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(-) Law, Justice, Human Rights
Why the Supreme Court Should Rule in U.S. Foreign Affairs (Martin Flaherty)
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Politics & Polls #131: 'Mass Human Caging' Featuring Alec Karakatsanis
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Q&A: Discerning Experts: The Practices of Scientific Assessment for Environmental Policy
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WWS Reacts: Trump's Border Wall, DACA and "Chain Migration"
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Politics & Polls #118: The Politics of Climate Change
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WWS Reacts: The Trump Administration's Climate Change Report
This week, the Trump administration is facing criticism over the Black Friday release of its climate change report, and President Trump's resulting…
Flexible Fertilizer Regulations Could Reduce Pollution, Save Billions
As the global population continues to increase, so will food production. This means increased use of fertilizers, and many on today's market are not…
Moll Receives 2017 Bernácer Prize
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The more people a city has and the more organized its residents' movement patterns, the longer its flu season is apt to last, new research co…
Politics & Polls #108: How Money Restricts Access to Political Office
Working-class citizens have been historically underrepresented in American politics.In this episode, Julian Zelizer and Sam Wang discuss the…
Q&A: EuroTragedy: A Drama in Nine Acts
In his new book, "EuroTragedy: A Drama in Nine Acts," Ashoka Mody offers a historical narrative of how European leaders decided to adopt the euro as…
Politics & Polls #80: Are Corporations Remaking America?
The recently passed tax bill included a sizable tax break for many American corporations, slashed from 35 percent to 21 percent. While the tax cuts…
Politics & Polls #78: Urban Life in the Age of Climate Change
As the earth continues to warm, life - both in cities and rural areas - will undoubtedly change. Urban centers, which contribute the lion's share of…
In India, Subtle Corruption Robs Villagers of Roads
Examining a major road-building program in India, researchers at Princeton University and the Paris School of Economics used an innovative technique…


Birmingham native Lorenzo Pace was present when Richard Arrington took office as the city's first elected African-American mayor in 1979 and when Randall Woodfin was sworn in as the city's 30th mayor last week. Pace, 74, an internationally recognized artist, brought gifts for both men.
For Woodfin, Pace shaped a replica of the "Triumph of the Human Spirit," an outdoor abstract sculpture that is installed at Foley Square in New York City. The original, a monument to honor a Colonial-era African-American burial ground in Manhattan, N.Y., is five stories high, weighs 300 tons, and is the largest monument dedicated to African-American enslavement. It was completed in 2000.
When the remains of more than 400 African slaves were excavated during the construction of a federal building in New York City's financial district in 1991, the city wanted to create a memorial, and Pace—whose sculptures, installations, and performance art have been exhibited across the globe—was chosen to contribute to the project.
"Triumph of the Human Spirit" includes several meaningful symbols, such as a replica of a lock that shackled Pace's great-great grandfather, Steve Pace, during slavery. It also features the Chiwara, a mask from Mali culture that symbolizes an antelope and has many meanings, one being that the female Chiwara carries a baby on its back and "carries the next generation," according to Pace.
"This sculpture was to honor him, to let him know that I was impressed, [seeing] him to go through the long struggle to be mayor," said Pace.
Pace, who is from Pratt City, is a world-renowned artist whose works have been on display in New York City, as well as in countries including China, Brazil, Senegal, Suriname, Peru, France. He also has been featured in several publications, including the New York Times and NY Arts Magazine.
His family moved from Birmingham to Chicago, where Pace graduated from high school. Then he moved to New York City and at 19 began traveling the world, visiting 10 African countries, Amsterdam, South America, and France, to name a few places he's been.
"I brought 100 mops and 100 brooms, painted them white, black, and red, and infused them together to say 'One World, One Dream,'" he said.
Pace's passion goes beyond the visual art he creates.
Pace is also the author of four children's books, including "Marching with Martin," "Harriet Tubman and My Grandmother's Quilts," "Frederick Douglass and the North Star," and "Jalani and the Lock," which was described by Publisher's Weekly as a "stunning debut" and chosen as a Best Book by the Los Angeles Times. All of Pace's books are personal, but "Jalani and the Lock" has even greater meaning for a few reasons.
The family gave the lock to Pace, who was living in New York City at the time. When he returned from his father's funeral, he learned of the burial grounds and began working on "Triumph of the Human Spirit"—and he replicated the lock that shackled his grandfather at the base of the monument.
Another family incident that inspired him to write "Jalani and the Lock" (published in four languages: English, Dutch, French, and Spanish) was a conversation with his daughter.
The book, published in 2001, is about a young boy, Jalani, named after Pace's son, who comes to America as a slave and is eventually set free. The book explains how blacks got to America.
Pace, who recently retired from his position as an art professor at the University of Texas–Rio Grande Valley, will be moving back to Brooklyn from Texas soon.
Pace is known around the world as a master storyteller and performance artist, and his presentations are full of music, singing, dancing, joy, and laughter. He also has served as director of the Montclair State University Art Gallery in New Jersey, and he maintains a studio in Brooklyn, N.Y.


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Sustaining a Memory
October 15, 2010 October 7, 2017 2 comments
I very rarely take the time to stop, and look how far I've come in just one year. Last January was the hardest, perhaps most painful, start to a new year that I've had . . . ever. In just one year, I lost a dear family friend and my grandmother, and my father suffered a massive heart attack. Naturally for me, most of these moments were catalogued through various social mediums (mostly Facebook and Twitter), and today was one of those days where I stopped to look back.
I feel fortunate to have the role models and inspirational people in my life that I currently do. I feel lucky to enjoy all of the people — especially my co-workers and clients whom I've encountered in New York — who are regular fixtures in my life. That being said, a part of me remains empty, awaiting to be filled as I attempt to sustain the memories of my grandmother and my family friend.
While this has definitely been the hardest year, especially in the absence of the loved ones I've lost, it's been an educational year full of new beginnings. A cousin out West welcomed a beautiful baby boy into this world. My sister and her husband celebrated their first anniversary. My best friend's brother is getting married next week. My sister and I relocated for job opportunities and promising futures. My grandfather joined Facebook and downloaded Skype. My mother started yoga. My dad started relaxing more and working less. All good things have to start somewhere.
I had all of these thoughts, and began looking through the files on my hard drive to find the eulogy I wrote and recited at my Bubby Cyrille's funeral. I was able to deliver it tearlessly on the day of her funeral (in front of hundreds upon hundreds of people — there was barely standing room), but now, almost a year later, I cannot get through it in the privacy of my home without breaking down in tears after the first paragraph. I shared it on Facebook shortly after the funeral, but would like to share it here so you can understand why I will spend my entire life trying to, and hopefully succeeding in, to some degree, sustaining her memory by living in her loving, well-meaning footsteps.
On Thanksgiving Day, my family lost its matriarch. My grandmother was committed to ensuring the happiness of those around her, whether they were family or not. To Bubby Cyrille, everyone was mishbukha.
Bubby Cyrille's passion was for family. She attended every band concert, school play, and graduation ceremony. She spoke with her siblings several times during the week, often through three-way calling. When my siblings and I would argue, we were always reminded that Bubby heard no evil, spoke no evil, and saw no evil. She found positives to negate all negatives. As a frequent babysitter to her grandchildren and great-nieces and nephews, Bubby was always armed with a handbag full of photo albums to immerse us in family history. On Passover, she would recite the four questions in Yiddish, and over Thanksgiving, she would recite her father's poem.
RIP Cyrille Lois Mendelson Cooper
Bubby had a degree in Jewish geography. Dinners at Sweet Lorraine's, Nello's and Peking House were not complete without encountering one or more of her friends. These connections extended far beyond Michigan. When Amanda and her husband started their relationship, she decided to describe her nice Jewish boyfriend to her nice Jewish Bubby. In true Cyrille Cooper fashion, she prompted Amanda for his name, age, and hometown. Amanda insisted to Bubby that a connection between Dave and my Bubby's never-ending list of contacts could not possibly exist. Unsurprisingly, Bubby proved her wrong. My mother likes to say that she has absorbed my Bubby's knack for connections. All she had to do was say, "I ran into so-and-so's brother-in-law's first cousin" and bubby could instantly make the connection and understand who was being referenced. To bubby, those connections, quirks and unexpected encounters were one of the many benefits of life.
Alexandra, Bubby Cyrille, and Anne at Amanda's wedding May 2009
Her gift of gab was known throughout the family. My bubby made it her business to call people throughout the family as regularly as possible. When I moved to East Lansing for school, she called me every Tuesday. There was one week where we played an outrageous game of phone tag. Before being able to call her back, I noticed an incoming call on my cell phone from a restricted number. Answering the call was an act of besheret. I was greeted by the familiar voice of my bubby Cyrille requesting a donation for her non-profit. I realized that she had no clue that her pre-generated call list had connected her to me. I allowed her to finish her spiel before interrupting her. We laughed and spent an hour and a half catching up. Imagine how happy she was to have been paid to talk to her grandchild.
In addition to her family involvement, Bubby Cyrille was a devoted member of Congregation Beth Shalom. She spiced up Saturday morning Shabbat services with her simcha moments. Whenever my siblings and I would tell her our good news, she would comment on how she wished she would have known for the past Saturday's simcha moment. We never worried, though, because we knew she would save the good news for the following week. She was also very involved in a program called Circle of Friends that met every Sunday. She attended the weekly events and annual picnics at the lake.
Her caring demeanor reached many people outside the family. After having lunch with her girlfriends in Royal Oak, a homeless man approached my Bubby asking for change. Somehow this stranger caught her without her bottomless purse; she only had her credit card and a checkbook. A true mentsch, my Bubby went into Peking House and asked the cashier if he would kindly cash a personal check. She used those funds and trusted the man when he said that he needed every penny to get back home.
While many people entered my Bubby's life, several people left it. Funerals were a regular fixture in the latter part of her life. Upon receiving the Detroit Free Press, Bubby would flip to the obituary section to scan for familiar names. Whether or not the deceased was a close friend, if she knew the name, she made an appearance at the funeral. The last funeral my Bubby attended was for her dear friend Bunny Frank.
At the beginning of her battle with cancer, she was able to attend Amanda's wedding, and toward the end she was able to attend Miriam's wedding reception, Rosh HaShannah and Zoe's Bat Mitzvah. Family and love always took precedence over her pain, and those events meant the world to her.
Though my Bubby was absent from the Thanksgiving dinner at Uncle Herbie's this year, her spirit filled the room. Family members exchanged memories of her ability to remember birthdates and anniversaries, her diligent dispersal of Entertainment Books and Anti-Defamation League calendars, and her overall determination to reach out to everyone she encountered.
We spent Wednesday at our grandparents' house awaiting Amanda and Dave's arrival. Each of us had the opportunity to remind our bubby how much we loved her, holding her hand, and looking into her eyes. The small amount of contact was all we needed to know that she could hear and understand what was being said. We expressed how much we valued every conversation, every hug, and every kiss. She was a devoted mother to her three children Norman, Phillip and Sharon. A doting grandmother to her five grandchildren Alanna, Amanda, Aaron, Anne and Alexandra and two great-grand children Haley and Braylon. A beloved wife to Sam and a caring sister to Molly, Herbie and their late brother Sol. Her relationships and love of life are what kept her happy and alive for 77 years, and what will sustain her in memory forever.
Redefining "Home"
And One for Good Luck [my birthday in review]
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redpajama_set_name: RedPajamaCommonCrawl


The Center for Visual Communication presents Florida Photographer Clyde Butcher with a lecture and opening reception for his work, Cuba: The Natural Beauty, on Thursday, March 8 at 541 NW 27 St, Miami, FL 33127.
Clyde Butcher, Salto el Rocio, Gelatin Silver Photograph, 70"x50"
Clyde Butcher's large scale photographs of Cuba, which celebrate the inspiring beauty of Cuba's enchanted and varied landscape.
Butcher's expedition to Cuba took him to places not seen by visitors in over fifty years. He followed in the footsteps of Christopher Columbus, who discovered Cuba during his first voyage to the New World in 1492. From mountain waterfalls to lush green jungles, from grassy swamps to sandy beaches Butcher's photographs reveal the seductive beauty, subtle grandeur and majesty of this diverse island.
Departing from Florida, where he has earned a reputation as Florida's preeminent landscape artist, and a staunch supporter of the environment, Butcher invites us to experience the dramatic natural environments of Cuba, still pristine as they were when traversed by Columbus and his men centuries ago. With unparalled access to all parts of the island through a program of the United Nations, Butcher shows us rarely seen places as well as familiar vistas presented with new drama that infuses his large black and white photographs.
For five decades Butcher has used large format view cameras similar to those used by Jackson, O'Sullivan, and Watkins - the men who accompanied explorers of the New World. Over 150 years ago they sent home astounding images that whet our appetite to experience these places ourselves. Butcher, with his heightened sense of drama, gives us just such images today - images that let us see these places as if for the first time, with an intensity that often escapes the casual visitor.
Butcher's photographs seem larger than life, like the artist himself, and compel us to step into the places he depicts. His unique talent is that he sees and feels vistas that sing the spirit of place. His large scale photographs are permanently on view in many of our public buildings including the State Capitol, airports and museums. His books and prints can be found in the homes and offices of some of our most influential decision makers from legislators to corporate chairmen. Numerous museums around the country and the world have presented solo exhibitions of his work.
Butcher's photographs are imbued with the spirit of unfettered possibilities - a poignant spirit that continues to beckon and challenge new generations of Cuban people on the island and across the world. We are pleased to invite you to share this spirit through Butcher's vision.
The gallery expects a capacity crowd and encourage you to reserve early.


text:
<?php

namespace lukisongroup\hrd\models;

use Yii;
use yii\base\Model;
use yii\data\ActiveDataProvider;
use lukisongroup\hrd\models\Kar_finger;

/**
 * Kar_fingerSearch represents the model behind the search form about `lukisongroup\hrd\models\Kar_finger`.
 */
class Kar_fingerSearch extends Kar_finger
{
    /**
     * @inheritdoc
     */
    public function rules()
    {
        return [
            [['NO_URUT'], 'integer'],
            [['TerminalID', 'KAR_ID', 'FingerPrintID', 'FingerTmpl', 'UPDT'], 'safe'],
        ];
    }

    /**
     * @inheritdoc
     */
    public function scenarios()
    {
        // bypass scenarios() implementation in the parent class
        return Model::scenarios();
    }

    /**
     * Creates data provider instance with search query applied
     *
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    public function search($params)
    {
        $query = Kar_finger::find();

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            'query' => $query,
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        $this->load($params);

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            // $query->where('0=1');
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            ->andFilterWhere(['like', 'FingerTmpl', $this->FingerTmpl]);

        return $dataProvider;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Home › A Conversation With... › And Dreams Would Be Under Our Control: The Story of Gang War
And Dreams Would Be Under Our Control: The Story of Gang War
By Joseph Kyle • April 28, 2015
Earlier this year, I received a promo for an album promising to be an amazing, long-lost post-apocalyptic concept album entitled Gang War, about a bleak future world where artists and the police fought each other in the streets, where rock and roll was outlawed, and the guerrilla warriors were musicians and artists struggling to survive. Considering the label, Drag City, can occasionally be a bit purple in their prose, I wasn't sure of what to expect, but whatever it was, it couldn't possibly live up to the fantastical description.
Boy, was I wrong! Gang War, the creation of Frederick Michael St. Jude, was recorded in 1982, but its sound—a heavy blend of classic rock, new wave, glam—is indeed as amazing as it was described. It's an interesting album, to say the least; it's the sort of record that simply asks you to listen to it. David Bowie comes to mind, as does Jobriath, but FM St. Jude is in a field all his own. Unfortunately for the world at large, Gang War never materialized, the only hint of its genius lay in a self-pressed four-song promotional EP–one that did well on its own merits, but sadly not enough to see Gang War released.
We were lucky enough to sit down with the visionary for a half-hour, and after you read this, visit your local music dispenser and pick up Gang War. You won't be disappointed.
Gang War is amazing. What inspired it?
The whole thing came about after I was stringing my twelve-string guitar one afternoon. I was fed up with the club scene and I had just told my lead guitar player that I didn't want to do covers any more, that it was time for us to sit down and write some original material. He agreed, and so I sent him out to look for an affordable recording studio. So I'm sittin' there, and I'm running through a couple of chord progressions, and dang, if I didn't come across a progression that just gave me the willies! So I'm pounding it out, playing around with it, and I'm starting to get a melody line, and then all of a sudden, the lyrics are coming, pouring out, and I'm singing "Gang war! I'm out on the street for hire," and I'm thinking to myself, what the heck is this?!? I finished the song rather quickly; by the time he got back, it was complete. It just came out of me. So over the next twelve weeks, I just kept writing, and the only inspiration that I could attribute it to would be this crazy muse that I have. It inspires my work; it inspires my writing; it inspires my music. But it appears only in limited spurts; if I don't grab everything when it comes, I'm in deep trouble, as it won't return again. Right now, my muse is coming to me in the middle of the night while I'm sleeping, and I have to get out of bed and bang it out on my guitar and figure it out while I'm in this half-sleep, half-awake state. That's how Gang War came about; it's somewhat of a mystery to me, even now, how my muse operates. I wrote the song, sang the lyrics, and all of a sudden the opera just was borne, and it all fell into place.
My muse, it's this sub-conscious, conscious, ethereal, whatever you wanna call it. It's really indescribable; it's something that's so abstract, I can't serve it justice by trying to describe it. I call it 'my little voice,' and you might find it interesting to know that I wrote it into Gang War. It's what I call "The Guardians of the Talents of Man." I'd probably say it's the compilation of your emotions, your red flags in life, your intuition.
What struck me about Gang War was that it's not apocalyptic, but it is futuristic, and yet, it isn't; it feels quite contemporary. What were your feelings about society as a whole at that age? Were you hopeful? Were you nihilistic?
Back then, in 1982, there wasn't much going on except for the death of the punk scene. Here in southern Florida, where I was living at the time, we had a pretty vibrant punk rock scene, but the people around there, the ritzy, the retirees, and the South Beachers, they were trying to put the kibosh on it. They were squelching anything that might remotely appear to be punk rock or underground. Clubs would come and go quicker than the lifespan of a fruit fly. It was really depressing, and I resented it to the hilt. I couldn't understand why. I still don't, truthfully. Why would they do that? Don't get me wrong, had the things that people thought were going on at these places—drugs, violence, crime—were actually going on, there'd be a justifiable reason for the squelching. But there wasn't. So I was really resentful of what was going on. Back then, the Miami-Dade police didn't have the best reputation—and still don't, come to think of it (laughs). They were really running roughshod on everybody on the street, and especially if you looked like you were part of that underground subculture. Being a musician, I knew a lot of people out there on the streets, and some of their stories were absolutely horrible. So I took it all in, and I thought, "These things that are happening, they're important to know and to remember," and as I was writing Gang War, it all fell into place. I put into the opera the dominance of the police state, the disappointments of life, the uncertainty of the future, and not being accepted by a society you have to live in and deal with on a daily basis. It was a stew of a bunch of negative things and twenty-something angst that went into Gang War.
The story of Gang War is this: fifty years after total chaos and anarchy descend on the country, everything is pretty much the same as it had been—to a point. The police are still very dominant, but there's also the counter element, the street gangs. Everybody had a dream and a vision, even in the midst of chaos and oppression, and that's where we meet our hero. He has a dream; he wants to be a rock and roll musician. The world of Gang War, it's not like, Escape From New York or Mad Max—society is still functioning. There are still record stores and radio stations—though not to the capacity as they once had been, thanks to police domination. Even though society has been through the chaos, he's still a normal guy. He has a love interest, and he wants to be somebody, but he keeps getting kicked around. He keeps getting rehired to do the job which he hates, even though he tries to get away from it. In the story, a copy of a Rolling Stones record became the bible of the day. I'm still waiting for someone to guess and find out what that record was. As of yet, over all these years, I've never heard anybody accurately come up with it. Care to take a guess?
(I guess)(No, I won't be sharing my guess.)
(Excitedly) Good man!!! That's excellent! You are a brilliant man, sir!
What had you been up to creatively in the time leading up to Gang War?
Well, you couldn't do anything punk-related and make money at it, that's for darn sure. So you had to do other things. Me, I worked the club circuit here in Florida for twenty-five years. No matter how good your original material might have been, people down here really weren't interested. So you had to go the cover band route if you wanted to sustain yourself. So I was out on the road, playing clubs, performing covers from rock masters such as Led Zeppelin, ZZ Top, Jimi Hendrix. Originality never entered the picture. That's why I got fed up with the whole scene. I wanted to do something new, fresh. When I got to a point where I said I can't stand it, I walked away, and that's when me and my lead guitarist at the time began working on what would become Gang War. The club bands I played in, they didn't have much in the way of a future, and the last one I played in, I'd only formed about five or six weeks previous, and I'd just had enough. The breaking point came when we played this club in Homestead, Florida. Before the show, some guy came up to me and said, "Well, we need you to pick out one song and play it for a long time, because we're going to have a dance contest now." So I said okay, fine. So we start playing the song, and the next thing we know, there's this massive circle of guys around us, about three hundred strong, screaming, yelling, and throwing beers, and there's girls out there, dancing around, and showing us their vaginas! All this, for a lousy fifty bucks!
What was the song?
"Play That Funky Music, White Boy." (Laughs)
Well, uh, I guess that's appropriate, in its own way!
(Laughs) Yeah. But afterwards, I was sitting in the parking lot, seething. I was like, what the heck am I doing with my life? I knew I could never do this sort of thing again. That night was the straw that broke the camel's back. Of all the bands I'd been in during that twenty year period, none of them had any original inklings. The guys who did it, they did it because they liked to play. Many of them were proficient on their instruments, don't get me wrong; they just didn't have that spark—or didn't care to nurture it—that is required to go from being able to play well, to being able to create. That's not a knock on those guys, mind you; if that's all you seek to do and you become good at it, then great! Some of those people really loved being in a group that played the hits for the people who were out on a Friday night and wanted to have a good time. The only one of the groups I was in that had a desire to do more was a band called The Other Side, and our sole release was a cover of a Terry Reid record. We'd gone to see Cream on their Goodbye tour, and Terry Reid was the opening act. He opened up with "Writing on the Wall," and that song absolutely floored me. I told the guys in the band, I said, "Hey, let's record this, we could do a good job of it," so we went and recorded it. We released it on Kingston Records, this little label out of New Jersey, and though it wasn't a smash hit, it did well regionally, and that record got us a lot of work.
When you made Gang War, was it you alone in the studio, or did you have a band?
I had a bunch of musician friends working with me. It wasn't quite a band, really; it was more like getting friends to add embellishments here and there. We were going to have a band, and we were going to call it Reticuli, after the star cluster Zeta Reticuli. But the more I thought about it, the less interested I became in doing a band thing, because I realized that if I'm going to have a band, those guys are going to have to eat, and that means I'd have to play in clubs, and, like I said earlier, that meant covers, and I wasn't interested in doing that anymore.
How was it received?
Well, I worked my tail off! (Laughs) I got it on every radio show I could get it on; every underground zine and underground-friendly publication in Florida did a story on it. I got a list of all the cool college radio stations in the country, and I scanned their playlists, and I got it on quite a few playlists, too. DJ's and program managers were really supportive; they wanted me to come to their towns and play, which was great…but it was also kind of depressing. Here I was, with zero dollars in my pocket, a good response to my music from around the country, no band to perform it, and thus no means to promote it, so it just died on the vine. I wasn't disheartened, though; the good response was enough to use to approach labels. I even approached Tom Dowd at Criteria Studios. I figured if anybody would go for local talent, he would. But nah, he gave me the shotgun, had no interest whatsoever. There was a new record label that had opened up in Fort Lauderdale, and for a little white it seemed likely, but nothing ever came of it. So I flew to London, and I hooked up with Vic Flick, the guitarist who played the James Brown theme, who expressed an interest. He was in the midst of a lot of sessions, so he couldn't help me, but he took me into one studio, and the people there told me, "You're too American." (Laughs) So then I hooked up with another agent, and he took me around to several labels, but we didn't get very far. He the took me to New York, to meet with IRS Records. We had a 1:30 appointment, and we showed up on time, ready to go. While I'm sitting there, I see a crumpled up piece of paper in the ashtray, so I picked it up; it was a credit card application, and the name on it was Daryl Hall! (Laughs) I put it back, because the name didn't mean anything to me, and I'm watching all these Reggae guys going back and forth—real Rastafarian types, who looked like they just came in from Jamaica, and you could smell the ganja—so strong you could get a contact high! (Laughs)
There were three girls there, sitting around, doing their nails, totally bored. We went up and said that we had an appointment, and one of them real dismissively said, "Oh, well, you have to go to the old Ed Sullivan Building, second floor, third door to your left, that's where you audition." So we walked down Broadway, go up to the second floor where they told us to go, and went in—and it was nothing. Cobwebs. Tons of boxes. Not a soul in there. So we went back to the office, and when we get there, there's a sign saying, "Out to lunch." And that was that. (Sighs) I didn't know what to make of it. I turned to my guitar player and said, "Let's get the hell outta here."
Well, if it's any consolation, I've been reading a book about The Cramps, and from what I've read of their dealings with IRS and Illegal Records, it's probably best it didn't work out!
You know what the funny thing about that is, though? A few years prior, we were playing in this tiny club in Hollywood, Florida. The manager said, "Hey, on Wednesdays we have our auditions for bands who want to play our club, would you mind if we used your instruments?" So we said sure, but the drummer was insistent about wanting to be there to watch his kit, because he didn't want someone to screw it up. So the manager agreed, and invited us along to watch. That night rolls along, and though I'm not there, the drummer's there. At rehearsals the next day, I asked Mark how it went, and he said, "Oh, they were pretty good, they were this British band called The Police. They did some reggae stuff, they did some punk stuff, but they didn't knock me out." We did that favor for them because they didn't want to unload their gear from their station wagon.
You've referred to it as an opera. Did you have a vision in mind for a performance?
Oh, yes. Not only did I have the album, I also wrote a novel, and a screenplay, all coinciding with the Gang War story. There's so much that I could do with it, in terms of creating and recording dialogue and narrative to go along with the songs, but if I were to do it, it'd probably be this huge multi-disc thing, and I don't know if I'd be able to get it exactly the way I envision it. The novel was crap; when I went back and read the six hundred pages, I said, "Nah, best leave it unpublished." Besides, the story sounds great in fifty minutes, so expanding it just seems unnecessary.
After you recorded Gang War, what did you do next?
I started a magazine, but I didn't give up on Gang War. I just do what I usually do, I move on to the next thing. So I started a regional 'zine called Zazz, and I did that for the next few years. One day after the magazine had folded, I was walking around the house, feeling rather bummed, and my wife said I looked sad. I told her that I was bored, I didn't know what to do with myself. She told me she'd read about this local audition for cast members for Dracula, and she encouraged me to go. Though I didn't get the lead, I did get a part as the servant, and that was the beginning of my theatrical career, and the next thing you know, ten years had passed. I did a ton of shows, including Man of La Mancha, where I played Quixote, and that was a fabulous part. I would have played that one role the rest of my life if they'd have let me. I then went and got certified as a stage director, which led me to joining a talent agency, which led to me getting my Screen Actor's Guild card. I did three episodes of Miami Vice, a ton of commercials, and though I still have my card, I've not done any work in several years. I'm still making music; I've been working with some friends in Los Angeles, and nowadays, we do things via computer, which is cool, and it's different. I've got a couple of new tunes that I'm working on that I think are really great.
Looking back at Gang War from thirty years later, and you compare the setting to today, how do you feel knowing that thirty years ago you wrote something that's set fifty years in the then-future, yet is probably more relevant today than it was back then?
I definitely agree; sadly, it's more relevant now than it was then. The chaos that happened in the setting of Gang War was civilian against government, government against its own people. It wasn't some international war between the US and Russia, it was America against its own people, a civil war wherein people revolted against unfair laws, unfair taxes, unfair police brutality, corrupt governments, and the individual struggle with the drug of money. Aside from the military conflict that takes place, I mean, how much closer could we get to the Gang War reality? It's really scary.
But yet there's hope. Hope is the last thing to die, says St. John. That hope has always driven me. I'm a God-driven person, I've always believed in tomorrow. When you get to the song "Maybe," that's what I'm talking about. "If we could leave, if we only could," that's me saying, we've gotta get out of this chaos, this mess that we've created. But we can. I want to live my life, I want success, but I think we can do it, if we take no guff, and we stand for ourselves, and our belief. Gang War is about humanity, and the struggles we all face. We're in the middle of it, and we can escape it. It's important, and it makes me happy to know that people can hear it in its entirety now. I hope that people who hear Gang War can hear and appreciate that message, because the world needs to hear it.
Tagged as: 1982, A Conversation With, David Bowie, Drag City, Frederick Michael St. Jude, Gang War, Interviews, Jobriath, The Other Side
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The old TIE Fighters collectors of the cdrom was my first Star Wars game played in a computer more 20 years ago. Perhaps by this reason, it is my favourite. It was a older version than the version showed here. I remembered play it more of 8 hours without stop, it was very crazy, I had a joystick Logitech Wingman Light, it was new and I broke it when I reached the 6 am. It could not resist more.
The TIE Fighter game let you to play several campaigns as an Imperial pilot. It follows several stories with great detail and the missions are very well created. You can find in it everything which you could not find before. I can imagine how good was it for the previous players from the old X-Wing because the amount of units, ships, starbases, everything was huge. Even with the first older graphics, it was very fun.
The version showed in this video is if I am not wrong, the third from this game with different graphics released by GOG and modified by several people because the GOG release does not run very well in modern computers with Windows 10. The game from this video is the GOG 1998 version with the TIE Reconstructed https://www.savingcontent.com/2014/08/09/guide-play-x-wing-tie-fighter-series-on-windows-7-windows-8-windows-8-1-with-an-xbox-xb1-playstation-ps4-controller-flight-stick/7/ this special version has even the old midi music improved but as you will see, I do not like too much it and I used the old John Williams music which it changes with each mission event, victories, loses and more.
This version was released less of 20 years ago and it was a improved version with 3D graphics created with the engine from the most modern Xwing vs TIE Fighter. The XvsT added multiplayer but in a first place, it had not a campaign, just the expansion Balance of Power added it but comparing to the TIE Fighter, it was worse. However the TIE Fighter with the most modern 3D graphics looked good. But you must know how even with 3D graphics all these Star Wars simulator games from Totally games use a bipmap texture system and by this reason, they are not too perfect even for 20 years ago. But the design of missions, controls, stories and more compensate this graphic problems.
I started to play again the TIE Fighter because I am adding more new missions to my EAW Steam campaign from the mod named Alliance. These missions as many before are based in the missions from the Xwing-TIE Fighter games. I can not make exactly the same but I can add something following the same story arc.
Probably I will record all the missions played again by me with it. I hope my old joystick do not break, it is a good but old Wingman Extreme 3D Pro, this model and the model before was very good, I have both running, they were better even than the old thrusmasters, I had one and it crashed as many before but these Wingman Extreme 3D can support thousands of hours without problems.
Time for the mission 2, the first missions are easy, they have not mayor problems more far from to fly with TIE Fighters, TIE Bombers or TIE Interceptors, ships very fast but with a complete lack of armor or shields. Curiously, in the game Xwing vs TIE Fighter, in the expansion Balance of Power, there were missions with advanced TIE Interceptors adding shields (at least if I do not remember bad).
In this game, you have alternative secondary objectives where you jump positions arrive in the secret order from the Emperor. Mostly these goals follow the main story from the game. Probably I will add these things at others, as videos in the FOC Alliance, it is not difficult and they can increase a lot the fun playing the campaign.
This playing with the Empire. With the Rebel Alliance, I will add missions from the old X-Wing and probably I will record the mission videos with one exception. I will play if I can the mod from the old X-Wing in the X-Wing Alliance, it is better and it runs good. There is a complete TIE Fighter mod for the X-Wing Alliance but the last time that I checked, it had a trouble, it can look a very tiny problem but the Missile Gunboat can not use the abililty increasing the output in engines giving you a lot more of speed, without this, you can not complete very well some missions and it is a bit sad. By this reason, I prefer the original from 1998, it is more than enough for me.
3 missions in one video. In last video, you can watch the first part from the Lulsla battle added in the FOC Alliance in a single battle. Only the final two battles from the first campaign are a bit more difficult if you try complete even the secondary objectives. The game can look easy but there are 13 campaigns and difficulty will be increased with them. For a person who he has not played too much for years to this game, it is fun and enough.
I have added the last battle from the Lulsla attack.
Time for the campaign 2 where you play with the Admiral Harkov fleet pacifying the Sepan sector. In the past, there was a alone mission and not the planet in the FOC Alliance but lately, I added the planet and a normal modified space mission when you conquer the planet. It is a normal space mission where there some special additions.
These are the first three battles.


The Ebara Group has implemented an anti-corruption program aimed at encouraging free and fair competition, the rejection of any relations with antisocial forces, and prohibition of bribery. This program is applied to all companies in the Group and consists of: a declaration made by the top executive of each group company forbidding any corrupt acts made by employees or the company, a basic policy on anti-corruption to be adopted by each company's board of directors, internal regulations prohibiting any acts of corruption, and the establishment of whistle-blowing hotlines that allow employees to quickly respond to any questions, concerns or notifications concerning any improper behavior.
In addition, the Ebara group takes disciplinary action against those who violate the anti-corruption regulations in place.
As of fiscal 2017, we have installed whistle-blowing hotlines at all domestic group companies, 10 overseas group companies (6 companies in China, 4 companies in Southeast Asia) and there have been no reported violations of the basic policy on anti-corruption.
Since 2012 the Ebara Group's Anti-Corruption Program has been one of the core elements of our CSR activities. It has an important role in the implementation of our business ethics. The Program consists of 3 elements: namely, prohibition of the taking and receiving of bribes, promotion of fair and free competition, and exclusion of any ties with anti-social forces. Today, with the global expansion of the Program, we continue to monitor, evaluate, and adjust ourselves, always keeping the same original commitment against corruption.
As the President and Representative Executive Office of Ebara Corporation, I hereby renew our pledge against corruption.
. The Group's managements and employees will promote fair, faithful, and transparent business activities by complying with all laws and ordinances, as well as relevant internal policies and rules.
. The Group will not tolerate breach of laws, ordinances, or internal policies and rules by our managements and employees.
Infractions will be met with strict consequences. In the event of a clear incident of corruption, the Group will suspend its business transaction with the offending external party.
. Top management will take initiative in implementation of the Anti-Corruption Program by actively disseminating the Program and leading by example. The top management will also take responsibility when there is suspicion of corruption by ensuring proper measures are taken in the course of investigations and taking measures to prevent any recurrence.
. The Group recognizes that trust and confidence gained from other companies, customers, business partners and stakeholders is indispensable and strives to gain that through fair, faithful and transparent business activities.
. The Group will aim at thorough prevention of corruption, by periodically providing internal training sessions, reexamining regulations, and reviewing the state of compliance, in accordance with the Anti-Corruption Program.
The Ebara Group conducts various anti-corruption activities in line with our Anti-Corruption Program.
In accordance with the Ebara Group Business Ethics Framework, we work to build stable relationships of trust with our suppliers as valued partners, and engage in fair and equitable transactions, in line with our procurement policy.
We request suppliers to follow our CSR procurement guidelines, as shown below.
We provide fair and equitable opportunities to all suppliers. To begin a business relationship with a supplier, we conduct a technological and commercial assessment using our proprietary certification system, consistent with ISO 9001. Upon completion of the certification, we enter into a basic agreement or basic work agreement and then proceed with the individual deal.
When selecting suppliers, we comprehensively assess the quality of materials, reliability, delivery time, price, technological development capability, proposal capability, actions taken towards the environment, and financial soundness of the supplier.
We do not disclose to third parties any confidential information that we have acquired through our business dealings with suppliers without obtaining their approval.
We aim for mutual growth, and for building a relationship of trust and partnership with suppliers. All of the procurement section members are aware that they must maintain a good working relationship that fosters cooperation and creativity and promotes smooth and effective operational functionality with the internal and external sections concerned.
In our pursuit of a sustainable society, we promote responsible procurement, while paying close attention to compliance with Japanese and overseas laws, human rights, safety of products and services, quality guarantees, occupational health and safety, the environment, and corporate ethics.
The EBARA Group will pursue mutual prosperity with suppliers by building a long term partnership through fair and equitable procurement activities. CSR (Corporate Social Responsibility) is one of the key focus areas of our corporate activities, with the aim of improving corporate value, achieving continuous growth and furthermore, creating value for society. To realize this, it is necessary for suppliers, as one of our stakeholders, to drive forward CSR activities in the same way as the EBARA Group. Therefore, we have compiled areas in which we need suppliers' cooperation in the form of the Ebara Group CSR Procurement Guidelines below. We ask for all suppliers' understanding and for suppliers to promote CSR activities within their own organizations. In addition, we request all suppliers to abide by this guideline.
We request strict compliance with the laws, regulations and social norms of the countries related to the transaction, in addition to the implementation of appropriate internal controls including whistle-blowing systems, in suppliers' organizations.
We request that suppliers respect fundamental human rights by prohibiting all types of unreasonable labor (child labor, forced labor, etc) or discrimination of any type, and providing a healthy and safe working environment.
Regarding handling of conflict minerals, which have a high risk of human rights violations, you may see "Conflict Minerals Policy" below.
We also ask for suppliers' cooperation in establishing a business continuity management system (e.g., plans/countermeasures for emergency situations, etc.) and conducting of training to prepare for emergency situations (disasters, accidents, etc.).
We request suppliers to continuously promote activities that reduce the impact on the global environment. Please refer to the "Ebara Group Green Procurement Guidelines" for further details.
In order to supply satisfactory products and services to our customers, we request suppliers to provide us products and services which are based on safe and superior quality, competitive price, reliable delivery and a stable supply system.
We request suppliers to continuously improve their technical capabilities.
We request suppliers to provide and disclose information positively.
We request suppliers to establish a system to properly manage and protect personal and confidential information, and to prevent obtaining, using, disclosing and leaking such information illegally or unreasonably.
We request suppliers to respect intellectual property and not to infringe intellectual property of others.
We request suppliers to prohibit obtrusion and bribery.
We request that suppliers refuse any relationship with antisocial forces.
The environmental destruction and inhumane acts against local residents by anti-government armed groups in the Democratic Republic of the Congo and its neighboring countries have become serious international issues. Minerals such as tin, tantalum, tungsten and gold being mined in these countries have become a source of financing for the armed groups: these minerals are called "Conflict Minerals." In responding to the call of the international community for cutting off funding sources from such armed groups, companies are now required to conduct appropriate material procurement avoiding the use of these Conflict Minerals in their products. As a member of global society, we take the issue of Conflict Minerals very seriously and address it as one of the most important CSR issues. We will implement concrete measures, with the support of our suppliers, for material procurement that will not give any advantage to the armed groups engaging in human right abuses.
Controlling our exports is one way to manage risk on a global scale. We manage and control our exports through the following rules and systems.
We established the Rules for Security Trade Control (internal basic rules of EBARA Corporation regarding compliance to export-related laws) in 1990 and have been strictly managing such rules. The Rules have been notified to and accepted by the Ministry of Economy, Trade and Industry (METI). We formulated the Security Trade Control Manual as the detailed regulations for the Rules and manage it accordingly.
We created a department that manages and oversees security trade control, and in the domestic group, we established the EBARA Security Trade Control Committee as a cross-sectional organization and strictly manage security trade control. Through the department and committee, we communicate the latest information to the entire domestic group on regulations revised in accordance with changes in the global security environment and work on the implementation of the non-proliferation export control, a global initiative.


Messengers to the 2015 Southern Baptist Convention annual meeting can stay informed through a free smartphone app featuring schedules, maps, alerts, speakers, newsfeeds, the "Book of Reports," the "Daily Bulletin" and much more.
The app will be available for iPhone, iPad, and Android users and can be downloaded by typing in "SBC Annual Meetings" in the device's app store. Once the app is downloaded, it will prompt you to install the information for the 2015 meeting. This year's preferred Twitter hashtag will be #sbc15. Messengers also can follow @SBCMeeting, @BaptistPress, @SBCLife, @sbccp, and @SBCPastorsconf for the latest annual meeting updates.
A newsfeed of Baptist Press news stories and photos covering Crossover, the SBC annual meeting and related meetings that take place during the week.


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This article is more than 8 months old
Revealed: 2,000 refugee deaths linked to illegal EU pushbacks
A Guardian analysis finds EU countries used brutal tactics to stop nearly 40,000 asylum seekers crossing borders
Migrant rescue patrol in the Aegean Sea by the Turkish coastguard. A case has been filed against the Greek state that claims patrol boats towed migrants back to Turkish waters and abandoned them. Photograph: Erdem Şahin/EPA
Global development is supported by
Lorenzo Tondo
@lorenzo_tondo
Wed 5 May 2021 01.00 EDT
Last modified on Wed 5 May 2021 16.03 EDT
EU member states have used illegal operations to push back at least 40,000 asylum seekers from Europe's borders during the pandemic, methods being linked to the death of more than 2,000 people, the Guardian can reveal.
In one of the biggest mass expulsions in decades, European countries, supported by EU's border agency Frontex, has systematically pushed back refugees, including children fleeing from wars, in their thousands, using illegal tactics ranging from assault to brutality during detention or transportation.
The Guardian's analysis is based on reports released by UN agencies, combined with a database of incidents collected by non-governmental organisations. According to charities, with the onset of Covid-19, the regularity and brutality of pushback practices has grown.
"Recent reports suggest an increase of deaths of migrants attempting to reach Europe and, at the same time, an increase of the collaboration between EU countries with non-EU countries such as Libya, which has led to the failure of several rescue operations,'' said one of Italy's leading human rights and immigration experts, Fulvio Vassallo Paleologo, professor of asylum law at the University of Palermo. ''In this context, deaths at sea since the beginning of the pandemic are directly or indirectly linked to the EU approach aimed at closing all doors to Europe and the increasing externalisation of migration control to countries such as Libya.''
The findings come as the EU's anti-fraud watchdog, Olaf, has launched an investigation into Frontex over allegations of harassment, misconduct and unlawful operations aimed at stopping asylum seekers from reaching EU shores.
According to the International Organization for Migration, in 2020 almost 100,000 immigrants arrived in Europe by sea and by land compared with nearly 130,000 in 2019 and 190,000 in 2017.
Since January 2020, despite the drop in numbers, Italy, Malta, Greece, Croatia and Spain have accelerated their hardline migration agenda. Since the introduction of partial or complete border closures to halt the outbreak of coronavirus, these countries have paid non-EU states and enlisted private vessels to intercept boats in distress at sea and push back passengers into detention centres. There have been repeated reports of people being beaten, robbed, stripped naked at frontiers or left at sea.
In 2020 Croatia, whose police patrol the EU's longest external border, have intensified systemic violence and pushbacks of migrants to Bosnia. The Danish Refugee Council (DRC) recorded nearly 18,000 migrants pushed back by Croatia since the start of the pandemic. Over the last year and a half, the Guardian has collected testimonies of migrants who have allegedly been whipped, robbed, sexually abused and stripped naked by members of the Croatian police. Some migrants said they were spray-painted with red crosses on their heads by officers who said the treatment was the "cure against coronavirus".
According to an annual report released on Tuesday by the Border Violence Monitoring Network (BVMN), a coalition of 13 NGOs documenting illegal pushbacks in the western Balkans, abuse and disproportionate force was present in nearly 90% of testimonies in 2020 collected from Croatia, a 10% increase on 2019.
In April, the Guardian revealed how a woman from Afghanistan was allegedly sexually abused and held at knifepoint by a Croatian border police officer during a search of migrants on the border with Bosnia.
"Despite the European Commission's engagement with Croatian authorities in recent months, we have seen virtually no progress, neither on investigations of the actual reports, nor on the development of independent border monitoring mechanisms," said Nicola Bay, DRC country director for Bosnia. "Every single pushback represents a violation of international and EU law – whether it involves violence or not."
Since January 2020, Greece has pushed back about 6,230 asylum seekers from its shores, according to data from BVMN. The report stated that in 89% of the pushbacks, "BVMN has observed the disproportionate and excessive use of force. This alarming number shows that the use of force in an abusive, and therefore illicit, way has become a normality […]
"Extremely cruel examples of police violence documented in 2020 included prolonged excessive beatings (often on naked bodies), water immersion, the physical abuse of women and children, the use of metal rods to inflict injury."
In testimonies, people described how their hands were tied to the bars of cells and helmets put on their heads before beatings to avoid visible bruising.
A lawsuit filed against the Greek state in April at the European court of human rights accused Athens of abandoning dozens of migrants in life rafts at sea, after some had been beaten. The case claims that Greek patrol boats towed migrants back to Turkish waters and abandoned them at sea without food, water, lifejackets or any means to call for help.
BVMN said: "Whether it be using the Covid-19 pandemic and the national lockdown to serve as a cover for pushbacks, fashioning open-air prisons, or preventing boats from entering Greek waters by firing warning shots toward boats, the evidence indicates the persistent refusal to uphold democratic values, human rights and international and European law."
According to UNHCR data, since the start of the pandemic, Libyan authorities – with Italian support since 2017, when Rome ceded responsibility for overseeing Mediterranean rescue operations to Libya – intercepted and pushed back to Tripoli about 15,500 asylum seekers. The controversial strategy has caused the forced return of thousands to Libyan detention centres where, according to first hand reports, they face torture. Hundreds have drowned when neither Libya nor Italy intervened.
SOS Méditerranée operates the Ocean Viking, one of the few remaining NGO rescue boats in the Mediterranean. Photograph: Flavio Gasperini/SOS Mediterranee
"In 2020 this practice continued, with an increasingly important role being played by Frontex planes, sighting boats at sea and communicating their position to the Libyan coastguard," said Matteo de Bellis, migration researcher at Amnesty International. "So, while Italy at some point even used the pandemic as an excuse to declare that its ports were not safe for the disembarkation of people rescued at sea, it had no problem with the Libyan coastguard returning people to Tripoli. Even when this was under shelling or when hundreds were forcibly disappeared immediately after disembarkation."
In April, Italy and Libya were accused of deliberately ignoring a mayday call from a migrant boat in distress in Libyan waters, as waves reached six metres. A few hours later, an NGO rescue boat discovered dozens of bodies floating in the waves. That day 130 migrants were lost at sea.
In April, in a joint investigation with the Italian Rai News and the newspaper Domani, the Guardian saw documents from Italian prosecutors detailing conversations between two commanders of the Libyan coastguard and an Italian coastguard officer in Rome. The transcripts appeared to expose the non-responsive behaviour of the Libyan officers and their struggling to answer the distress calls which resulted in hundreds of deaths. At least five NGO boats remain blocked in Italian ports as authorities claim administrative reasons for holding them.
"Push- and pull-back operations have become routine, as have forms of maritime abandonment where hundreds were left to drown,'' said a spokesperson at Alarm Phone, a hotline service for migrants in distress at sea. ''We have documented so many shipwrecks that were never officially accounted for, and so we know that the real death toll is much higher. In many of the cases, European coastguards have refused to respond – they rather chose to let people drown or to intercept them back to the place they had risked their lives to escape from. Even if all European authorities try to reject responsibility, we know that the mass dying is a direct result of both their actions and inactions. These deaths are on Europe.''
UK accused of stranding vulnerable refugees after Brexit
Malta, which declared its ports closed early last year, citing the pandemic, has continued to push back hundreds of migrants using two strategies: enlisting private vessels to intercept asylum seekers and force them back to Libya or turning them away with directions to Italy.
"Between 2014 and 2017, Malta was able to count on Italy to take responsibility for coordinating rescues and allowing disembarkations," said De Bellis. "But when Italy and the EU withdrew their ships from the central Mediterranean, to leave it in Libya's hands, they left Malta more exposed. In response, from early 2020 the Maltese government used tactics to avoid assisting refugees and migrants in danger at sea, including arranging unlawful pushbacks to Libya by private fishing boats, diverting boats rather than rescuing them, illegally detaining hundreds of people on ill-equipped ferries off Malta's waters, and signing a new agreement with Libya to prevent people from reaching Malta."
Last May, a series of voice messages obtained by the Guardian confirmed the Maltese government's strategy to use private vessels, acting at the behest of its armed forces, to intercept crossings and return refugees to Libyan detention centres.
In February 2020, the European court of human rights was accused of "completely ignoring the reality" after it ruled Spain did not violate the prohibition of collective expulsion, as asylum applications could be made at the official border crossing point. Relying on this judgment, Spain's constitutional court upheld "border rejections" provided certain safeguards apply.
Last week, the bodies of 24 migrants from sub-Saharan Africa were found by Spain's maritime rescue. They are believed to have died of dehydration while attempting to reach the Canary Islands. In 2020, according to the UNHCR, 788 migrants died trying to reach Spain.
Frontex said they couldn't comment on the total figures without knowing the details of each case, but said various authorities took action to respond to the dinghy that sunk off the coast of Libya in April, resulting in the deaths of 130 people.
"The Italian rescue centre asked Frontex to fly over the area. It's easy to forget, but the central Mediterranean is massive and it's not easy or fast to get from one place to another, especially in poor weather. After reaching the area where the boat was suspected to be, they located it after some time and alerted all of the Maritime Rescue and Coordination Centres (MRCCs) in the area. They also issued a mayday call to all boats in the area (Ocean Viking was too far away to receive it)."
He said the Italian MRCC, asked by the Libyan MRCC, dispatched three merchant vessels in the area to assist. Poor weather made this difficult. "In the meantime, the Frontex plane was running out of fuel and had to return to base. Another plane took off the next morning when the weather allowed, again with the same worries about the safety of the crew.
"All authorities, certainly Frontex, did all that was humanly possible under the circumstances."
He added that, according to media reports, there was a Libyan coast guard vessel in the area, but it was engaged in another rescue operation.


Forsters LLP has a 'first-class agriculture and estates team that deals with queries promptly and efficiently'. Key members of the team include Rupert Mead and Andrew Lane; Lane has extensive experience advising on capital taxation and succession issues for the owners of landed estates. Team head Penny Elliott and 'exceptionally brilliant' senior associate Charlotte Brackley are 'particularly good at dealing with all agricultural and rural conveyancing issues'. Other members of the 'top-quality team' include the 'exceptionally brilliant' Catherine Hill, who has been advising a significant number of landed estates on myriad complex estate planning matters. The team boasts a sophisticated client base which includes a mix of traditional landowners, ultra-high-net-worth individuals and, increasingly, overseas investors and purchasers. Christopher Findlay and Henry Cecil joined in October from Bircham Dyson Bell.
Rupert Mead at Forsters LLP has a particular interest in the preservation of heritage property and its exemption from tax. Mead acts as a trustee of a number of significant estates in England and Wales, many of which include pre-eminent collections of chattels. The 'very experienced' Catherine Hill is 'able to draft complex bespoke documents which succinctly capture a client's requirements'. Hill advises clients who own and invest in art and has a particular expertise in advising living artists (several of whom are Royal Academicians) on legacy, succession and taxation issues. The group has a wealth of experience in acting for influential individuals and institutions in the UK and in the major international art markets. Clients range from families and their trustees owning old masters and chattels of national importance through to living contemporary artists seeking to establish structures to safeguard their artistic legacies. Its client base includes international collectors, auction houses, dealers, museums and charities.
Forsters LLP advises individual philanthropists, charities and other not-for-profit organisations both in the UK and worldwide. Other areas of expertise include advising on the tax implications of giving to charity both in the UK and abroad. In addition the team acts for the trustees of a wide range of charities (with a particular emphasis on those involved in education, social care and the arts). Carole Cook is one of the key members of the three-partner practice and specialises in advising UK and overseas individuals on tax, trust, estate and succession planning issues connected with philanthropic matters. Rupert Mead is also recommended along with Fiona Smith. The department is well known for its particular specialism in advising on dual qualified UK/US charities and frequently advises on structures for effective charitable giving and through Zakat.
Forsters LLP 'continues to be outstanding' under the leadership of Patrick Harney . Harney's 'UK/US practice is renowned in London but it is his approachability and his measured advice that sets him apart'. Kelly Noel-Smith is an 'exceptional lawyer. She is very competent and is involved in some high value and complex work –which she handles with aplomb. She works very effectively with her associates'. Catherine Hill is 'highly capable' and David Robinson 'continues to impress with his exceptional ability and his immense practical experience'.Rupert Mead , Guy Abrahams and Xavier Nicolas are 'all bright, able and very impressive'. Nick Jacob is 'very experienced in offshore trusts and tax – he is a big name in the market who is very busy'. Anthony Thompson has 'great private client expertise which is matched by his commercial acumen'. Harney advises domestic UK families on wealth structuring and has a particular expertise in the use of family partnerships and family investment companies as a tax efficient wealth holding vehicle. There are also 'numerous able assistant solicitors' in the department. The team continues to act for high-net-worth individuals and their trustees on the creation of trust vehicles and other succession planning structures for asset protection and wealth preservation.


QQI Level 5 Infection, Prevention & Control 5N3734 minor award– part of the QQI Level 5 Healthcare Support Certificate 5M4339 major award. The aim of this programme is to equip the learner with the knowledge, skill and competence to prevent infection happening and to control infection if it does occur within the health services area. This course is running across 4 Wednesdays, from 10am to 3pm.


I have not received any contact from Bankwest after reporting a malfunctioning ATM. The ATM closed down and did not issue the money. Why does it take so long to sort this out?
Hi @Newman, thanks for contacting us in regards to this, for security reasons we can't access or discuss any personal account information over Facebook, so we'd need to speak with you over the phone on 13 17 19 or via live chat to look into this. You can access live chat during WA business hours by logging into online banking using a computer and selecting "Chat to us now".
I have submitted the necessary forms re the disputed ATM usage at my local branch the following day (3rd Oct). They informed me this ATM will be checked and the issue resolved in 21 days. I have called the 131719 to be told that it is 21 to 45 days to check an ATM. I still have heard NOTHING from the bank of the year. I know it is only $900 and not important to the bank but I would like my money back. Seriously one and half months to check if an ATM is working ok?
I'd really like to look into this further for you @Newman, however as we're unable to assist via the forum we'd need to speak with you over the phone. Can you please send me an email with your full name, forum username and best contact number to forum@bankwest.com.au and I will arrange for a specialist to call you? Thanks.


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[Mar 4 – 9] Brendan Fernandes: "(buli)" / "Still move"
By Carol Parkinson PastEvents
Harvestworks Digital Media Art Center presents visual artist, Brendan Fernandes, to show his multi-channel moving image work "(buli)" along with his recent video work, "Still move". "(buli)" explores barriers and codes that language creates through the lens of ethnicity, using a Dadaist style of repetition and nonsensicality . "Still move" – Taking inspiration from the notion of stillness these abstract videos capturing the body in motion create a contemplative and ephemeral space.
Brendan Fernandes
Opening reception: Saturday March 7 2015, 4 – 6 pm
Open To The Public: Mar 4 to 9, noon to 5pm
Harvestworks 596 Broadway, #602 | New York, NY 10012
Subway: F/M/D/B Broadway/Lafayette, R Prince, 6 Bleecker
SoHo Saturday is a day of exhibition viewing and special programs by the not-for-profit visual arts institutions in SoHo. As part of SoHo Saturday, Harvestworks Digital Media Art Center presents visual artist, Brendan Fernandes, to show his multi-channel moving image work "(buli)" along with his recent video work, "Still move".
"(buli)" explores barriers and codes that language creates through the lens of ethnicity, using a Dadaist style of repetition and nonsensicality while referencing wall labels and provenance reports of African objects in museum collections. A text poem is inscribed in vinyl on the gallery walls in pulsing Morse patterns as a sound piece mixing indiscernible words and a harpsichord plays. This minimalist exhibition questions colonial histories through the removal and loss of cultural goods.
"Still move" – Taking inspiration from the notion of stillness these abstract videos capturing the body in motion create a contemplative and ephemeral space. Stillness alludes to a static and motionless space. In these works the body is in motion, subtly rolling body parts over a nude rubber ball against a wall the body extends itself inside and outside the frame of the camera. At times only an abstracted body shape is seen but at other times the ball pressed against the body is reviled. The camera is still, but the gestures and motions seem to be generated by it. The images in the video are playful and perverse but oscillate between looking like lunar landscapes. The works aim to create a space of contemplative and desire.
BRENDAN FERNANDES is a Canadian artist of Kenyan and Indian descent. He completed the Independent Study Program of the Whitney Museum of American Art (2007) and earned his MFA (2005) from The University of Western Ontario and his BFA (2002) from York University in Canada.
He has exhibited nationally and internationally including exhibitions at the Solomon R. Guggenheim Museum, the Museum of Art and Design New York, Art in General, the Musée d'art contemporain de Montréal, The National Gallery of Canada, The Art Gallery of Hamilton, The Studio Museum in Harlem, Mass MoCA, The Andy Warhol Museum, the Art Gallery of York University, Deutsche Guggenheim, The Bergen Kunsthall , Manif d'Art: The Quebec City Biennial, The Third Guangzhou Triennial and the Western New York Biennial through The Albright-Knox Art Gallery.
Fernandes has participated in numerous residency programs including The Canada Council for the Arts International Residency in Trinidad and Tobago (2006), The Lower Manhattan Cultural Council's Work Space (2008) and Swing Space (2009) programs, and invitations to the Gyeonggi Creation Center at the Gyeonggi Museum of Modern Art, Korea (2009) and ZKM, Karlsruhe, Germany (2011). He was a finalist for the Sobey Art Award Canada's pre-eminent award for contemporary art. (2010), and was on the longlist for the 2013 prize.
He recently debut a new performance at the Sculpture Center, Long Island City, NY and participated in Stage It! (Part 3) – SCRIPTED at the Stedelijk Museum, Amsterdam. Upcoming shows are scheduled for the Brooklyn Museum and Seattle Art Museum. He is a 2014 recipient of a Robert Rauschenberg Residency Fellowship.
Check here his installation for the Armory Art Week.
Exhibition Space provided by Newmark Family Properties.
This event is organized with the Soho Arts Network, a group of non-profit arts organizations based in New York City's SoHo neighborhood announced today the launch of the SoHo Arts Network—a working network of not-for-profit art spaces dedicated to celebrating the rich history of SoHo's unique creative community and to advancing the neighborhood's continued cultural contributions to the lives of both residents and visitors. Check the website here.
Press contact Carol Parkinson
Phone: 212-431-1130 x 120 (e) carolp@harvestworks.org
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SCI coordinates events for retired mariners including pastoral care, religious services (as requested), and special meetings of American Merchant Marine Veterans.
If you are a mariner in the New York/New Jersey area and would like to find out more about these activities, email us.
The Edwin J. O'Hara Chapter of the American Merchant Marine Veterans meets
Last Thursday of Every Month
at St. Margaret's House
49 Fulton Street (map)
SCI provides The Dennis A. Roland Chapter of the American Merchant Marine Veterans with meeting facilities
at our Port Newark International Seafarers' Center.
A Memorial to Gabe Frank, Merchant Mariner WWII Veteran
By SCI Senior Archivist Johnathan Thayer, Ph.D.
The Seamen's Church Institute (SCI) has worked with the American Merchant Marine Veterans (AMMV) association since its founding in 1984. Representing a tireless "Voice for the American Merchant Mariner" and advocating for just compensation and recognition for merchant mariner veterans of WWII and other wars, the New York and New Jersey chapters of the AMMV have worked with SCI to host countless meetings and celebrations for decades. Sadly, SCI has also lent their services to memorial remembrances for chapter members who have passed away. It is with a heavy heart that SCI does so for Gabriel "Gabe" Frank, who passed away on January 29th.
Most people are surprised to learn that the merchant marines had a higher casualty rate during World War II than any branch of the armed forces. Because of their essential role in supplying the Allied front abroad, they became primary targets for German and Japanese attacks by air and from submarine torpedoes. In total 8,300 civilian mariners were killed at sea during World War II, with some 12,000 wounded, 1,100 of whom died from their wounds. 663 were taken prisoner, 66 of whom died in prison camps. By the end of the war, one in 26 merchant mariners had died, meaning that you were more likely to die as a merchant mariner than if you had been drafted into the Army, Navy, or the Marine Corps. And yet, the federal government excluded merchant mariners from G.I. Bill benefits, granting them nominal veteran status only in 1988, some forty years after their service.
In 1944 a sixteen-year-old orphaned Gabriel (Gabe) Frank heard a radio spot calling on young men to join the merchant marine. He and his brother Rueben, both orphans struggling to survive after being passed through a series of foster and group homes on the Lower East Side of Manhattan, gathered what few possessions they had and set out for the Sheepshead Bay Maritime Service Training Station in Brooklyn a few months after Gabe's seventeenth birthday.
A scene from the production of The Sea is My Brother, a short-form documentary directed by Avishai Mekonen, opens with a close-up on the title of a large bronze plaque: "UNITED STATES MARITIME SERVICE TRAINING STATION / SHEEPSHEAD BAY, NEW YORK / WORLD WAR II," then pans upward revealing three columns of names, listed alphabetically, perhaps 100 deep in each column. The header at the top of the plaque reads, "THESE—VOLUNTEERS ALL—ANSWERED THEIR COUNTRY'S CALL, SIGNED THE ARTICLES, AND SAILED—TO ETERNITY."
The camera then cuts to Gabe, then 87-years-old, hunched over and clinging to a walker. He has on his standard wardrobe: a polo shirt with stray collar, thick tie loose around his neck, and a navy blue blazer that is sagging with the weight of dozens of pins, mostly flags from all of the countries he sailed to while he was a merchant mariner.
Dense rings of jangling bracelets cover his wrists. His hat reads "KOREA VETERAN," a testament to his career at sea after WWII. He sharply addresses two passersby, young students at Kingsborough Community College, the City University of New York outpost that took over the campus on which the Sheepshead Bay Maritime Service Training Station had operated from 1943 to 1954. "Do you know what that means?" Gabe asks, gesturing towards the plaque. The students are bewildered. "I was here in World War II," he goes on, undeterred. "These guys went on the ships, based–trained here. Never came home."
Gabe reads part of the inscription on the plaque to the students ("They sailed on to eternity!"), then describes his training—"obstacle course, marching, parades…" He ignores the students' silence and starts to list the places he's visited as a seaman: Norway, India, Africa, Japan, Korea, Philippines, Vietnam… After learning that one of the students is from Puerto Rico, Gabe breaks into a smile and shifts into Spanish, listing Latin American ports: San Juan, Antigua, Colombia, Panama, Peru, Chile, Ecuador, Venezuela, Guatemala, Honduras, Costa Rica, El Salvador… He wishes the students luck ("Buena suerte!"), and smiles as he waves goodbye. One of the students salutes him.
The scene ends with Gabe alone, the students having gone on their way. He turns to the director, Avishai behind the camera and gestures again towards the plaque. "You see, Avish, they don't know what that means!" "You told them. Now they know," Avishai offers. But Gabe is angry now. "These guys, you know where they're at now? They're at the bottom of the ocean! They should tell them that in the classroom! They were at the bottom of the ocean! They were burned, swallowed oil, the ships exploded!" The shot cuts away and the scene ends with Gabe, in a hunch over his walker, shuffling away with his back to the camera.
Several years ago, Gabe took ill and required help back to his home on the Upper West Side of Manhattan. After sending a concerned friend away for the night, Gabe walked out of his apartment building, hailed a cab, and checked himself into a hospital. He had suffered a series of strokes, and lost feeling and movement on the right side of his body. Despite his condition he managed to call me the following day, having memorized my phone number. (For years, Gabe would call me regularly, at all hours; just to check in, ask about my life, update me on the status of stagnant legislation, and air frustrations. Our conversations would always end with him asking about my family and with a promise to speak soon).
After several weeks in the hospital Gabe was transferred to a rehabilitation center. Shortly thereafter while on Twitter, I came across a surreptitious retweet from the American Merchant Marine Veterans' account that let me know that Gabe was officially on the mend. A Twitter user had apparently been walking in the park across from the rehab facility when he stumbled upon an impromptu video shoot in progress:
It was Gabe, survivor of sixteen years as an orphan on the Lower East Side, months at sea during World War II, a career of hard labor on ships and on land, and a series of strokes that took away his mobility and slurred his speech. But he was not finished yet. There was more of his story that he wanted to tell, and there were people who were there to listen.
Gabriel Frank died on January 29th, 2020. He was buried at Beth David Cemetery in Elmont, NY, a town on the border of Queens and Long Island. He was a scrappy kid from the Lower East Side, a sailor in times of war and peace, an unstoppable advocate for merchant mariners, and my friend since the moment we met.
Thanks to the Seamen's Church Institute of New York and New Jersey's support of the American Merchant Marine Oral History Project, his voice lives on.
You can listen to Gabe's oral history interview, conducted in 2010, here http://seamenschurch-archives.org/collections/show/35
And, you can watch The Sea is My Brother and more from filmmaker Avishai Mekonen, here https://vimeo.com/251508016


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Hella Kürty (1900–1954) was a German actress and singer. An operetta performer, she originated the role of Mi in Franz Lehar's 1929 work The Land of Smiles alongside Richard Tauber. The following year she appeared in a film version of the operetta.

Of Jewish background, she was forced to emigrate from Germany following the Nazi takeover in 1933. She emigrated to Britain, settling in London.

Selected filmography
 The Transformation of Dr. Bessel (1927)
 A Crazy Night (1927)
 A Day of Roses in August (1927)
 Diary of a Coquette (1929)
 The Land of Smiles (1930)
 Candlelight in Algeria (1944)
 Hotel Reserve (1944)

References

Bibliography

External links

1900 births
1954 deaths
German film actresses
20th-century German women singers
Jewish emigrants from Nazi Germany to the United Kingdom

redpajama_set_name: RedPajamaWikipedia


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Upwards And Onwards: GW2
As a big fan of leveling in MMORPGs I'm not usually in much of a hurry to take advantage of shortcuts to the end game. Oh, I'll often latch on to any opportunity to accelerate the rate of experience gain - rested xp, vitality, double xp weekends, boosters, +xp gear, all the gimmicks - but those only speed up the process a little. That way I still get to enjoy the journey, just at a jog instead of a stroll.
For a long time options to avoid the entire game below the cap weren't part of the deal for the genre but in recent years they have proliferated to the point of becoming a standard fitting. I forget who started it. The first I remember using was the jump to 85 in EverQuest.
For my taste these content bypasses work best in games where I already have a large roster of characters. Even when you really love the leveling game, sometimes you get to the point where the prospect of taking a character through the same zones for the tenth (or twentieth) time loses a little of its appeal.
In most MMOs the great leap forward comes at a price - literally. Whether you're buying a high-level character off the shelf, getting one bundled in with an expansion or bootstrapping one you already started it's usually a cash transaction. Not so in GW2.
You can't play GW2 regularly without receiving a plethora of both Tomes of Knowledge and Writs of Experience. You get them, whether you want them or not, from dailies, as drops, as direct rewards. You even get them just for logging in. Unless you go so far as to delete them, pretty soon you'll have them in stacks.
Each Tome is worth a full level. Each Writ is worth 5% of one. There are also Experience Scrolls that raise a character instantly to Level 20 or Level 30 in one click. As of last week I had enough of all of these banked on my main account to bump at least three brand new characters to the level cap of 80. I also had an unused character slot that I bought in the January sale.
When I was playing two accounts side-by-side I had all the classes covered, many of them doubled. After consolidating to one Heart of Thorns equipped account, though, I found myself shy of one skill set on that team: Thief.
If there's one of GW2's eight classes I've never really taken to it's the Thief. I don't much like thieves in any MMO. Heck, I don't like them in RPGs period. Call them Rogues or Scouts or what you will, I find them fussy, fiddly and annoying.
That said, leveling one up in Tyria was easy enough when I did it a couple of years back on what is now the storage account. As I vaguely recall I mostly spammed Heartseeker and used the Shortbow like a bargain-basement ranger. It was painless enough but not something I'd want to repeat just to round out a full roster for the go team.
With HoT, however, came Elite Specs. They aren't quite the same as brand new classes but they do change the gameplay of certain professions substantially. A Dragonhunter, for example, feels very different to play then the Guardian from which it derives.
Mrs Bhagpuss, who played a monk for years in EverQuest, has been experimenting with the Daredevil elite spec for Thieves, trying to see if she can create something similar. She's been pleased with the result so I thought I might give it a try too.
So, a couple of days ago I rolled a new Thief. Human, because another thing I've meant to do for years and never gotten around to is to go to Clown School. Bizarrely, joining the circus is one of the Personal Story options for human characters. I thought I could kill two clowns with one stone.
I quickly flicked through the perfunctory but mandatory "tutorial" and flipped up to The Mists, where I stood in Citadel reading my way through a level 30 Experience Scroll and fifty Tomes. It's a lot of clicking and an awful lot of inventory management as every one of the 80 levels registers independently and produces separate, discrete rewards and pop-ups.
Then there was the choosing of all the skills and traits. The deciding on a pro-tem build to get started. The selecting and acquiring of a complete set of Exotic gear fit for a Level 80. The upgrading of all that kit with runes and sigils.
Even having been through all this well over a dozen times before as characters dinged 80 the slow way and even with substantial resources available in Gold, Karma, Badges and banked gear, this is not a swift process. It took me most of an afternoon. Very enjoyable it was, too.
Eventually there she was, my fully geared, fully specced level 80 Thief. I've skipped a few levels using Tomes before - jumped from 70 to 80 on my second Guardian, for example - but I've never really considered what it means to begin at 80 as a totally fresh character. There's one major factor I hadn't even considered: travel.
Oh, I knew I would have to go out and grab 250 Hero Points before I could transition from Thief to Daredevil. I knew that would mean hitting 25 Hero Challenges in Magus Falls. That's something I was actively looking forward to doing.
What hadn't occurred to me was that if I wanted to go anywhere to do anything, virtually anything at all, I'd have to walk there first. GW2 has some of the fastest Fast Travel in MMOs. Every map is studded with waypoints and for a fee that once seemed extortionate but now seem utterly trivial all you need to do to get from where you are to anywhere else is open your map and click.
Except there's a catch: before you can use a waypoint from the map you have to have visited it in game. And that data is recorded not against your account but against your character. If you open your map as a brand new jumped-up level 80 all you will see is fog.
This is great stuff. For me it adds a whole new layer of fun. I love opening waypoints. Since I first encountered it in EverQuest I have always felt that the mechanic of having instant travel but only to places your character has run to overland first offers the best of both worlds, exploration and convenience.
I can see how it might annoy some, though. You can't even do something as basic as join a World Boss train when you can't click the links in chat and map-hop to the next pinata. Just getting to Silverwastes to begin my HoT Personal Story so I could set out on the road to becoming a daredevil took me twenty minutes of running.
That's done now. I also took the trouble to trot around Tyria to open most of the World Boss waypoints, which gives me a schematic for future travels. Given that even after all this time my highest map completion on any character is still under 70% filling out the maps is hardly going to be a priority but you do need the basics.
How much play my new thief will get I wouldn't like to predict. Depends on how different Daredevil feels, I guess. Even if I don't like it any better than the base class I still have Clown School to look forward to and nearly 500 waypoints to open. Will the fun never end?
Labels: explorer, GW2, Level 80, leveling, levels, MMO, thief
I resurrected my norn thief after the patch that buffed their dagger and Daredevil staff damage.
I have to say that the feel of the Daredevil spec appeals much much more to me than the base thief I remembered of yore. It plays much like a somewhat squishier warrior with more mobility options, in that you don't -have- to go into stealth in order to do decent damage and can mostly autoattack and feel martial artsy.
That's about what Mrs Bhagpuss was saying. Certainly sounds a lot more enjoyable than regular thief play.
I have 2 thieves on my account, both at 80. My original was a charr who I built as a gunslinger - dual pistols and a charrzooka as my elite skill made for a very, ahem different sort of thief. A charr daredevil just didn't seem right, somehow, so I created a human thief before HoT launched and force-fed her tomes of experience before touring the old world grabbing as many hero points as I could so I could go daredevil on the launch of HoT. Yeah, it's fun - probably the best staff fighting class since my DAoC friar, and I still have the brace of pistols on the new character as my ranged option. There's a lot more to GW2 thieves than stealth.
Haven't thought about the DAOC Friar for a looooong time. Mostly I played a Skald but I did do some friaring on occasion. So long ago now I forget what it was like but I seem to remember it was interesting.
Chris K. February 16, 2016 at 11:43 AM
"I knew I would have to go out and grab 250 Hero Points before I could transition from Thief to Daredevil."
Not entirely true. You need 250 points to unlock everything in the Daredevil tree, but most specs are playable way before that (i.e. around 100 - 120 points in).
Yep, I know you can start earlier but I don't like to. I really enjoy collecting all the points and then spending them in one go. That's really the best part. I've done it on all the other seven classes and I want to do it on this one too. In fact, one of the main reasons I made the character was to have an excuse for doing it again :)
A Window On The World : Ninelives, EQNext
Thinking About It...
Happy Together : GW2, Ninelives
One Of Nine : Ninelives
A Simple Tale, Well Told : Blade and Soul, GW2
Get Cape. Wear Cape. Fly. : Blade and Soul
Spotlight On Fashion : Blade and Soul
Every Picture Tells A Story : Blade And Soul
Taking One For The Team: Group Play In MMORPGs
Take A Moment: MMOs And The Trinity
One Careless Owner : Dragon Nest Oracle
On Patrol : Valiance Online
The Hard Road To Lambda Mall : Otherland
New, Shiny : Blade and Soul
H1Z1: Take 2
Here We Go Again : Blade And Soul
Musings On A Wet Monday Morning


Four schools across the U.S. have recently adopted a Brainware for Transcripts solution, transforming operations across each campus to speed transcript processing, diminish data entry, and improve student response times during admissions, transfer and degree audits.
Brainware for Transcripts is an intelligent capture software program that uses optical character recognition (OCR) to convert different types of transcript documents, such as scanned papers, PDF files or images into editable and searchable data. This technology is creating a fundamental shift in the way these institutions read and process content, unlocking its value in real time. Brainware for Transcripts can also be used with any content repository system, taking advantage of existing technology investments while advancing functionality.
Brainware for Transcripts is highly scalable which allows transcript processing to happen among a consortium of institutions, such as a state or regional system. This allows all the colleges within a group to share access to the captured transcripts and student data, providing accurate snapshots of courses, degree progress and other critical functions. With options for running Brainware for Transcripts on an in-house server or in the cloud, these disparate departments and locations can still leverage the same resources to create cost and time savings.
Brainware for Transcripts also supports high school and district transcript processing, and can function as a standalone solution regardless of document imaging solutions already on campus.
For more information about how Hyland supports higher education institutions to realize campus-wide efficiencies and improve the student experience, visit hyland.com/transcripts.
By combining information management solutions with business process and case management capabilities, Hyland delivers a suite of unparalleled higher education offerings to address the student, staff, financial and operational needs of institutions around the world. Every day, more than 1,100 colleges and universities use Hyland's world-class solutions to become more agile, efficient and effective. The Hyland suite of higher education solutions – including Brainware for Transcripts, OnBase, Perceptive Content, NolijWeb and ShareBase – empower institutions to complete student records, eliminate manual data entry and enhance business processes across campus.


Born in West Bromwich. She studied at Wolverhampton School of Art and with Richard Garbe at the Royal College of Art. He is said to have given her his ivory working tools at the end of his career. Holt worked in a variety of media but was particularly known as a sculptor in ivory. Her work in this medium is discussed by Carson I.A. Ritchie in 'Modern Ivory Carving', New Jersey, 1972, p. 12.
Holt was married to the sculptor, Thomas Bayliss Huxley-Jones for about thirty years and they lived in Aberdeen and Essex. After Huxley-Jones' death in 1968, Holt married Bishop Eric Gordon, the author of a history of Eynsham Abbey. They lived in Eynsham near Oxford for the remainder of their lives. Holt carved a St Leonard for the local parish church.
Won this for her ivory statuette entitled 'Mother and Child', which was exhibited a the Royal Academy of Arts in 1947.
Gibson and Holt were part of a circle of artists and friends who met in Robert Jackson's Castle Street studio. Holt gave a portrait of Mary Gibson by Emerson to Wolverhampton Art Gallery.


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Crouay – miejscowość i gmina we Francji, w regionie Normandia, w departamencie Calvados.

Według danych na rok 1990 gminę zamieszkiwały 444 osoby, a gęstość zaludnienia wynosiła 57 osób/km² (wśród 1815 gmin Dolnej Normandii Crouay plasuje się na 476. miejscu pod względem liczby ludności, natomiast pod względem powierzchni na miejscu 661.).

Bibliografia

Miejscowości w departamencie Calvados


I'm not responsible if this GRF eats your savegame or blows your computer up. Please back up your files before use.
Replacement graphics for the TTD train depot.
If you have questions/feedback or want to report a bug, please PM me (Nivlheim) on tt-forums.net or mail me at feedback[at]nugitz.com .