mostly play bouzoukis and guitar and I will, if things go well, get my electric guitar to the stage at some point."
A favourite type of guitar would be?
"I would like a Gibson Les Paul Classic, I don't know enough about which year is best but I know what sounds right. I used to have a Fender Strat when I worked in Bellowhead…"
Mention of the mighty Bellowhead reminds me that if not the hardest working man in roots music, Benji's surely a candidate when as Maddy Prior says, "he's in every group going." So it seems appropriate to bring them in at this point, shall we start with his other trio, Faustus?
"We've a new recording out Cotton Lords, that's material based around poems about the Lancashire cotton famine. The thing with Faustus is we try to do varied arrangements of traditional music using different combinations of instruments, which makes it hard for Matt our sound guy, and then we do our best not to repeat ourselves."
Faustus, mean and moody, Saul Rose, Benji and Paul Sartin
Then there's the not inconsiderable move you've made joining up with Steeleye Span.
"I think it was my work with Bellowhead and Faustus to be honest that convinced Maddy(Prior,) in particular that I was a good fit for the vacancy, I got the call from her manager asking me if I'd be up for it."
Does he feel he was, pardon the term, head hunted and how does he see himself fitting into the band?
Steeleye 2020, spanning the generations nicely. Left to right, Julian Littman, Spud Sinclair, Maddy Prior, Roger Carey, Benji K, seated, Jessie May Smart, Liam Genockey.
"To be honest I didn't know what to expect really, I was familiar with the 70s Steeleye Span as I've got most of that on vinyl but anything after that I wasn't too acquainted with. I did an audition and I've since found the great thing about the band is that they're quite open, keen on everyone having input, they don't dwell too much on what has been, Steeleye are equally about now and the latest line up having its own identity. I guess because of my root I found it easier to work with the material and try ideas."
They gave you Marrowbones to do which'd been sung by Martin Carthy originally; (on Ten Man Mop pop pickers.)
"That was great to do, a lot of that early repertoire was quite complex but I was used to that through working with Faustus, when I first joined we did the whole of Hark! The Village Wait so you can't go any earlier than the debut album. I'd like to think that my instrumentation with banjo and bouzouki bring some new textures and sounds to what the band play."
There is a new album to delve into Est'd 1969 which is the first from the new seven piece line up, the title a tip of the hat to the fact that 2019 sees the 50th anniversary of Steeleye Span but other than that is all spanking new material and it seems Mr. Kirkaptrick is at the centre of it all.
"I sing lead on two songs and it was quite a collaborative writing affair actually. I wrote a couple of tunes for various tracks, it was a very comfortable way of working. Maddy would have the words and she'd ask me if I had a tune to go with them, of course the immediate thing that happens is my mind went blank, (laughs,) but I got there eventually. There's a melody of mine in the long piece called Harvest and I get to do the vocal on Old Matron which Mr. Ian Anderson of Jethro Tull plays flute on. There's also The Cruel Ship's Carpenter which I have done on and off for years, but now I've finally found a place for it."
So all this was recorded in various locations and then put together by…
"Julian (Littman, guitars) he was the one constant, with me being here, there and everywhere I laid down all my parts in two days, most of the others put the bulk of the tracks down in about a week in a studio near Hastings, we then had a two day rehearsal for the tour and got the set ship shape and fit for the road."
A select few songs had been road tested previously since Span were sensible and introduced one or two numbers from the album on earlier jaunts, wearing the material in gradually and giving audiences a taste of what to expect. A septet makes, quite obviously, a gloriously loud noise, sometimes three guitars front up against the fiddle and rhythm section, the harmonies are richer than ever and with a considerable younger contingent in the ranks there is far more daring and cavalier attitude than you'd likely expect. In fact don't go to see Steeleye with any preconceived notions other than you'll have a bloody good night.Span have re-nailed their colours firmly to the folk prog mast causing no less than rock monthly Mojo to recently claim Est'd 1969 as their best in years, whispers after the show tonight talk of an anniversary DVD/CD package jammed with live material. No doubt details will follow.
Time is up and Benji shakes my hand as he heads back inside the theatre to meet up with the rest of Span who're arriving closer to show time. I head off with Steeleye's faithful roadie Jacky, a lively Scots character, always a tale to tell and wry observation to impart, "the younger members have galvanised the band once more, there's a new energy about the whole live set up and so life on the road is far more enjoyable." In no small part thanks to The Hardest Working Man In Roots Music, Benji Kirkpatrick, the title is now official!
https://www.benjikirkpatrick.com
• Gold Has Worn Away is on Westpark Records.
• Est'd 1969 & The Steeleye Span DVD/CD double package is out now on Park Records, cunningly titled 50th Anniversary Tour 1969 -2019. www.parkrecords.com
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Crowie happy with SA's preparations for Under-17 Africa Cup of Nations COSAFA qualifier
30 November 2022 – National Under-17 coach Duncan Crowie is happy with the way things have gone ahead of his side's participation in the football competition at the Region 5 Games in Lilongwe, Malawi.
The Under-17 Africa Cup of Nations COSAFA qualifier and the Under-17 Girls' Championship get underway this week and both Crowie and Delisilwe Mbatha, the South African Under-17 women's national team coach, are raring to go.
"So far I am happy with the way the preparations have gone," he said to www.safa.net.
The football competitions will be staged between December 1-12 and Crowie's charges are in Group B together with Zambia, Mozambique and the Seychelles. Hosts Malawi, Botswana, Namibia and Angola are in Group A.
Mbatha's charges are in Group A together with Malawi and Namibia. Zambia, Botswana and Comoros.
"But like I said, I am happy with the preparations and the most important thing is for us as the technical team to make sure that occasion does not get too big for the players," said Crowie.
"We have to ensure that the players concentrate on the soccer side of things and then I think half the battle will be won. But we will see how it goes. In football you never know what will happen next, but we will make sure we keep the guys grounded, focused and mentally prepared.
"Physically I think we are on the right track, and we are looking forward to this tournament."
Mbatha told www.safa.net this week that they were determined to make the country proud.
"We are determined to go through the group stages and it would be nice to finish top in our group so that we face second-placed side in Group B. We want to go all the way and bring the trophy home,'' said Mbatha.


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Holland students protest against gun violence
By Erin DietzerSentinel Staff616-546-4231
HOLLAND — A handful of Holland High School and Holland Early College students took to the sidewalks of Centennial Park to protest gun violence on Thursday, March 28.
"We just wanted to bring awareness to our society about the gun violence problem," said Early College sophomore Sierra Tye, who organized the march with fellow sophomores Jacob Wise and Gabriel Strabbing.
"It's mostly in response to the shooting in New Zealand though," Strabbing added.
On March 15, a 28-year-old Australian man opened fire at two mosques in Christchurch, New Zealand during Friday Prayer. Fifty people were killed and another 50 were injured. It was the deadliest shooting in New Zealand's history, and Prime Minister Jacinda Ardern announced in a press conference on March 21 that legislation would be introduced to ban military style semi-automatic and assault rifles, and an amnesty and buyback of weapons would be set up.
New Zealand wasn't the only instance of gun violence on the students' minds.
"We're pretty close to the anniversary of the march we did last year," Wise said, referring to the March 24, 2018, march against gun violence after the Feb. 14, 2018, shooting at Marjory Stoneman Douglas High School shooting in Parkland, Fla., that killed 17 and injured another 17.
Students at the march noted how two survivors of the Parkland shooting recently took their own lives within a week of each other, with one of the deaths attributed to survivor's guilt from the shooting. On March 25, the father of a first-grader who was among 26 students and staffers killed in a December 2012 shooting at Sandy Hook Elementary School in Newtown, Conn., was found dead of an apparent suicide.
"It's just so sad what's been happening," Strabbing said.
Students also noted instances closer to home, when West Ottawa student Davian Weston allegedly brought a gun to school in September and the Feb. 16 death of 14-year-old Troy "TJ" Wells in what police believe was a gang-related shooting.
"We even have kids from Holland affected by gun violence," sophomore Sam Wolthuis said. "We can't forget about TJ."
The Holland students planned to do the protest in two waves: one in the morning and one in the afternoon when school let out.
"We have people from all over the high school join, even people we don't know," Tye said.
— Contact this reporter at erin.dietzer@hollandsentinel.com. Follow her on Twitter @SentinelErin.


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Donald Trump and Civility — Really?
Donald Trump and the End of Civility
If the Republican Party accepts Trump's candidacy, it's rejecting the virtues of teamwork, common courtesy and civility.
A serious threat to our country.
By Peter FennMarch 3, 2016, at 1:25 p.m.+ More
For a decade we have seen article after article, study after study, comment after comment on the death of civility in our politics. Politicians, pundits and academics worried that gridlock and the paralysis of Washington was heavily due to the nastiness of the political culture and the vitriol inherent in today's politics.
Well, as Donald Trump might say – you ain't seen nothing yet!
My friend, Ira Shapiro, wrote a terrific book, "The Last Great Senate," about the accomplishments of the civil and functional U. S. Senate that we were both privileged to be a part of a few decades ago. Whether it was the Panama Canal treaties, passage of environmental legislation or social security reform, Republicans and Democrats actually worked together, forged compromises and got the people's business done.
But as Norm Ornstein and Thomas Mann chronicled in their book, "It's Even Worse Than It Looks," published in 2012, the rise of tea party extremists and hard-right ideologues has polarized and paralyzed our constitutional system of government.
[SEE: Editorial Cartoons on Donald Trump]
And now in 2016, we have Donald Trump, who would make Ornstein and Mann's world of just a few years ago look like patty-cake. Trump, and many of his colleagues in this race who have followed his lead, has debased the dialogue and engaged in trash talk that would make a pro football player blush. It has truly spiraled out of control.
Facts and logical argument are cast to the wind like confetti; nasty statements about body parts are common and invective like "stupid," "idiot," "lightweight," "choker," "loser" are used by Trump in nearly every speech and press conference.
No one is writing about a return to civility so long as Trump has seized the stage, forcing a dialogue that has taken American politics even further down into the gutter. In fact, Trump has left many people who should be speaking out speechless instead. Now Republicans and conservative columnists are shaking their heads and wondering why the other candidates and Republican Party leadership have kept their heads in the sand for so long. A flood of pieces by the likes of David Brooks and George Will spell it out perfectly: talking about "the governing cancer" and Trump's "demagogic cynicism and anti-constitutional authoritarianism."
[SEE: Editorial Cartoons on the 2016 Presidential Elections]
But I fault those Republicans and conservative pundits who clearly should have been focusing on this transformation from a government that governed and legislators who legislated into a collection of talking heads whose constant desire is to be on gladiator-TV. Or to give a speech that incites a crowd. Many of them embraced the tea party and chose demagoguery over dialogue.
What has happened to words such as thoughtful, wise, substantive, open-minded and even educated, learned and knowledgeable to describe those in the arena of politics and government? Why are those not the standards we use to judge our leaders?
I am left with the enduring cover image from The New Yorker a number of weeks ago, showing a television set with Donald Trump raging and Presidents Washington, Lincoln, Kennedy and Teddy and Franklin Roosevelt looking on in horror.
[READ: Trump's Southern Strategy Wins Him the South Carolina Primary]
This is no longer amusing nor something that should be passed off as entertainment. This is not "The Apprentice" or some reality television show. This is real.
If we allow a person like Donald Trump to capture the Republican Party, let alone the country, the price we will pay will be lasting, and the damage will be serious and permanent. This is so far from anything we have experienced; that it has no parallel in our history. He is not, as he says, building a new expanded Republican Party. This "movement" is based on fear and loathing, racism and prejudice, xenophobia and hatred. It is based on our basest instincts, not on our best instincts. It is destructive, not constructive.
With a Trump ascendancy, common courtesy and civility will be considered weaknesses and the politics of irrationalism and fear will triumph. That must not happen.


If you would like more information about maintaining the health of your gums and teeth please fill out our enquiry form.
Dental Hygiene Therapy at 75 Harley Street is focused on maintaining the health of your teeth and gums. We can show you how to prevent gum disease, tooth decay and bad breath.
What does this mean? Direct access means you can now make an appointment with our dental hygienist without a dental examination first. Whether you are an existing patient or you just want a private scale & polish contact us on 020 7935 3914 to book an appointment or fill in our enquiry form here.
A buildup of plaque and tartar is the main cause of gum disease. Flossing between the teeth and brushing twice a day will help to remove the buildup of deposits. Along with regular visits to the dentist, we can help keep your mouth, teeth and gums healthy.
While bad breath originates in the mouth 80% of the time, at other times it is a symptom of an underlying disease that needs the earliest possible treatment.
Persistent bad breath is usually caused by the smelly gases of the bacteria that coat your teeth and gums. Certain illnesses such as diabetes, liver or kidney problems, nasal or stomach conditions and "dry mouth" (xerostomia) that affects the flow of saliva can be the cause of bad breath.
Our hygienists are highly skilled and offer a range of services to help maintain a healthy smile. Our aim is to prevent and protect through regular hygiene appointments supported by dental examinations.
Please book your appointment so that we can examine your teeth and help to keep plaque and tartar at bay.
Please read our FAQs about oral hygiene below for further information.
Is gum disease a factor?
Periodontal, or gum disease, affects the gums and bone supporting your teeth. It is caused by sticky plaque and hard deposits of tartar. It happens when teeth and gums are not kept clean enough. Without regular cleaning the gums will come away from the tooth creating pockets around the teeth where food and plaque can collect. Pockets are difficult to keep clean and gum disease will get worse if no treatment is not carried out. The next stage of the disease will involve loosing the bone that supports the teeth and the teeth will become loose until they will have to be taken out. Severe gum disease can be an inherited factor or an indicator of problems with general health.
Scientists have discovered that periodontal disease is linked to coronary heart disease and stroke, especially for people who smoke or have high blood pressure.
Once we have determined the degree and cause of the breath problem, the treatment can take many forms. If medical problem are found to be the underlying cause of bad breath, proper referral will be made. Recommendation will be made by the dentist to correct and treat any dental disease that is directly related to the breath problem or gum disease.
The Hygienist will monitor and chart the condition of your gums before and after root planing and scaling. She will instruct in the best way to brush your teeth and gums and will advise on best devices and products to use as an effective home care program to destruct the volatile sulfur gases.
In some patients with high decay rate the Hygienist will perform a SALIVA TEST which acts as a screening aide for dental caries and can determine the presence of plaque retentive sites with high bacterial counts.


I was supposed to be waking up in Glasgow today.
Instead, I woke up in New Jersey.
My visa has not yet arrived so I had to cancel my flight on Friday and am currently waiting for any news from the UK Consulate and/or fedex.
Meanwhile, Dad is in Glasgow, trying to make the best of the situation – I just hope I am able to get there before he has to come home!
I feel I have subconsciously always known I would end up in Glasgow and I've been trying to make this dream happen for so long, that it almost doesn't totally shock me that there is one last hiccup along the way. I know in a little while, everything will work out and all of the stress and anxiety will have been worth it.


Shipping A Car To or From Enterprise, NV | A-1 Auto Transport, Inc.
Welcome to your ultimate resource for shipping a vehicle in Enterprise, Nevada! If you need a car, truck, motorcycle or anything else shipped to or from the area, the information on this page will help you make an informed choice and find an affordable, reliable option. A-1 Auto Transport has more than 25 years of experience as a domestic and international vehicle shipper and we are happy to answer your questions; just call us at the number at the top of the page!
All of these services require expertise and, in some cases, special equipment that not all shippers will have. Make sure any transporters you contact are experienced if you think you may need any of these specialty services.
Dispute Resolution – You can learn a lot about an auto transport company by inquiring about their dispute resolution process. This process is something that should be clearly defined in concrete terms with clear, simple steps that are easy to follow. Less experienced companies–and those with questionable practices–will not have a clearly established complaint protocol or will not be able to explain it easily. By simply asking the question, "How do you address customer complaints?" you'll be able to quickly determine the quality of their service and how they treat their customers. Complaints are taken very seriously by the U.S. Department of Transportation and they should be treated appropriately by any shipper you work with, as well. You can look up complaints filed against shippers by using the National Consumer Complaint Database.
Deposits & Cancellation Fees – Another great litmus test for the quality of customer service offered by companies is how they handle cancellations and what sort of deposit they require. While a deposit is not unusual in the industry, it should be a reasonable amount if one is required–usually, no more than a small percentage of the total cost. The deposit is often nonrefundable (ask if this is the case), which means that a cancellation will cost you whatever you've paid as a deposit. Because of this, it can sometimes be a good idea to work with a shipper that doesn't require an upfront deposit, especially if you think a last-minute cancellation is a possibility. Make sure you ask about these topics before agreeing to any services or you might be in for an expensive surprise if you need to cancel!
Visit the official website for Clark County, Nevada to learn more about the services offered by businesses in Enterprise.
AmPm is an established auto shipper that delivers cars throughout the continental United States and Canada. They are accredited with the Better Business Bureau and also ship inoperable vehicles, both to and from Enterprise.
A coast to coast and international auto shipper out of Las Vegas, Auto Transporters Nationwide provides service for private owners, companies, auctions and dealerships. They also ship motorcycles and offer home moving services.
Car Transport Direct is another company out of Las Vegas that ships vehicles domestically and internationally. They have 15 years of experience and also move boats and watercraft for customers.


Spot It! is a great game for preschoolers to master letter recognition and work on processing speed while having fun! Keep reading to see all our thoughts in the detailed Spot It! review.
Pin here, or use the image below!
Spot It! is a race game where players try to be the first to identify matching letters or shapes among cards. There are different versions of Spot It!, our favorites are Spot It! Alphabet and Spot It! Numbers because the work really well as a fun way for preschoolers to learn numbers and letters. The rest of this review will focus on the alphabet version, but they all play similarly. Pick the one that is right for your family!
You can check out the different versions available on Amazon.
One of our favorite things about Spot It! Is that the instructions detail 3 ways to play. I'll detail our favorite version here, but know there are different options you can try (awesome for replayability!). Our favorite gameplay variant is called 'The Tower'. Each player gets one card facedown and the remaining cards are stacked in the middle, face up. Together, players turnover their card and race to identify a symbol that matches the center card. The first person to identify a matching symbol wins the center card and it gets added to their pile. This uncovers the next card in the center pile and a race to find a match starts immediately. Play continues until the whole center pile is depleted and the player with the most cards at the end of the game wins.
Spot It! Is a very fast paced game, no matter what version or variant you play. If your kids struggles with waiting their turn, this is a great game because there are no turns! Each game of Spot It! is also very short. Once you've learned the game it can be played in five to ten minutes. We loved this because (1) the game length fits perfect with preschooler attention span and (2) it makes it a perfect filler game when you need a break or have a short window of downtime to fill.
There are some obvious learning opportunities in Spot It!, and some that are less obvious but just as valuable. Spot It! is a great way for kids to learn (or master) shapes, colors letters, and numbers. Aside from all the obvious, Spot It! is a great game for kids to develop their ability to focus. Because Spot It! is not a turn based game, each game requires kids to focus throughout the game to have a chance to win. The game also help kids develop their processing speed and learn how to keep thinking under pressure. Spot it! is all about who can identify matches the fastest which is perfect for kids working on solidifying and trusting what they know.
Our favorite thing about Spot It! is how flexible it is. It can be used as a fun way to teach preschoolers many different building blocks, but for us it functioned best as way to solidify things our preschoolers had been learning. It was great to see the kid's confidence in identifying letters and numbers soar as we played the game. Spot It!'s small size also makes it a perfect game to keep in your purse or bag to entertain your kids in lines or during unexpected waits. The game also comes in a metal container which makes is ideal for traveling with (here are some other games we love to travel with).
We really liked Spot It!, but there is one small thing we wish Blue Orange would have added. It would have been great if they had detailed a solo play game. We certainly got creative and created our own versions when the kids wanted to play, but didn't have anyone to join, however it would have been great if Blue Orange had laid one out in the game rules.
Spot It! is a great addition to your board game collection. It's a perfect to teach or reinforce things preschoolers are curious about, and allow them to have fun while doing it! The size and reasonable price tag make it an awesome stocking stuffer (also see our list of the best games for stocking stuffers).
Overall we rate Spot It! 4 out of 5 stars, definitely worth adding to your collection!
To see more great reviews like this and other content from the site, sign up below!
Comment below and let me know what you think of Spot It!


A meat thermometer gauges the internal temperature level of meat. It is utilized to determine the temperature of steak or roast as well as any other prepared food.The interior temperature level establishes whether the meat has been well prepared or roasted. When prepared appropriately, the internal temperature level of the meat have to acquire certain levels of hotness which could kill all the virus that trigger foodbone health problem.
The meat thermometer may be made use of to measure core temperatures of meat while it is being cooked. It has a sharp metal probe that is typically pressed into the meat and also might show whether a specified kind of meat is done and all set for serving or not.
Some thermometers have a bimetallic strip which turns a needle and also displays the temperature on a dial. It is feasible to have the whole thermometer positioned inside the oven when food preparation. The pop up timer is the selection that is used on turkey. The probe is put in the meat and also the cable is connected on the screen. It can be set to seem an alarm system as quickly as a specified temperature level is gotten to. Preferably, the probe can be put in the probe prior to one starts cooking and ought to be continued up until the desired interior temperature is attained. In some other situations, the meat could possibly be cooked for a certain time frame prior to it is taken out of the stove. Make certain that the suggestion of the probe is placed in the thickest component of the meat but must not touch the bone since the bone performs heat as well as offer false details.
. If you are cooking the veal, lamb or beef, guarantee that the meat thermometer is inserted far from fat, bone or cartilage. The meat ought to after that be allowed to get to a temperature of 63 ° C (145 ° F) or 77 ° C (170 ° F) prior to it prepares to be served.
If you are cooking pork, guarantee that it acquires a temperature of 71 ° C but you need to place the thermometer according to the directions.


The toolbar looks great as icon-only, so I can cram options on. Any chance that, for people like me, the "submit" and "HTML view" options will be given different icons?
certainly... send your submissions to the number on your screen.
Please keep in mind that 1.50 was not actually ready for release, but was shoved out 'as-is' to deal with the recent ... difficulties with the previous version. I'm surprised and pleased that it works 1/2 as well as it does considering the massive code and gui rototilling that happened. That is a tribute to the people working on the iJournal project.
For not being ready for release I think it is quite good and I am enjoying it immensely.
Same here -- the new features are great! keep up the good work.


My personal family history begins principally with the Rainbows of Cotesbach, Leicestershire, UK and reaches out to Coventry, Tasmania and the USA.
Edwin, born in Coventry in 1851 was a journalist, writer, and worked as a Registrar for many years.
Every family needs a black sheep and Jabez Rainbow, runaway apprentice, soldier and attempted murderer certainly qualifies to fulfil that role.


Samsung Galaxy S4 I9500 does have lots of great thing to offer but it is not as perfect as people want to. Owners of this phone have reported that their phone won't charge fully or it won't charge at all. This is an alarmingly issue that need to deal right away. Do not make jump to any conclusion and thinking that the phone is already damaged.
So if you are experiencing any charging problem or problem connecting your Samsung GT-I9500 to your computer via USB cable then it is possible that your Samsung Galaxy S4 I9500 charging connector is faulty. Replacing it with a new one is the only solution here. But if by any chance the USB connector prints are broken then you have to make the jumpers as shown in the diagram below.
Charging connector's pins might be damaged, corrosive or dusty.
Charger is out of order or is not original. Battery might be faulty or copy.
Battery terminals might be corrosive or damaged.
To fix the problem, you may first ensure that the wall charger you are using is properly working and the battery is not totally drained. Continue by checking the charging pin connector or DC jack connector, visually check it for possible damaged. Clean the PCB board charging pads and battery connector. If the problem still occurs proceed to components troubleshooting.


text:
Ка́мерный теа́тр — драматический театр, основанный в 1914 году Александром Таировым, располагался в перестроенном под театр особняке XVII века на Тверском бульваре в Москве. Первый спектакль был показан 12 декабря 1914 года, последний — 29 мая 1949 года. На основе закрытого театра создан Московский драматический театр имени А. С. Пушкина.

История

Истоки театра
В 1912 году Александр Таиров ушёл из театра Коммисаржевской и уехал из Петербурга в провинцию, чтобы порвать с театральной жизнью. В августе 1913-го он переехал в Москву, по приглашению Константина Марджанова занимался постановкой пантомимы в Свободном театре. В 1914-м этот театр распался, потому что его создатели собрали в труппу слишком разных людей, которые не нашли между собой общего языка. К этому времени единомышленники Таирова проделали много работы над новыми постановками и решили не оставлять работу. Режиссёр приступил к созданию собственного театра и поиску помещения. Таиров выбрал особняк на Тверском бульваре: бывшая усадьба, построенная в XVII веке. Ранее зданием владел тайный советник князь Иван Вяземский. В 1779 году он продал участок церкви Иоанна Богослова, после этого усадьба перешла Вырубовым, а в 1911-м была выкуплена братьями Паршиными.

Меценаты помогли Таирову встретиться с Паршиными. В здании располагалось Воинское присутствие, контракт которого завершался. Таиров убедил братьев, что его театр принесёт им известность. Меценаты заключили с владельцами особняка договор аренды сроком на пять лет за  и сразу же оплатили десять тысяч из них.

Ранний период

Реконструкция особняка началась в 1914 год, а по соседству с церковью Иоанна Богослова стали возводить зрительный зал и сцену. Анфилада особняка стала парадным фойе.

Труппа планировала работать вне зависимости от настроения обычной публики и хотела видеть на своих спектаклях зрителей со схожими тревогами, раздумьями и взглядами на жизнь, и по этой причине назвала театр Камерным. При этом актёры не стремились к «камерному» репертуару, исполнению и методам постановки. Позже название театра утратило первоначальный смысл, но его решили сохранить, «как сохраняет человек имя, данное ему от рождения». Таиров предпочитал произведения в стиле «мистерии» и «арлекинады», а для постановок использовал зарубежные пьесы. Он стремился создать синтетический театр с упором на движение и пластику, называя свой театр «эмоционально-насыщенных форм» или «театром неореализма».

Открытие Камерного театра должно было начаться с постановки «Сакунтала» по драме древнеиндийского автора Калидасы. Для подготовки спектакля Александр Таиров побывал в Париже и Лондоне, где много дней посещал индусские музеи, пока Первая Мировая война не вынудила его вернуться. Режиссёр приехал в Москву последним поездом из Парижа и узнал, что с началом войны многие рабочие вернулись в деревни, поэтому постройка театра остановилась. Почти сразу актёров стали призывать в армию, перевод «Сакунталы» из Франции долго не присылали, а в кассе театра не оказалось денег. Решить проблемы удалось лишь спустя месяц, и труппа приступила к репетициям. В спектакле не использовались костюмы — актёры выступали обнажёнными с раскрашенными телами. Для рекламы спектакля актриса Любовь Ненашева предложила пропагандировать театр: три-четыре у афиши разговаривали с публикой, расхваливали театр, пьесу, постановку и актёров. Самого режиссёра такая инициативы только веселила, но он относился к ней одобрительно.

Премьера состоялась 12 декабря 1914 года и была тепло встречена аудиторией, поэтому в течение месяца театр показал ещё два спектакля: «Ирландский герой» и «Жизнь есть сон». Но они не имели такого же успеха. В спектакле «Жизнь есть сон» критики посчитали удачной только игру одного актёра, которого после спектакля пригласили на работу в МХТ. Постановку пришлось снять из репертуара — в труппе не оказалось подходящей замены. Во время репетиций выяснилось, что молодым артистам требуется много времени, чтобы достичь желаемого режиссёром уровня, а члены труппы с многолетним стажем работы не могли работать в стиле Камерного театра, поэтому Александр Таиров создал при театре собственную актёрскую школу.

В 1915 году из-за тяжёлого финансового положения театра труппа полностью отказалась от гонораров ради продолжения работы. Директор Литературно-художественного кружка Валерий Брюсов успешно ходатайствовал о выделении субсидии театру в размере , но из-за просроченной арендной платы на театр подали в суд братья Паршины. Труппа в полном составе пришла на заседание и обвинила владельцев особняка в намеренном создании финансового кризиса, потому что Паршины не отапливали помещение и сильно сэкономили на ремонте, чем распугали публику. Театр выиграл это дело, но почти сразу после на него наложила запрет консистория. Формальным основанием послужило то, что здание театра располагалось на пять сантиметров ближе положенного к церкви. Судебная тяжба затянулась, но привела к примирению сторон. Одновременно Таиров репетировал пьесу «Фамира Кифаред», что вызывало недовольство Паршиных: они требовали ставить современные драмы и комедии, а после проигрыша в суде братья решили передать здание другому театру. Таирову пришлось поставить популярный спектакль «Покрывала Пьеретты», закупив костюмы у бывшего заведующего Свободным театром. Аншлаги позволили труппе заработать, а вопрос о передаче здания временно был улажен.

Следующий спектакль «Ужин шуток» тоже был хорошо принят публикой. Но после премьеры в декабре 1916 года Паршины всё же подписали договор о передаче театра антрепренёру Морицу Шлуглейту, который был не согласен с инновационным видением режиссёра и потребовал уменьшить бюджеты постановок, чтобы их могли покупать небогатые энтузиасты нового искусства. Во время сезона 1916/17 года сотрудники театра получали всего по 50 рублей в месяц. Заключительное выступление состоялось в феврале 1917-го. Декорации и занавес выбросили, надпись «Московский Камерный театр» сняли, здание отремонтировали и передали театру, ставящему спектакли с фривольным содержанием. Актёры Камерного разъехались, сохранился только костяк труппы.

Восстановление театра

Во время Февральской революции театру выделили помещение в доме 19 по Большой Никитской, принадлежавшему Российскому театральному обществу. Днём там работала актёрская биржа, а труппа занималась после 16 часов. В театр и театральную школу набрали новых актёров. К открытию сезона готовили спектакли «Саломея» и «Король Арлекин». В 1917 году в Москву из Петрограда переехал режиссёр Всеволод Мейерхольд, Таиров предложил ему создать общий «левый» театр. Вместе они поставили спектакль «Обмен», который вскоре сошёл со сцены. Дальнейшее сотрудничество режиссёров не состоялось.

В начале 1918 года театр получил приглашение на гастроли по Киеву, Харькову, Одессе, Вене и Будапешту. Подобное предложение показалось режиссёру неподъёмным, поэтому он отказался. В конце года народный комиссар Анатолий Луначарский посмотрел спектакль «Саломея» и принял Александра Таирова, а через несколько дней Наркомпрос вернул Камерному театру помещение на Тверском бульваре и выделил средства для расширения на восемьсот мест. Театру присвоили звание академический.

Весной 1919 года Камерный театр гастролировал в Петрограде. В этом же году на базе Общества друзей Камерного театра был организован клуб «Эксцентрион». Он располагался в большой комнате флигеля театрального здания. В помещении устраивали капустники, одноактные пьесы, скетчи, пантомимы, пародии, танцы и многое другое. По понедельникам в здании проходили кинопоказы. В 1920-х театральный особняк ещё раз перестроили и расширили, а в здании закрывшейся церкви Иоанна Богослова устроили театральные мастерские.

В конце февраля 1923 года труппа Камерного театра в полном составе отправилась на гастроли во Францию, Германию и Италию. Турне, рассчитанное на пять недель, растянулось на семь месяцев. Особую популярность труппа завоевала в Германии.
Немецкий театр по сравнению с этим русским выглядит как тряпье рядом с кружевом, словно тюремный двор рядом с парком.— Франкфуртский критик

В 1923 году театральную школу преобразовали в Государственные экспериментальные театральные мастерские, через некоторое время оформили как высшее учебное заведение, названное Вгэктемас. Обучение проводилось на четырёх факультетах: актёрском, режиссёрском, хорео-пантомимическом и историко-теоретическом. Студенты изучали как школу Камерного театра, так и занимались с педагогами других театральных направлений. В вузе существовали «дисциплины по движению»: шведская гимнастика, ритмическая гимнастика, акробатика, жонглирование, фехтование, дункановская пластика и балетный станок, а также упражнения с воображаемыми предметами. Помимо этого преподавали грим, читали лекции по анатомии. Особое внимание уделялось постановке голоса.

В 1924 году в труппу пришли актёры, окончившие студию Николая Церетелли, и выпускниками ГИТИСа. В этом же году по предложению Александра Луначарского в Большом театре провели десятилетие Камерного театра.

В 1930 году труппа отправилась на гастроли в Германию, Австрию, Чехословакию, Италию, Швейцарию, Францию, Бельгию, Бразилию, Уругвай и Аргентину. В отсутствие артистов было решено капитально перестроить здание театра, увеличить зрительный зал, а также построить дополнительный корпус для школы и цехов. Перестройка затянулась на несколько месяцев. Вернувшихся актёров пришлось сначала отправить в отпуск, затем — в тур по стране, а после репетировать в достраиваемом здании. Главной премьерой нового сезона стал спектакль «Опера нищих» по «Трёхгрошовой опере» Бертольта Брехта — первый опыт воплощения его драматургии на советской сцене. Осваивая современные советские произведения, в 1933 году труппа представила публике пьесу «Оптимистическая трагедия» Всеволода Вишневского. Постановка была признана одной из лучших в столице, а Таирова в качестве представителя Советского Союза в 1934-м отправили на Международный театральный конгресс в Рим.

Военное время и закрытие

В 1936 году Александр Таиров представил публике пародию-сказку «Богатыри». Автор Демьян Бедный, к тому времени попавший в опалу, в сатирическом стиле высмеял события древнерусской истории, в том числе Крещение Руси. Несмотря на успех у зрителей, спектакль подвергся резкой критике со стороны властей за искажение событий русской истории. Спектакль расценили как выражение чуждых политических тенденций, охарактеризовали Камерный театр как «действительно буржуазный».

Спектакль сняли через месяц после премьеры, а в газете «Правда» вышла редакционная статья под названием «Театр, чуждый народу», вызвавшая резонанс. Камерного театра Таирова постановили слить с Реалистическим театром Охлопкова, их объединили в 1938 году, но сотрудничество не сложилось: труппы поочередно играли собственные спектакли. После единственной совместной постановки «Кочубей» Николая Охлопкова назначили режиссёром в Театре имени Вахтангова, его актёры покинули Камерный театр вместе с ним в 1939 году.

Весной 1941 года театр поехал на гастроли в Ленинград, откуда его эвакуировали в Челябинск, а затем в Балхаш. Местный клуб оказался слишком маленьким для труппы, после нескольких спектаклей театр отправился в Барнаул, где ему предоставили площадку местного драматического театра. В Барнауле труппе вручили почётную грамоту «За плодотворную творческую и общественно-политическую деятельность и хорошо организованное культурное обслуживание трудящихся». В октябре 1943 года актёры вернулись в Москву. Помещение театра сильно пострадало, но открытие нового сезона состоялось со спектакля «Пока не остановится сердце». В 1944 году Таиров поставил пьесу Александра Островского «Без вины виноватые» с Алисой Коонен в главной роли, игру которой высоко оценили критики. Через год театр отметил своё 30-летие, Александр Таиров получил Орден Ленина, несколько актёров — звание заслуженных артистов РСФСР.

В августе 1946 года вышло постановление ЦК ВКП(б), запретившее постановки по произведениям зарубежных драматургов. В 1949-м Таирова обвинили в формализме и безыдейности, несовместимых с концепцией соцреализма. 29 мая 1949 года Камерный театр показал последний спектакль «Адриана Лекуврёр», который труппа за 30 лет сыграла около 800 раз. 1 июня 1949-го Александра Таирова освободили от должности художественного руководителя, театр был закрыт. В 1950-м часть труппы перешла в Московский драматический театр имени А. С. Пушкина, открытый на месте театра Таирова. Алиса Коонен провела без работы больше года. Александр Таиров скончался 25 сентября 1950-го.

Труппа
Помимо Александра Таирова режиссёром театра был Леонид Лукьянов.

Актёры

 Абрикосов Андрей (1937—1938, при слиянии с Реалистическим театром)
 Антимонов Сергей
 Аркадин Иван
 Благина, Клавдия Васильевна
 Бобров, Сергей Васильевич
 Горина Наталья
 Гоарик Гоарина
 Дубенский Анатолий
 Ефрон Наталья
 Жаров Михаил
 Зайчиков Василий
 Кенигсон Владимир
 Киселёв Юрий
 Коонен Алиса
 Комаровская Надежда
 Миклашевская Августа
 Подгорный Владимир
 Прокопович Николай
 Раневская Фаина
 Репнин Пётр
 Румнев Александр
 Сафонов Всеволод
 Смирнова Лидия
 Смысловский Игорь
 Судейкина Вера
 Толубеева Евгения
 Уварова Елизавета
 Фенин Лев
 Фердинандов Борис
 Фрелих Олег
 Хмельницкий Юлий
 Ценин Сергей
 Церетелли Николай
 Чаплыгин Николай
 Эльстон Лев
 Яниковский Георгий

Художники
В разное время в театре работали:
 Александр Веснин
 Павел Кузнецов
 Владимир Стенберг
 Георгий Стенберг
 Владимир Щуко
 Александра Экстер
 Георгий Якулов

Спектакли

 12 декабря 1914 — «Сакунтала» Калидасы — открытие театра
 1915 — «Духов день в Толедо» М. Кузмина
 1915 — «Покрывало Пьеретты» А. Шницлера
 1916 — «Фамира Кифаред» И. Анненского
 1917 — «Саломея» О. Уайльда
 1917 — «Голубой ковёр» Л. Столицы
 1918 — «Обмен» П. Клоделя. Художник — Г. Якулов
 1919 — «Адриенна Лекуврер». В роли Адриенны — А. Коонен
 1917—1920 — «Король-Арлекин» Лотара, «Ящик с игрушками» (пантомима К. Дебюсси, «Благовещение» П. Клоделя, «Адриенна Лекуврер» Э. Скриба и Легуве
 1920 — «Принцесса Брамбилла» по Э. Т. А. Гофману, художник — Г. Якулов
 1921 — «Ромео и Джульетта» У. Шекспира
 1922 — «Федра» Ж. Расина. Художник — А. Веснин. В роли Федры — А. Коонен, Тесея — Эггерт, Ипполита — Н. Церетелли
 1922 — «Синьор Формика» по Гофману. Художник — Г. Якулов
 1922 — «Жирофле-Жирофля» Ш. Лекока. Художник — Г. Якулов
 1923 — «Человек, который был Четвергом» по Г. К. Честертону С. Кржижановского. Худ. А. Веснин
 1925 — «Кукироль» П. Антокольского, В. Масса, Глобы и В. Зака
 1926 — «Косматая обезьяна» Ю. О'Нила. Реж. А. Таиров и Л. Лукьянов, худ. братья Стенберги
 1926 — «Любовь под вязами» Ю. О'Нила В ролях: Эбби — А. Коонен, Кабот — Л. Фенин, Питер — С. Ценин
 1926 — «Розита» А. Глобы. Художник — Г. Якулов
 1926 — «Багровый остров» М. Булгакова. Спектакль признан официальной критикой неудачным
 1926 — «День и ночь» Ш. Лекока с текстом В. Масса
 1926 — «Голубой покой» по А. Соболю
 1926 — «Антигона» В. Газенклевера в переработке С. Городецкого
 1927 — «Заговор равных» М. Левидова. Спектакль запрещён решением Политбюро
 1929 — «Наталья Тарпова» С. Семёнова
 1929 — «Негр» Ю. О'Нила. Художники — братья Стенберги. В ролях: Элла Доуней — А. Коонен, Джим Гаррис — Александров, Микки — Чаплыгин
 1930 — «Опера нищих» Б. Брехта и К. Вейля. Худ. братья Стенберги. В ролях: Пичем — Л. Фенин, Полли — Назарова, Макхит — Ю. Хмельницкий, Браун — И. Аркадин, Селия Пичем — Уварова, Дженни — Ефрон, Люси — Е. Толубеева. Первая постановка Брехта в СССР
 1931 — «Линия огня» Никитина
 1933 — «Машиналь» С. Тредуэлл. Худ. В. Рындин. В ролях: Эллен — А. Коонен, Джон — С. Ценин
 1933 — «Оптимистическая трагедия» Вс. Вишневского. Худ. В. Рындин; Комиссар — А. Коонен, Алексей — М. Жаров, Вожак — С. Ценин, Командир — Г. Яниковский, Боцман — И. Аркадин
 1934 — «Египетские ночи»: Фрагменты одноимённого произведения А. Пушкина, «Цезаря и Клеопатры» Б. Шоу в переводе М. Левидова и «Антония и Клеопатры» У. Шекспира в переводе В. Луговского. Худ. В. Рындин, музыка С. Прокофьева; Клеопатра — А. Коонен, Цезарь — Л. Фенин
 1936 — «Алькасар» Г. Д. Мдивани
 1936 — «Богатыри». Опера-фарс на музыку А. П. Бородина; либретто В. А. Крылова в переработке Д. Бедного). Худ. Баженов; Владимир — Красное Солнышко — И. Аркадин, Стрига — Л. Фенин, Алёша Чудила (Попович) — Ю. Хмельницкий. Несмотря на зрительский успех, спектакль был подвергнут жестокой критике по идеологическим соображениям
 1937 — «Дума о Британке» Ю. Яновского
 1937 — «Дети Солнца» М. Горького. Лиза — А. Коонен, Протасов — В. Ганшин
 1938 — «Очная ставка» бр. Тур и Л. Шейнина. Реж. и исп. роли Ларцева — М. Жаров
 1938 — «Кочубей» А. Первенцева. Реж. Н. Охлопков. Кочубей — П. Аржанов, Журба — Александров
 1938 — «Честь» Г. Мдивани
 1939 — «Генеральный консул» бр. Тур и Л. Шейнина
 1939 — «Сильнее смерти» П. Жаткина и Г. Вечоры. Постановка А. Таирова. Художник Е. Коваленко
 1940 — «Мадам Бовари» по Г. Флоберу. Худ. Коваленко и Кривошеин. Инсценировка и Эмма — А. Коонен)
 1941 — «Батальон идёт на Запад» Г. Мдивани
 1940 — «Чайка» А. П. Чехова. Поставлено «в сукнах» как спектакль-концерт. Реж. Таиров и Л. Лукьянов; Нина Заречная — А. Коонен, Тригорин — Б. Терентьев, Треплев — В. Ганшин
 1942 — «Небо Москвы» Г. Мдивани. Постановка А. Таирова. Художник Е. Коваленко
 1943 — «Пока не остановится сердце» К. Паустовского. В роли Мартыновой — А. Коонен.
 1944 — «У стен Ленинграда» Вс. Вишневского
 1943 — «Раскинулось море широко» Вишневского, Крона и Азарова, Спектакль-обозрение с приемами оперетты
 1944 — «Без вины виноватые» А. Островского. Отрадина-Кручинина — А. Коонен, Незнамов — В. Кенигсон
 1945 — «Верные сердца» О. Берггольц и Г. Макагоненко. Сценическая композиция А. Таирова, реж.-постановщик Н. Сухоцкая
 1947 — «Жизнь в цитадели» А. Якобсона
 1948 — «Ветер с юга» Грина. Реж. А. Таиров и Л. Лукьянов
 1945 — «Он пришёл» Дж. Б. Пристли. Реж. А. Таиров и Л. Лукьянов
 1946 — «Старик» М. Горького. В ролях: Гуля и Старик — П. Гайдебуров; реж. обоих спектаклей Таиров и Лукьянов

Примечания

Литература

 Иванов В. Полночное солнце. «Федра» Александра Таирова в отечественной культуре // Новый мир, 1989. № 3. С. 233—244.
 Камерный театр. Статьи, заметки, воспоминания. М., 1934.

 Луначарский А. В. О театре и драматургии. Т. 1. М.: 1958. — Статьи: «Из московских впечатлений» , «"Федра" в Камерном театре» , «К десятилетию Камерного театра» , «"Косматая обезьяна" в Камерном театре» , «Из театральных исканий» , «О театральной критике».
 Московский Камерный театр. «Человек, который был Четвергом» в немецкой и австрийской критике / Публ., лит. редакция переводов, вступ. статья и коммент. С. Г. Сбоевой // Мнемозина. Документы и факты из истории отечественного театра XX века / Ред.-сост. В. В. Иванов. М.: Индрик, 2014. Вып. 5. С. 176—240.
 Парад искусств и границы театра. Г. Б. Якулов. Лекция (1926) / Публ., вступ. статья и коммент. В. В. Иванова // Мнемозина. Документы и факты из истории отечественного театра XX века / Ред.с-сост. В. В. Иванов. М.: Индрик, 2014. Вып. 5. С. 241—271.
 «…Глядеть на вещи без боязни». К столетию Камерного театра. Материалы Международной научной конференции, посвященной 100-летию Камерного театра. 16—18 декабря 2014 года / Ред-сост. В. В. Иванов. — М.: ГИИ; ГЦТМ им. А. А. Бахрушина, 2016. — 310 с.; илл. — ISBN 978-5-98287-107-7

 Камерный театр и его художники. 1914—1934 . М.: 1934.

Камерные театры
Частные театры Российской империи
Частные театры Москвы
Театры СССР
Театры, основанные в 1914 году
Исчезли в 1950 году
Исчезнувшие театры Москвы
Камерный театр Таирова
Награждённые участники Всемирной выставки (1925)


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Q: Why "Nexthop has invalid gateway" when it seems to be defined? I have my own wireless router to which a remote VPN client, 10.7.0.6, is connected. I want traffic from one of the wireless clients to go through it, but I'm getting  "Nexthop has invalid gateway". (I'm aware that I'll have to persuade 10.7.0.6 to play ball, but the present problem comes before that I think.)
This is the router, 10.0.0.1:
[ad@rout ~]$ ip addr
1: lo: ...
2: wlp0s20f0u1: <BROADCAST,MULTICAST,UP,LOWER_UP> mtu 1500 qdisc mq state UP group default qlen 1000
    link/ether 78:32:1b:06:18:1b brd ff:ff:ff:ff:ff:ff
    inet 10.0.0.1/24 brd 10.0.0.255 scope global wlp0s20f0u1
       valid_lft forever preferred_lft forever
...
6: tun0: <POINTOPOINT,MULTICAST,NOARP,UP,LOWER_UP> mtu 1500 qdisc fq_codel state UNKNOWN group default qlen 100
    link/none
    inet 10.7.0.1 peer 10.7.0.2/32 scope global tun0
       valid_lft forever preferred_lft forever
...
23: ppp0: <POINTOPOINT,MULTICAST,NOARP,UP,LOWER_UP> mtu 1492 qdisc fq_codel state UNKNOWN group default qlen 3
    link/ppp
    inet 82.69.221.62 peer 62.3.89.162/32 scope global ppp0
       valid_lft forever preferred_lft forever

[ad@rout ~]$ ip route
default dev ppp0 scope link
10.0.0.0/24 dev wlp0s20f0u1 proto kernel scope link src 10.0.0.1
10.7.0.0/24 via 10.7.0.2 dev tun0
10.7.0.2 dev tun0 proto kernel scope link src 10.7.0.1
62.3.89.162 dev ppp0 proto kernel scope link src 82.69.221.62

and this is the client, 10.0.0.2, before I start mucking around:
ad@blackmail:~$ ip addr
1: ...
2: ...
3: wls1: <BROADCAST,MULTICAST,UP,LOWER_UP> mtu 1500 qdisc mq state UP group default qlen 1000
    link/ether 60:57:18:43:12:fa brd ff:ff:ff:ff:ff:ff
    inet 10.0.0.2/24 brd 10.0.0.255 scope global noprefixroute wls1
       valid_lft forever preferred_lft forever
    inet6 fe80::6257:18ff:fe43:12fa/64 scope link
       valid_lft forever preferred_lft forever

ad@blackmail:~$ ip route
default via 10.0.0.1 dev wls1 proto dhcp src 10.0.0.2 metric 303 mtu 1492
10.0.0.0/24 dev wls1 proto dhcp scope link src 10.0.0.2 metric 303 mtu 1492
172.17.0.0/16 dev docker0 proto kernel scope link src 172.17.0.1 linkdown

ad@blackmail:~$ ping google.com
PING google.com (216.58.198.238) 56(84) bytes of data.
64 bytes from lhr26s04-in-f238.1e100.net (216.58.198.238): icmp_seq=1 ttl=53 time=17.0 ms

ad@blackmail:~$ ping 10.7.0.6
PING 10.7.0.6 (10.7.0.6) 56(84) bytes of data.
64 bytes from 10.7.0.6: icmp_seq=1 ttl=63 time=626 ms

ad@blackmail:~$ traceroute 10.7.0.6
traceroute to 10.7.0.6 (10.7.0.6), 30 hops max, 60 byte packets
 1  rout (10.0.0.1)  3.777 ms  5.372 ms  7.143 ms
 2  10.7.0.6 (10.7.0.6)  153.924 ms  153.948 ms  153.999 ms

Now I try to make it go via 10.7.0.6:
ad@blackmail:~$ su
Password:

[root@blackmail ~]# ip route del default

[root@blackmail ~]# ip route add 10.7.0.0/24 via 10.0.0.1

[root@blackmail ~]# ping 10.7.0.6
PING 10.7.0.6 (10.7.0.6) 56(84) bytes of data.
64 bytes from 10.7.0.6: icmp_seq=1 ttl=63 time=428 ms

[root@blackmail ~]# ip route add default via 10.7.0.6
Error: Nexthop has invalid gateway.

Why?

A: I think this command could solve your problem :
ip route add default via 10.7.0.6 onlink

In this case, we consider gateway is always "onlink".

A: Perhaps something like:
ip route add <gateway IP> dev <interface on which it should be reachable>

and then
ip route add default via <gateway ip>

"Direct connection" can be part of a Layer 2 bridge, as I found, very useful for assigning spare public IPs to internal devices without having to resort to NAT nastiness and complexity..

A: A gateway address can only be on a directly connected network. The 10.7.0.0/24 network is not directly connected to your host 10.0.0.2, but is instead separated by another network, which is connected to the host at 10.0.0.1.
You must use 10.0.0.1 as your gateway for this network, and that host must also be configured to route the packets in the desired manner.

A: I've also encountered the problem, you need
ip link set LINK_NAME up

be aware that if the link has dependencies on other links, such as veth pair, you also need enable them too.

A: I suffered the same problem with OpenPVN tunnels and finally solved by using tap device instead tun.
I think network layer 2 bypasses the problem trying to route every packet independently of the interface state (not really sure about this but it eventually works).
If you are using OpenVPN, change dev in every ovpn config file (server and clients):
;dev tun
dev tap

Other non OpenVPN setup has to be solved differently (please, comment it here if also solved with tap interfaces).

A: You need policy based routing at your router because the client has no direct connection to the next hop.
There is a quick introduction to policy based routing and it was also discussed at this question at superuser.
In your case it could look like this:
ip rule add from 10.0.0.2/32 table viavpn
ip route add 0.0.0.0/0 via 10.7.0.6 dev eth4 table viavpn


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