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Тамара Фёдоровна Папина (27 марта 1927, Москва — 26 января 1996, Волгоград) — советская и российская артистка оперетты, народная артистка РСФСР.

Биография
Тамара Фёдоровна Папина родилась 27 марта 1927 года в Москве. Училась в Государственном институте театрального искусства им. А. В. Луначарского.

С 1951 года до конца жизни была солисткой Сталинградского театра музыкальной комедии (позже Волгоградского). За 44 года работы в театре сыграла сотни ролей, практически все ведущие партии классического и современного репертуара.

Умерла 26 января 1996 года. Похоронена в Волгограде на Димитриевском (Центральном) кладбище.

Награды и премии
 Заслуженная артистка РСФСР (13.04.1959).
 Народная артистка РСФСР (15.01.1982).
 Почётный гражданин Волгограда (15.03.1993).

Работы в театре
 «Поют сталинградцы» К. Листова — Зорька
 «Цыганский барон» И. Штрауса — Арсена
 «Фиалка Монмартра» И. Кальмана — Виолетта
 «Сильва» И. Кальмана — Сильва Вареску, княгиня Воляпюк
 «Марица» И. Кальмана — Марица, княгиня Божена
 «Свадьба в Малиновке» Б. Александрова — Трындычиха
 «Весёлая вдова» Ф. Легара — Ганна Главари
 «Баядера» И. Кальмана — Одетта Даримонд
 «Принцесса цирка» И. Кальмана — Теодора
 «Роз-Мари» Р. Фримля и Г. Стотхарта — Этель
 «Летучая мышь» И. Штрауса — Розалинда
 «Вольный ветер» И. Дунаевского
 «Цирк зажигает огни» Юрия Милютина — Лолита
 «Севастопольский вальс» К. Листова
 «Весна идет»
 «Продавец птиц»
 «Корневильские колокола» Робера Планкета

Память
 Мемориальная доска установлена в Волгограде на доме по улице Краснознаменская, 8, где жила актриса. Надпись на ней гласит: «В этом доме с 1983 по 1996 годы жила Папина Тамара Федоровна — народная артистка РСФСР, Почетный гражданин города-героя Волгограда».
 Улица Папиной в Волгограде (бывший посёлок Горная Поляна).

Примечания

Ссылки

Выпускники ГИТИСа
Персоналии:Волгоградский музыкальный театр
Похороненные на Димитриевском кладбище (Волгоград)


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2020 NFC West Fantasy Review
The NFC West has a claim as the toughest division in football this season. All four teams finished with 6 wins or better (the only division to accomplish that), three teams finished above .500 and have two teams representing them in the playoffs (Rams & Seahawks), with the Arizona Cardinals barely missing out by a game. The division combined for 36 wins, which was second behind the AFC North. There was fantasy goodness a plenty from the NFC West as we saw several players finish near the top of their position rankings, and saw several younger players take a step forward towards the tier of elite.
We head out to the West Coast to look at the reigning division champs, the Seattle Seahawks. Once known for the dominating "Legion of Boom" defense that brought home a title in 2014, the Seahawks seemed to find success in a different way this season. Their offense ranked 8th in 2020, scoring 28.7 points per game as Pete Carroll and staff finally seemed to let Russ cook. Coming into the season Vegas pegged Seattle with an expected win total of 9.5 games, which they outperformed in a big way finishing with a 12-4 record. The Seahawks are on schedule to host familiar division rival LA Rams this weekend.
One of the winningest QBs already in his career, Russell Wilson continued to add to his resume of dominance in 2020. Wilson became the first QB ever to record a winning record in each of his first 9 seasons and surpasses Peyton Manning this year as the NFL's all-time winningest QB in a player's first 9 seasons. There has literally been no other quarterback in history to win the way Wilson has to start his career. In the scope of fantasy, there were MVP rumblings for Wilson after his crazy hot start to the season. Over the first 8 games Wilson amassed 2,541 yards and 28 touchdowns through the air. To show how insane this was, that's a full season pace of 5,082 yards and 56 touchdowns. That would have been the 11th most yards in a season all-time and would have broken the passing touchdown record set by Peyton Manning in 2013. However, Wilson cooled off in a big way over the second half, throwing only 1,671 yards and 12 touchdowns. The biggest gripe from owners this year was Wilson's performance in the fantasy playoffs, finishing as the QB28 and QB14 in Weeks 15 and 16, respectively. 2019 showed how hot and cold Wilson could be, and owners thought in 2020 we would be getting an MVP level of consistency after those first 8 games this season. Heading into 2021 it'll be hard not to rank Wilson amongst the top 5 QBs given the ceiling he possesses along with his rushing ability which always helps provide a bit of a boost for QBs. Perhaps we see an uptick in volume next year since Carlos Hyde and Chris Carson are both set to be free agents this off-season. Add in the familiar Tyler Lockett and the emergence of DK Metcalf and it's hard to ignore Wilson as a high QB pick in 2021 drafts.
Overall, another great year with an exceptional ceiling however consistency was all over the place and burned owners a bit in the playoffs.
As we saw Chef Russ cook a bit more in 2020 and it came at the expense of the volume fantasy owners were expecting from the Seattle backfield. After ranking 3rd in rushing attempts in 2019 with almost 30 per game, the Seahawks finished 2020 ranked 18th, dropping down to about 25 attempts. Factor in 4-5 of these each game came from Russell Wilson, and the Seattle backfield quickly became a bit thin for RB volume. Chris Carson demonstrated to be the same RB we've known him for in his career – a big bruiser who performs when on the field, but usually a good bet to miss time each season. He appeared in 12 games this season, averaging 15.65 PPR points per game. If you take away the Week 7 Arizona game, he left early due to injury, his average jumps to over 16 points per game which would rank him in the top 10 at the position for RBs who started 11 or more games. However, this has been the story with Carson seemingly throughout his career – somewhat of an enigma, he's very productive when he starts, but always a good bet to miss time. Carson's back-up Carlos Hyde filled in well when called upon, until he wasn't available either. Hyde popped with 16.6 PPR points in Week 7 when Carson left, but managed to get hurt himself and miss the next few weeks. He came back strong in the re-match against Arizona in Week 11, but then Carson returned, and Hyde went back to change-up duty. A few others stepped in while Hyde and Carson were both on the shelf including younger options such as rookie Deejay Dallas and second year player Travis Homer. Dallas scored a few times in Weeks 8 and 9 to provide managers with decent fantasy outings, but neither player really did much to be put on the radar. Former first round pick Rashaad Penny started the season dealing with an injury which he never seemed to get out of the gate. He appeared in the Seahawks final three games, but only carried the ball 11 times total. It'll be interesting to see the direction Seattle goes at RB next year. Carson and Hyde are both set to be free agents so decisions will need to be made with their contracts. If neither gets re-signed, I must imagine Pete Carroll signs or drafts another guy because heading into the season with Penny, Dallas and Homer makes for a scary proposition.
Overall, some great production from the starter but missing several games from a second-round pick is tough on any fantasy team.
The value lost from the RB room was sent over to the WR corp. In a big way. Tyler Lockett continued to be a favorite target of Russell Wilson as he's been throughout his career, and we saw DK Metcalf take another step towards the league's elite. Both WRs eclipsed 1,000 yards and 10 touchdowns in 2020. Only the Chiefs had a pair of teammates do the same (Kelce and Hill). Consistency was a bit hard to come by, but Metcalf and Lockett finished as the WR7 and WR8 in PPR, respectively. On the surface it's hard to look at a WR corp. with two options in the top eight and not be impressed, but the consistency is a huge hurdle that made owning either guy tough. You can't bench players like Metcalf or Lockett because you'll miss out on the monster explosions, but when they fail to reach just 10 points in a week it really sets your team back. Metcalf finished under 10 PPR points 4 times this year while Lockett did the same 7 times. Compare that to other WRs in the top 10 who several never finished under 10 points other than injury. David Moore chipped in with 35 catches, 417 yards and 6 touchdowns which is decent for the WR3 on a team but wasn't too fantasy relevant in most leagues. Heading into 2021 I imagine Metcalf will possess the higher ADP than Lockett, but both should still be drafted as top 20 WRs. I imagine they'll continue to eat into each other's targets a bit and if the Seahawks revert to a focus on the ground game like 2019, consistency could continue to be an issue.
Overall, I'm giving a similar grade to Russell Wilson for the same reasons. Elite ceiling from this group but maddening consistency where they hurt you badly certain weeks.
Around the league tight end continue to follow a similar pattern as it has in years past – the elite ones produce elite numbers and the rest is a weekly crap shoot. Unfortunately for Seattle, their tight ends didn't even reach weekly crap shoot territory. The best performer was Jacob Hollister who finished as the TE38 on the season in PPR. No reason to dive much into this position group. You never started anyone at this position on the Seahawks in 2020. Heading into next season I would pay attention to who Seattle drafts or signs in free agency. Greg Olsen and Jacob Hollister are set to be free agents so that leaves opportunity for Will Dissly who's been productive before but had trouble staying healthy.
Overall, this was a terrible TE group for 2020.
The Rams are the second of two teams to make the playoffs in the NFC West finishing with a 10-6 record led by Head Coach Sean McVay. One time not long ago the Rams were an absolute gold mine for fantasy points, but 2020 tells a different story for this Rams team. The Rams finished ranked 11th in yards per game, but all that yardage didn't turn into points as they ranked 23rd in points per game. I think a lot of that is due to their 1.6 turnovers per game which was the 5th worst mark in the league. Los Angeles outperformed their expectation this year in the win/loss column; Vegas pegged the Rams for 8.5 wins in 2020. They travel to Seattle this weekend to take on the Seahawks.
2020 was a down year for Jared Goff, finishing with the second lowest yardage, lowest number of touchdowns and second highest number of interceptions since becoming a full-time starter. He improved his efficiency, finishing with a career high 67% completion percentage. Unfortunately, we don't get fantasy points for completion percentage. Goff was an option better left on the waiver wire this year as he finished at the QB20 on the season in points per game with QBs who played 15 or more games. Just to illustrate how unexciting Goff's 2020 season was, Carson Wentz averaged more points per game while he was the starter than Goff did. In hindsight it seems like a massive blunder, but the Rams are tied to Goff through 2025 after his recent contract extension so hopefully a bounce back is on the horizon for next season. Josh Reynolds is the only WR slated to leave in free agency and up and coming rookie Cam Akers should all help take the pressure off Goff next year. I trust McVay to figure things out for his offense and get Goff back into a better position to succeed.
Overall, Goff was nothing more than a bye week/injury streaming option this season and in most cases was better left on the waiver wire.
The Rams backfield is a tough one to assess because overall the Rams' offense ranked 7th in rushing attempts and 10th in rushing yards, so the production was there for the group. The problem was throughout the course of the season it was split amongst three guys which no fantasy manager likes to see. While Cam Akers was brought along slowly to start the season, Malcolm Brown and Darrell Henderson took turns producing fantasy points. Brown eclipsed double digit points in Weeks 1 and 4 while Henderson achieved the same Weeks 2, 3 and 5. Each player continued to be modestly productive until Week 13 when it looked like Cam Akers was taking over the backfield. Akers was given 15+ attempts in three straight games before getting injured against the Jets. As Akers dealt with injury and Henderson/Brown remained ineffective, none of the RBs did anything worth note the last few weeks of the season. None of these backs really helped on a season long basis as Malcolm brown finished the year as RB43, Darrell Henderson RB36 and Cam Akers RB45. Next year should provide more clarity as Malcolm Brown is a free agent, which should leave the backfield to split between Akers and Henderson. My guess would be somewhat of a split favoring Akers in 2021.
Overall, this back field showed glimpses of hope from each of the three backs but failed to produce a remotely reliable option.
The lone fantasy bright spot for the Rams this season was their WR corp. which has been a top-notch unit every year since McVay has taken over. This year wasn't as fruitful as years past, but still got solid production from the group overall. The brightest spot was Robert Woods who finished as the WR14 in PPR. Always a high-volume player, Woods received 129 targets this season which he turned into 90 catches, 936 yards and 6 touchdowns. As Woods usually does. He added another 155 yards and 2 TDs on the ground. Cooper Kupp was the bigger surprise, finishing all the way down at WR26 after finishing as WR4 last season. Kupp makes his hay in the touchdown department and when your offense ranks near the bottom in scoring, it will certainly limit your TD opportunities. Kupp was somewhat consistent this year but didn't carry the same ceiling as in years past. He finished with 92 catches, 974 yards and only 3 touchdowns. Josh Reynolds wasn't a bad 3rd option coming in at WR62 but not someone who you probably put in your line-up this year. Outlook for next year depends on your thoughts around Jared Goff and the Rams' offense. If McVay can correct the mistakes and turnovers there should be a higher ceiling on the offense in 2021. Reynolds is set to be a free agent, but he should get replaced by upcoming rookie Van Jefferson.
Overall, a solid yet unspectacular group where Woods and Kupp both seemed to regress to the mean in TDs, Woods in a positive fashion and Kupp negatively.
Like Seattle and most other teams in the NFL, tight end didn't really move the needle this year on the Rams. After a blazing hot finish in 2019, Tyler Higbee was a major draft darling coming into 2020 but massively disappointed finishing as the TE17. Gerald Everett finished as TE24, so you probably didn't start either guy outside of one or two weeks where you were desperate. Everett is a free agent this off-season so perhaps that opens the door for more opportunity for Higbee in 2021.
Overall, they gave you a bit more than Seattle's unit, but still not much to be excited about.
Coming off a Super Bowl appearance in 2019 the Superbowl hangover hit San Fran hard as they failed to even make the playoffs this year. Coming into the season the 49ers had the 3rd highest projected win total from Vegas at 10.5 games. Injuries hit the team in a hard way this season as they limped to a 6-10 finish in the competitive NFC West. This season was a bit of a mirage for fantasy owners as there were several pieces set up to be huge contributors (George Kittle, Raheem Mostert, Deebo Samuel) but failed to deliver mostly because of injury.
Kyle Shannahan and company will be taking a long hard look at the QB position this off-season. After joining the team from New England in 2017, Jimmy G has only played in 25 games while missing 23 games due to injury. You can make the case in 2019 with a healthy Jimmy G was then the 49ers were at their best, but hard to tie your franchise to a guy who's started one full season in his career. Even when he played this year Garoppolo was underwhelming. He finished with 1096 yards, 7 touchdowns and 5 interceptions over 6 games and only averaged 13 fantasy points per game in the 5 full games he played, which ranks as the QB34 amongst all QBs who started at least 5 games. Nick Mullens was a disaster and while CJ Beathard flashed a bit in his two starts, neither guy was one you wanted to rely on for fantasy.
Overall, this position group crashed hard in 2020 and will be a place of high interest for Coach Shannahan this off-season.
The 49ers running back group this year was a hodgepodge of unsung heroes and retreads from the past. At any point this season you could have tuned into a 49ers game and saw Raheem Mostert, Jeff Wilson, Jerrick McKinnon, JaMichal Hasty or Tevin Coleman carrying the rock. Wilson and Mostert were the primary features amassing over 100 attempts each, but all 5 backs were featured in at least eight games. None of the running backs gave fantasy owners any season long value, with Jeff Wilson finishing the best at RB32. The allure behind the San Fran backfield is that you know the Shannahan system will be productive, and if you can pick correctly any given week, you probably have yourself a solid RB2 with RB1 upside. On any given week one of these guys would finish inside the top 25, but guessing which one, was an exercise in futility. The 49ers rushing offense finished 15th in the league, but Wilson was the leader of the group with only 600 yards which shows how spread out the production was amongst several players. Mostert was the one that hurt the worst; he had an ADP of RB23 coming into the season and finished well below at RB48. He produced when on the field but was only available for eight games. This will be a backfield I'm paying close attention to in the off-season because we know a Shanahan backfield is typically a gold mine. Coleman, McKinnon and Wilson are set to be free agents this year and Mostert and Hasty can both be cut quite easily. Interesting to see the direction they go into 2021.
Overall, this was a productive group but individually the players didn't stand out over a whole season. You could have guessed each week which guy would be the main one, but it was typically a coin flip at best.
Grade: C
This group had a lot of promise heading into the 2021 season headlined by sophomore stand-out Deebo Samuel. The 49ers spent a first-round draft pick on rookie Brandon Aiyuk and had some notable names such as Kendrick Bourne and Trent Taylor. Like the rest of the 49ers team, injuries held Deebo Samuel out of nine games and Aiyuk missed four and left early in others. The bright spot amongst this group was the rookie Aiyuk who put up 60 catches for 748 yards and 5 touchdowns adding another 77 yards and 2 touchdowns on the ground. Aiyuk was the WR3 in points per game from week 15 to week 17 and if he can stay on the field for a full season with a potentially upgraded quarterback, I like Aiyuk as a top 20 option next season. Deebo was a big disappointment following a strong rookie campaign, but the injury bug hit him hard. He started the season with a foot injury that kept him sidelined the first few weeks of the season. After putting together two solid games in weeks six and seven Deebo was sidelined again until week 12. Another two solid performances, another injury ending his season. The potential we saw as a rookie was there but Deebo needs to get healthy this off-season.
Overall, there's a lot of promise with this group heading into 2021 if the 49ers upgrade the quarterback position. Aiyuk had a great rookie year and Deebo has the potential. Injuries just kept them sidelined more than you wanted to see.
Coming into 2020 George Kittle was debated alongside Travis Kelce as who should be the #1 tight end off the board. Injury was the only thing that could stand in Kittle's way and unfortunately, he was hit with the bad injury bug that plagued the 49ers this season. Crazy enough Kittle only played in 8 games this year and still finished as the TE19 on the season which speaks volumes to how beastly he is when he's on the field. Heading into 2021 Kittle should be right back up at the top of the tight end board behind only Travis Kelce. Shannahan is too good an offensive mind not to feature Kittle, and the 49ers should have an upgrade at QB next season. Jordan Reed was an average fill-in once Kittle went down. He fell in line with the rest of the crapshoot tier where he gave you a solid week if he scored, otherwise you're left disappointed.
Overall, this is a group that features one of the best in the NFL but couldn't stay on the field this year and the back-up filled in but was nothing more than average. The low grade has more to do with the fact you spent a premium pick to acquire Kittle who essentially only gave you half the season.
Heading into the season with high expectations, Kliff Kingsbury and the Cardinals finished with an 8-8 record and missed the playoffs for a second straight year under his direction. Arizona finished slightly above expectation this season, as Vegas pegged them for 7.5 wins at the beginning of the year. The Kingsbury offensive system has worked well in the NFL as the Cardinals ranked 13th in points per game and 6th in yards per game. QB Kyler Murray dealt with a shoulder injury he played through for some of the season which perhaps held the team back a bit. Heading into 2021 I must imagine Kingsbury's seat is getting warm given the late season collapse from the team. Arizona started the year with a 6-3 record but dropped five of their last seven games to finish 8-8.
After trading for Deandre Hopkins in the off-season there was enormous expectation for Kyler Murray entering his second season. Kyler entered the season with an ADP of the QB4 which many thought was a bit too rich, however he delivered in a big way finishing this year as the QB2 in total points, and the QB3 in points per game, and this includes his Week 17 game where he left early and only put up 3.8 points. Murray was white hot to start the season and cooled off a bit after Week 11, but even a hobbled Kyler Murray still proved to be better than most options as he put up 16+ in every game except one this year. Murray finished the season with 3,971 passing yards and 26 passing touchdowns while adding another 819 yards and 11 touchdowns on the ground. Another year and another (hopefully) normal off-season should get Murray more comfortable with Hopkins and the offensive system. Murray should be locked in as a top 3 QB for 2021.
Overall, a great performance from a player who demonstrated a great ceiling with a solid floor.
Expectations were high for the Arizona backfield as Kenyan Drake entered the season with an ADP of RB13 and cost fantasy owners a high pick based on the potential we saw last season in this offense. Drake provided owners with two weeks I would consider "great" and everything else was just okay. That seems to be the feeling around Drake's season this year – didn't kill you but wasn't anything special. At first glance it looks like Drake had a solid season finishing as the RB16 on the year but dig a bit deeper and he finished as the RB23 in points per game. He only missed one game due to injury and left another early so was reliable which is why his end of season total looks so attractive. Plus, he was propped up by double digit touchdowns, something not always easy to repeat. He ended the season with 955 rushing yards and 10 rushing touchdowns. Coming into the season the big draw behind Drake especially in PPR leagues was his expected use in the passing game, but that didn't materialize as Chase Edmonds owned all the passing down work. Season long Edmonds had a great year for where he was being drafted. He entered last season with an ADP of RB49 and finished the year as RB25. Edmonds proved to be a steal and a solid contributor if you snagged him late in drafts. He only provided 448 yards and one touchdown on the ground, but also 402 yards and four touchdowns through the air. Kenyan Drake is a player to watch this off-season since he is set to be a free agent this year.
Overall, even if it's unexciting, it's hard to ignore a backfield that had two options in the top 25. Both guys didn't give you the ceiling of other options, but reliability goes a long way in fantasy. Drake might have disappointed for his draft cost but Edmonds far outperformed his ADP.
Grade: B-
After trading for one of the league's best, this group had huge expectations for 2020 led by stand-out Deandre Hopkins. The Cardinals traded a second-round pick and David Johnson to acquire one of the league's best, a move which many believe was the end of Texans coach Bill O'Brien. Hopkins' end of season numbers look great finishing with 115 catches, 1,407 yards and six touchdowns. The only issue fantasy owners probably have with Hopkins this year was the low touchdown total, a number I would bet is most likely going up next year. Heading into the season with an ADP of WR5, Hopkins balled out for managers finishing as the WR4 on a season long basis and the WR5 in points per game. There were a few games sprinkled in you wanted more from Hopkins but overall hard to be upset about the return on investment. With the arrival of Hopkins, break-out candidate Christian Kirk took a back seat but still put up a respectable 48 catches for 621 yards and 6 touchdowns. He finished the year as the WR51 which was well below his ADP of WR38. There was a stretch from Weeks 4-9 where Kirk gave you startable production but outside of that was rather mediocre. The rest of the group didn't do a whole lot. Veteran Larry Fitzgerald might have played his last NFL season and has been fantasy irrelevant as of late. Fitz only achieved double digit fantasy points in four games this year and even if he comes back, not someone I'm targeting in any drafts next year. Andy Isabella showed flashes as a deep threat in 2020 but not enough to bump up the grade of the unit. If Fitzgerald retires next year Isabella might be a decent deep-league dart throw.
Overall, the unit was led by one of the best in the game but failed to provide much behind Hopkins. Hopkins provided fantasy managers great production and finished better than his draft position, something not a lot of players can say.
As the case with most teams, the Cardinals didn't have much production at the tight end position to speak of. Dan Arnold had a few decent games late in the season in Weeks 13 and 14 on the back of a few touchdowns but finished under double digits every other game. You weren't starting Arnold during his breakout weeks and if you trusted him after the two decent games, he let you down the rest of the way. Grade: F
Stay tuned for the AFC South tomorrow and as always, stay true.
tzwlkoadno March 27, 2021

redpajama_set_name: RedPajamaCommonCrawl


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Boosting Pistons' energy is Stan Van Gundy's top priority
Pistons gearing up for Warriors at 3:30 p.m. Sunday at Palace
Boosting Pistons' energy is Stan Van Gundy's top priority Pistons gearing up for Warriors at 3:30 p.m. Sunday at Palace Check out this story on Freep.com: http://on.freep.com/1xXgA1r
Anthony Fenech, Detroit Free Press Published 5:16 p.m. ET Nov. 29, 2014 | Updated 8:23 p.m. ET Nov. 29, 2014
Nov 28, 2014; Auburn Hills, MI, USA; Detroit Pistons head coach Stan Van Gundy looks on during the third quarter against the Milwaukee Bucks at The Palace of Auburn Hills. Bucks win 104-88.(Photo: Raj Mehta, USA Today Sports)
If Stan Van Gundy had a magic wand and could wave it at one thing, he would wave it at the Detroit Pistons' energy.
"Our energy level in general, at both ends — half court, full court — needs to improve," he said after Saturday's practice in Auburn Hills. "It's probably to me the No. 1 priority and it encompasses a lot of things. We just have to get a higher energy level."
And the first-year Pistons' coach has talked about it a lot. He doesn't really know how to get more energy out of his players — "A lot of that is within you," he said — but if he could change one thing about the Pistons' early-season struggles, it would be the energy level they play with.
"It would take care of a lot of things," he said. "We do a lot of walking and jogging. Certainly tomorrow, that ain't going to work."
That's because the Pistons, losers of their past seven, host the Golden State Warriors, a team that runs and guns and a team that, Van Gundy said, "Is the best team I've seen in a while."
The Warriors change ends very quickly, Van Gundy said.
They are 13-2 and rank third in the NBA with 107.3 points per game. The Pistons are 3-13. They have scored over 100 points one time in 16 games this season.
"The way our offense has been," Van Gundy said, "I wish I could blame it on somebody else, but it's me."
The Pistons figure to have point guard Brandon Jennings back, who has missed the past three games with a strained left thumb. He practiced in full on Saturday.
He is averaging 16 points per game this season.
Sunday: Warriors
Matchup: Pistons (3-13) vs. Golden State (13-2).
Tip-off: 3:30, the Palace.
TV/radio: FSD+, WMGC-FM (105.1).
Contact Anthony Fenech: afenech@freepress.com. Follow him on Twitter @anthonyfenech.


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Cinergie – Il cinema e le altre arti. N.20 (2021), 7–25
Special – peer-reviewed
Edited by Rossella Catanese, Adelheid Heftberger and Christian Gosvig Olesen
Comparative Analysis of Colour Film Style by Computational Means
Olivia Kristina Stutz — University of Zurich, Department Film Studies (Switzerland) — Contact: oliviakristina.stutz@uzh.ch
She is a PhD student based in the ERC Advanced Grant FilmColors project at the Department of Film Studies, University of Zurich, under the supervision of Prof. Dr. Barbara Flueckiger. Her research focuses on the relation between historical colour film processes and their aesthetics from the 1890s to the mid-1930s, with a special interest in the application of digital humanities tools. She has been an active contributor to the Timeline of Historical Film Colors since 2016, and has completed archival internships at the EYE Filmmuseum in Amsterdam (NLD) and the BFI National Archive in Berkhamsted (GBR).
Submitted: 2021-06-15 – Revised version: 2021-10-20 – Accepted: 2021-11-20 – Published: 2021-12-20
This paper uses two different colour versions of the early film The Life and Passion of Christ (La Vie et la Passion de Jésus Christ, 1907) by Ferdinand Zeccato demonstrate how computer-based techniques for analysing digitized film materials, using a combination of close and distant readings, can facilitate the 'text'-critical, comparative analysis of colour film styles as practised in the fields of both film studies and film archives, a process that ultimately benefits their different research and knowledge interests. The case study illustrates the use of the annotation and visualization software VIAN, as well as the VIAN WebApp, by focusing mainly on its automatic colour analysis tools and its computationally produced colour film visualizations, which function as epistemic images. VIAN thereby becomes the scientific framework that provides the examiner with an objective, evidence-generating system for comparing colour films. The strategy of using contemporary digital humanities tools in these fields thus makes the invisible visible and the impossible possible.
Keywords: Digital Humanities; VIAN; Film Colours; Comparative Film Analysis; Visualizations.
This project has been funded by the European Research Council (ERC) under the European Union's Horizon 2020 research and innovation programme, grant agreement N. 670446 FilmColors.
2 Digital Humanities, Methods, and Tools
3 One Early Colour Film, Two Versions: The Material Sources in Comparison
4 Comparing Early Film Colour, Or How to Generate Evidence With VIAN
4.1 Micro level
4.2 Meso and Macro Levels
URL Addresses
The comparative analysis of film versions, or various editions of the same film, has traditionally been a 'text'-critical philological method practised both in the fields of film studies and film archives. However, their paths and end goals are not necessarily the same. In very general terms, the film historian, whom I regard as a subcategory of the film scholar, is typically interested in the diachronic developments of the medium, following a tradition of thought focused either on style and aesthetics or on contextualization within film history. The film archivist, on the other hand, may have a background in film studies, for example, but is much more bound to the institutional framework of the archive, which illustrates a difference in focus regarding film as cultural heritage: film identification, film provenance, film documentation, cataloguing, film preservation, film restoration. The parameter of film colour, which is a fundamentally important object of comparative examinations, is thus both a film aesthetic and film philological category. In practice, however, the comparison of colour film versions is characterized by several problems: first and foremost, probably, the lack of scientific evidence. In this essay, I use the specific case study of Ferdinand Zecca's early colour film The Life and Passion of Christ (La Vie et la passion de Jésus Christ, 1907) to demonstrate why contemporary digital humanities tools — here, the video annotation and visualization software VIAN — could be regarded as an effective extension of the professional's traditional comparative toolboxes (Olesen 2017: 199–203, Bohn 2020: 210–11 ) for examining film colour. Thus, the case study of this film, on which much has already been published, reveals typical problems as well as possible solutions to them, of a kind that were not previously available using traditional methods. By focusing mainly on questions of style and aesthetics, I will show how VIAN can be used for powerful, computer-based, qualitative and quantitative comparative analysis of colour film style (and, at least to a certain degree, film 'text') in a way that ultimately benefits the research and knowledge interests of the two fields.
Early colour films — that is, early films that juxtapose the applied colour film processes such as tinting, toning, hand-colouring, and stencil-colouring — are an illustrative example demonstrating the traditional methods and/or tools used in the fields of film studies and film archives for the comparative analysis of multiple film versions. This is because their editing structures, and thus their colour schemes, have varied greatly and from edition to edition — for reasons of historical film distribution and exhibition practices, film provenance, and film reconstruction, for example (Lameris 2017: 109).
A traditional film scholar, or a film historian for that matter, may compare the stylistic differences between early colour film versions based on alternative editions available as DVDs or Blu-rays, and by making use, for example, of the classicist-philologist transcription tool of the viewing log (Bohn 2020: 200–02). The latter has been a popular, descriptive film analysis tool since the 1970s and 1980s, one that pursued the goal of providing more evidence when trying to communicate audiovisual sensations, thus helping to better establish film studies as a university subject (Kanzog 1997: 11–2). It can be situated within other new empirical methods for researching film that were developed during this period as a means to formalize and quantify film aesthetics (Olesen 2017: 41–3). A key category, for instance, was the parameter of editing, a so-called 'hard fact' of the film 'text'. Colour, on the other hand, is not. In film studies, it typically belongs to the category of film style, which denotes a formal, context-dependent system that refers on a textual level to the patterning arrangement of cinematic devices, and thus to a structured set of aesthetic systems and their overall function within a film 'text' (Bordwell 1985: 9–10). To date, however, film colour has remained difficult to grasp or verbalize. I will come back to this issue below. Yet a film scholar/historian's use of DVDs or Blu-rays (i.e. digitized analogue colour film in our case) as source material for his aesthetic or historical analysis brings with it some other serious philological problems. Epistemologically speaking, digital and analogue materiality differ substantially. On a very basic level, the digital colour film image is determined by pixels and the bit depth, whereas the aesthetics of an analogue colour film image is characterized by its silver grain and/or colour components (Flueckiger 2012: 139–48). Furthermore, digitization processes also vary in different ways und thus significantly alter the aesthetics of the digital file (Flueckiger et al. 2018: 7–10). To make matters worse, many of these (home video) products very often disregard philological norms and ethical principles (Catanese 2014) by, for instance, not disclosing the exact material foundations or the chosen digitization process they were working with, thus destroying any kind of traceability of the film's provenance (Flueckiger et al. 2020: 80). Nevertheless, the use of these sources is still a widespread practice today that is hardly reflected in film studies — often not even in film historical research. Of course, there are also those film historians who are lucky enough to be able to examine the actual historical film material closely on the film inspection bench at the film archive. In our case of the early colour film, this film historian may then strive to reconstruct the film's genealogy (e.g. its premiere colour version) and its historical context of production and exhibition. The film archivist, similarly, also practises this traditional qualitative notion of 'text' criticism (Bohn 2020: 202–09) by running the nitrate prints, for instance, synchronized on a viewing table, which automatically counts the film frames. The differently coloured nitrate elements that characterize our early film's colour scheme are thus amenable to a direct visual comparison. In total, the comparative analysis process in both fields is often a tedious task, one that is extremely time-consuming and therefore costly. The tools utilized can change depending on the area, institution, or even operator, which can influence the quality, uniformity, and thus the significance of the results. These inherent deficiencies in the practice and tools are particularly evident in the realm of film colours, which are not handled in a standardized manner. A basic problem is that of the categorization of colour: unlike editing styles, it cannot be regarded as a hard fact, and it is not a language (Flückiger 2011: 48–9). As an aesthetic phenomenon, colour is a function of subjective physiological and phenomenological human perception, which is additionally determined by other factors such as knowledge, culture, language, etc. (Zollinger 1999). Accordingly, colour cannot be expressed on an inter-subjective level by means of traditional 'text'-critical methods. Depending on their expertise, the investigator can certainly determine the amount of colour process(es) deployed and their philological order throughout the film, but its mere technical listing, as a blue tone or a pink tint, for example, lacks accuracy and thus doesn't denote the actual shade of that blue or pink precisely — that is, its hue, saturation, and lightness that characterizes the film prints. The qualia of colour is thus extremely difficult to put into words — for film scholars, film historians, and film archivists alike. But even a photograph of the film material (e.g. made with a mobile phone) cannot be used as a parameter for comparison, as these photographic processes are not standardized either. On the other hand, in conjunction with the VIAN WebApp (https://vian.app/), the desktop software VIAN provides the means to solve these problems.
Developed since 2017 under the aegis of the ERC Advanced Grant FilmColors (https://www.film.uzh.ch/de/research/projects/verbund/ercfilmcolors.html) and the Visualization and MultiMedia Lab at the University of Zurich, the software allows an in-depth investigation of large-scale video datasets on a micro, meso, and macro level (Flueckiger and Halter 2018, 2020, Halter et al. 2019). Alongside the manual annotation, classification, and (semi-)automatic segmentation of the films, VIAN operates with a (semi-)automatic screenshot manager, metric colour widgets, and other deep-learning tools that allow the determination of stylistic patterns of colour and the visualization of this aesthetic data along different parameters of choice, such as colour schemes, colour processes, and genres. It was originally intended for the analysis of film colours and narration but is currently being expanded to include other tools for analysing films (e.g. speech recognition, eye tracking). Consequently, the point is that, unlike traditional methods of comparative colour film analysis, the software can create actual scientific evidence, vividness, and immediacy by means of computationally generated colour film visualizations, functioning as epistemic images. Although VIAN operates on the same level of sense perception here, the visual representations provide the investigator with an objective system and thus a scientific framework for comparing colour films (Flueckiger and Halter 2020: 113), which supports the objectives of the two fields mentioned at the beginning. The possibilities offered by the software become especially meaningful when we considerthat the comparative study of colour film versions as described above is, like the method of comparative vision in art history (Dünkel 2008: 24–8), at its core a basic method of distinction (differentiation) and classification. Accordingly, the determination of a colour film's style is a classification process that is initially based on comparisons from within a comprehensive corpus of films. Looked at from this perspective, it is no longer surprising that in digital art history, contemporary machine-learning techniques — namely, the visual classification of images using computer vision — have started to accurately classify the stylistic features of images, and thus to identify epochs, styles of painting, and artists (Saleh and Elgammal 2015, Seguin et al. 2016, Impett and Moretti 2017, Bell and Ommer 2018, Arnold and Tilton 2019). The algorithms operate by using pattern recognition and are trained on large-scale collections of images with similar visual features. As such, the analysis and visualization of style have become an automated process based on the concept of similarity and the 'comparative vision' of the computer, taking it beyond earlier diagrammatic approaches (Cortjaens and Heck 2014). These current developments in digital art history are framed by the recent calls for a 'visual digital turn' in the digital humanities (Münster and Terras 2020, Wevers and Smits 2020) and the increased application of computational visual analysis for cultural 'data'(Olesen et al. 2016, Heftberger 2016, Manovich 2020, Arnold and Tilton 2020). In digital film studies, contemporary video annotation and visualization software such as VIAN, which have adopted complex deep-learning and machine-vision algorithms from the field of visual analytics, have recently started to catch up with these developments and begun to explore film content and style in new ways (Pustu-Iren et al. 2020). In doing so, they bypass earlier empirical or statistical methods of film (style) analysis dating from the 1970s and 1980s — which, as mentioned above, typically lack descriptive models for the sensuous features of images such as the dimensions of colour — or later, around 2005, the Cinemetrics tool developed by Yuri Tsivian, which investigates shot lengths as a means to quantify film style (Olesen 2017: 43–7). For the purposes of digital film analysis, however, one is forced to work with born-digital or, in the case of the early colour film, digitized film materials, even though they are, strictly speaking, less 'philologically correct', as explained above.
To visualize these problems and at the same time demonstrate the advantages of VIAN in the following case study, I draw, therefore, on two epistemologically different early colour film sources, namely a DVD with almost no given information provided about its provenance or digitization data and a manually photographed film print directly from the nitrate vaults of a film archive.
The Life and Passion of Christ (1907) is a prestigious and well-known Pathé-Frères production. The French studio, which belonged to one of the early twentieth century's leading film production and stencilling colourization companies (O'Brien 2012: 298–301), distributed the film in Europe and the US (Friesen 2016: 86–7). As the title of the film suggests, it is about the youth, the miracles, and the Passion of Jesus Christ. There are many reasons why this film was chosen for this analysis: as it is precisely the early films that are characterized by manifold colour schemes in different editions, they also tend to combine a spectrum of (applied) colour processes with diverse material-aesthetic characteristics, which is relevant to our study. Stencilling by Pathé, for instance, was typical of its historical context, and especially for this sort of prestige film, as colour produced by this 'luxurious' technique was regarded as a fitting embellishment for such culturally 'valuable' and prominent subject matter (Gaudreault 2016: 15). Moreover, the genre of the religious film, to which Zecca's film belonged, was, due to the subject's historical popularity, also especially suited to film versions or variants: in fact, Pathé marketed at least four versions of the film, in 1899, 1902, 1907, and 1913 (Blot-Wellens 2017: 17–8). And although the 1907 version is considered the best-documented (Boillat and Robert 2016: 27, Friesen 2016), the studies nevertheless lack illustrated colour references or in-depth colour comparisons. Last but not least, the choice of the particular film is also based on pragmatic reasons relating to the availability of different early colour film versions — i.e. as purchasable DVDs or Blu-rays — or to the much more limited accessibility of historical materials in film archives for a film scholar like me, who had the good fortune to do two trainee ships in the field of nitrate film (identification) as well and was thus granted access to this cultural heritage within the framework of the FilmColors project.
The first version is based on a 42-minute DVD release by Passport Video in 2004, accompanied by a musical score by Los Angeles composer Shawn Alan Klaiber. On the back of its sleeve, it claims to be a reproduction of a 1905 version of the — apparently — hand-coloured film. However, as Alain Boillat and Valentine Robert (2016: 31) have shown, the DVD's source material was, in fact, based on the 1907 version of The Life and Passion of Christ. Moreover, it also becomes obvious, when analysing the film using VIAN, that the film is not hand-coloured but contains stencil-coloured, tinted, and toned segments alongside 36 orange-red tinted English title-cards.Typically, and as mentioned above, no further details about the film material or the digitization process (here, possibly from a telecine of a safety print) are given on the DVD either, thus making a 'philologically correct' investigation nearly impossible and complicating the analysis of the film's aesthetics. This circumstance illustrates the difficult position in which film scholars find themselves even today. The DVD serves, therefore, as an exemplary (but insufficient) source for the comparative investigation. For the sake of simplicity, I will refer to the 'DVD version' in the following.
The source material for the second version of The Life and Passion of Christ is based on a 976.9-metre (about a 35-minute long) historical 35 mm coloured nitrate print preserved at the EYE Film museum in the Netherlands. According to the archive's chief curator of silent film, Elif Rongen-Kaynakçi, the particular nitrate print arrived at EYE in 1957 as part of the Jean Desmet archive, which is one of the key components of the institution's collection today (Lameris 2017: 37–40). According to the information provided in the archive's catalogue, the film is supposed to be hand-coloured.1 However, the on-site inspection of the fragmentary five-reel film has shown that this is most likely a stencil-coloured and tinted nitrate print that also includes black-and-white Dutch intertitles, which may be a sign of an exhibitor's intervention, as well as mostly orange-red tinted (and ultimately toned) Dutch title cards, some of which contain the famous Pathé logo, the rooster. For the sake of simplicity, I will refer to the 'EYE version' in the following. To work with the nitrate print in a digital humanities' workflow, I photographed the entire colour scheme of the film — that is, all the tableaux, title cards, and intertitles — and fed the photos into the VIAN pipeline.2 The 252 individual high-resolution photographs of the nitrate print include the edge-marking area and were taken manually with a standardized photography set-up to maintain uniform lighting conditions (Flueckiger 2015: 27–9).Thus, in contrast to conventional scanning methods in film archives, the film frames were selected individually, but in a consistently uniform manner, as the main goal is to capture the entire colour scheme of the film for VIAN. A large selection of the photographs of the film is currently exhibited on the Timeline of Historical Film Colors (https://filmcolors.org/galleries/la-vie-et-la-passion-de-jesus-christ-1907/), the comprehensive web resource of historical colour film processes, which has been curated by Barbara Flueckiger since 2012 and is an integral part of the FilmColors project. The photographed nitrate print in VIAN serves as an example of how un-digitized archival film materials (i.e. most early films) can be easily absorbed into the software's pipeline. Compared to the DVD version, therefore, the nitrate copy in VIAN, even if it has been digitized, can be regarded as a much more 'philologically correct' version for the following comparative analysis of colour film style.
As mentioned earlier, I approach the material aesthetic investigation of the two film versions using VIAN primarily from the perspective of colour and therefore focus on some of the software's automatic colour analysis tools in order to generate scientific evidence. I start with a qualitative analysis on a micro level (individual screenshots of temporal colour film segments), move to the film's meso level (affording a distant reading of the film), and then briefly zoom out to a macro level in the VIAN WebApp, which takes a whole corpus of colour films into account.
When investigating the aesthetic qualities and use of colour in The Life and Passion of Christ on a micro level, a comparison between two versions of the same tableau using selector-dependent colorimetry promises meaningful results. Colorimetry — the quantification of the perception of colour — is a computational colour analysis widget in VIAN that computes the colour feature of each frame using the three-dimensional CIE-L*a*b colour space (Flueckiger and Halter 2020: 76), which is perceptually uniform. It expresses colour by means of the L-axis (i.e. the perceptual lightness of colour): this is perpendicular to the colour plane a*, which displays the hue and saturation of greens and reds, and plane b*, which indicates that of blues and yellows. The widget thus makes film colour scientifically measurable and displays it relative to the human visual system. Selector-dependent colorimetry in VIAN conveys a frame's colour scheme by means of different live-feedback visualizations, namely with the "Cluster Palette" and the "Space Palette". Both are based on SEEDS superpixels followed by a subsequent agglomeration of said superpixels (Halter et al. 2019: 125). In the case of the Cluster Palette, the colours of one or more levels of the agglomeration tree are displayed using colour bars and frequencies conveyed by their relative width. In contrast, Space Palettes embed the agglomeration tree at one specific depth into the LAB colour space and employ a jitter effect to indicate the size of a cluster. The latter will be significantly reduced in the EYE version, since, in contrast to the DVD version, fewer frames (i.e. photographs as visual information) were provided to the software for the computational process. In VIAN, the two visualizations are directly juxtaposed with the respective selected frame to facilitate a comparison. If we use these tools to compare, for instance, the well-known tableaux of 'The Last Supper' in both film versions, their colour schemes, on the level of individual frames, are immediately apparent. The colour visualizations of the DVD version are marked by distinct pastel pinks or purples and dark browns with a cool undertone in an almost tone-on-tone manner, which, when focus is put exclusively on the Cluster Palette, are falsely reminiscent of a typical tinting or toning colour scheme (Fig. 1). Whereas this loss of colour diversity is certainly related to the quality of the DVD scan that influences the expressiveness of the visualizations, this example also illustrates how both the Cluster Palette and the Space Palette are needed to accurately visualize colour processes. Indeed, the Space Palette gives a more meaningful indication of the stencilling technique here, as the colours are plotted on different sections of the plane, suggesting that more than one dye was used in the colorization process. The visualizations of the EYE version, on the other hand,are distinguished by a more diverse colour scheme of warm, honey-infused browns and a very distinct apricot and purple, particularly evident in the colour bars of the Cluster Palette, which can also be retraced in selected frames, namely in the apostle on the left and in the wall hanging (Fig. 2).
Figure 1: DVD version: colour scheme visualization in VIAN of the stencil-coloured tableau 'The Last Supper'
Figure 2: EYE version: colour scheme visualization in VIAN of the stencil-coloured tableau 'The Last Supper' (Eye Filmmuseum, Desmet Collection)
Although both colouring schemes appear different, they are still remarkably similar in terms of their basic choice of colours. Indeed, it could be that they only vary because of their material sources or their digitization processes respectively. If we look closer at the apostle on the left in the DVD version, a very faint orange-pink, like the distinct apricot in the EYE version, becomes visible. Could it be that the tableau of the DVD version is in fact based on an element of the EYE version, allowing us to draw conclusions about the provenance and restoration of the film? Indeed, the colour scheme of purple-browns is not reused in this manner in the rest of the DVD version and thus appears to be unique. Its 'Crucifixion' tableau, for instance, contains a classical combination of blue-violet and yellow — the ultramarine and gold of early colour films — which creates vivid complementary contrasts (Fig. 3). This colour scheme is used in similar ways throughout the film, the most similar being the tableau 'Baptizing Christ' (Fig. 4), indicating that in the DVD version the colour combination is a recurring stylistic element.
Figure 3: DVD version: colour scheme visualization in VIAN of stencil-coloured tableau 'The Crucifixion'
Figure 4: DVD version: colour scheme visualization in VIAN of stencil-coloured tableau 'Baptizing Christ'
After the death of Christ, the blue-violet-yellow colour scheme, however, suddenly changes to shades of azure blue (Fig. 5).
Figure 5: DVD version: colour scheme visualization in VIAN of tinted tableau 'Jesus Taken from the Cross'
By plotting the hue in the blue-green section of the colour space only, ranging from very dark greens to turquoise and light cyan, the Space Palette now beautifully illustrates the 'monochrome' aesthetics of the tinting technique (which only varies in saturation and lightness in relation to the underlying black-and-white silver image). The particular distribution of colour dots once again allows us to deduce the process employed. In contrast, the tableau in the EYE version shows a similar or recurring cream-brown-grey-pink stencil colour scheme, as seen earlier in its tableau 'The Last Supper' (Fig. 6).
Figure 6: EYE version: colour scheme visualization in VIAN of stencil-coloured tableau 'Jesus Taken from the Cross' (Eye Filmmuseum, Desmet Collection)
In fact, when comparing the two tableaux of 'Jesus Taken from the Cross' in a qualitative close reading, we can not only see differences in colour, but also in the staging of the characters. Throughout the scene, the DVD version never displays the same frame as the EYE version, even though the set designs coincide. This means that there are not just two versions of the 1907 film, as Dwight H. Friesen (2016: 79) discovered, but probably (at least) three.
At the meso level of film analysis, the focus turns to a visualization of the colour schemes of the complete films. In VIAN, there are several ways of doing this, but at this point I am interested in the 'Time Palette' and the interactive "Colorspace 3D". The former, also called 'Movie Barcode', displays the film's colour scheme over the entire screen time — on the x-axis — and is based on the clustering principle of the Space Palette using (selector-independent) film colorimetry (Halter et al. 2019: 124–5). By visualizing both copies using this method, the two film colour schemes become comparable on a very basic level (i.e. how colourful the versions are). The DVD version, for instance, is marked by a relatively diverse colour scheme that has a distinct number of green-blues and beige-browns, whereas the EYE version is (broadly) marked by pink-browns, and only four segments contain a large amount of blue (Figs. 7 and 8). In this sense, the Time Palettes confirm what we assumed earlier at the micro level.
Figure 7: DVD version: VIAN colour scheme visualization over the film's screening time
Figure 8: EYE version: VIAN colour scheme visualization over the film's screening time
The clustering method of the visualization, however, also allows us to draw conclusions about the relationship between the colour processes, the content, and philological order of the tableaux. The distinct blue parts at the end of the DVD version's Time Palette, for instance, which denotes the aforementioned tinted sequence in 'The Crucifixion', can only be so blue if a large area of the film image is dyed in that colour, typically by stencilling an area like the sky that takes up almost half of the image, or by tinting. Throughout the DVD version, however, we find other blue segments — two at the beginning and in the middle, and a blue-greenish part about three-quarters of the way through and towards the end. The EYE version, on the other hand, only contains two large blue segments, approximately halfway and three-quarters of the way through. So, could the colour blue have been applied to the same two tableaux in both films? And were particular tableaux historically associated with a specific hue or colour process and are therefore recognizable as a distinct coloured segment at a meso level? Indeed, when retracing the blue segments in both copies at a micro level, the tableaux 'Christ Walks on the Waters' (Fig. 9) and 'The Wonderful Draught of Fishes' (Fig. 10) adhere to the common colour convention for water, whereas the tableau 'The Kiss of Judas' follows the convention for a night-time tint (Fig. 11). The aesthetics of the blue tint in the DVD version is thereby a typical example of the inadequate quality of many scanning methods with regard to certain colours (Flueckiger et al. 2018: 18–22).


Before 8 April 2013, police gave reprimands and final warnings to children aged 10 to 17 years, but they were replaced with youth cautions and youth conditional cautions. In this data, reprimands, final warnings and youth conditional cautions are all treated as though they were youth cautions.
If a child is cautioned for 2 or more offences at the same time, the police officer will record all offences in the Police National Computer (PNC). The data for the most serious offence is shown here.
The total figures for occasions include children whose ethnicity is not recorded in the PNC. Ethnicity has been recorded for at least 90% of cautions in every time period reported in this data except the most recent year (2017/18).
Ethnicity is identified and recorded by the police officer giving the caution, based on appearance, and is not self-defined by the child. Ethnicity has been consistently recorded in 4 broad categories: White, Black, Asian and Other (including Chinese).
This data measures the number of occasions where a youth caution was given to children aged 10 to 17 years.
The figures are taken from the Police National Computer (PNC). The PNC holds details of all convictions and cautions given for 'recordable offences'. A recordable offence is an offence that the law says must be recorded on the PNC. It includes some offences where it is not possible for offenders to be sentenced to prison or other custody, and it excludes motoring offences.
For context, population figures for children aged 10 to 17 years in England and Wales are included, based on the 2011 Census. You can read more about the different age profiles of ethnic groups in England and Wales.
The PNC may be subject to some error arising from data entry and processing. The data for January to March 2018 is provisional and may change. Figures may vary from those previously published, due to minor changes in classifications and other data revisions.
Administrative data sources are reported exactly as they're recorded, with no statistical methods like weighting applied. As with all large administrative data sources, some inaccuracies may exist.
Percentages are rounded to 1 decimal place.
Figures shown here are derived from administrative data used for internal management information.
16 April 2019 Updated with the latest available data (for 2017/18).


text:
Shop Talk: Ellie Salthouse & Jeanni Seymour
Full Article Here: http://www.ironman.com/triathlon/news/articles/2016/08/shoptalk-salthouse-and-seymour.aspx#axzz4xmOG5Le2
Up and coming IRONMAN 70.3 pros talk about their successful seasons so far.
by Megan Evoe
They have only raced each other twice and already they are making their new found rivalry an exciting one. IRONMAN 70.3 sensations Ellie Salthouse and Jeanni Seymour may be young pro triathletes, but their years of experience are already helping them rise to the top as they battle some of the sport's greatest female pros—Salthouse herself will toe the line at the IRONMAN 70.3 World Championship next month on the Sunshine Coast.
With both athletes living and training in Boulder, it's safe to say they'll probably get used to seeing each other both on and off the race course in the next few years. We chatted with them recently over lattes and discussed their surprise finishes this year, and why there's no place like home.
Salthouse: Jeanni and I say 'hi' at races, but this is actually our first real meeting.
Seymour: The first time we interacted was at IRONMAN 70.3 St. George this year.
Salthouse: We've raced each other twice now.
Seymour: Boulder is a tight community, so I have seen Ellie out on the bike and run.
Salthouse: I have given Jeanni a wave from the bike. I think we'll be seeing each other a lot more now, though.
Salthouse: I have competed in only four IRONMAN 70.3 races ever, the first one being last September.
Seymour: I turned pro four years ago at 20 and went straight into racing IRONMAN 70.3 events.
Salthouse: I turned pro at 17 and have been racing only ITU until now.
Seymour: I was terrible my first couple of years as a pro. I had no idea what I was doing.
Salthouse: My coach, Siri Lindley, sent me to do my first IRONMAN 70.3 race with an inkling that I might be good at it. I didn't enjoy it at first.
Seymour: I am just now feeling like I am getting on my feet at this distance.
Salthouse: Now that I train for the half distance, I love it! I never want to go back to short-course racing—I feel like this is where I belong.
Seymour: The race is getting so fast that it's becoming like an ITU race, just double the distance.
By George, they've got it
Seymour: I wanted to be ready for a championship race like IRONMAN 70.3 St. George and got some confidence from my first race this year.
Salthouse: This year is about having fun. I had no expectations because I am so new to the 70.3 circuit. (Salthouse ended up scoring enough points to qualify her for the IRONMAN 70.3 World Championship in Australia, however.)
Seymour: I had no expectations at St. George because I didn't want to put pressure on myself.
Salthouse: I had it in my head that I wanted to go top five in St. George and just tried to put together my best race.
Seymour: I had some issues in my race, but was super stoked to get sixth against the best women in the sport.
Salthouse: Every race is a surprise for me right now, but I was stoked to get fifth. The course and conditions were brutal!
Related: Canadians Sweep St. George
Battle in Boulder
Salthouse: I was worried during my warm-up because I felt terrible.
Seymour: I didn't feel great either. I was so nervous and had told my coach earlier in the week that I didn't want to race.
Salthouse: Luckily, I swam with Alicia (Kaye) and we exited the water with a two-minute lead.
Seymour: I started with Ellie, but went past my threshold and couldn't catch my breath. I had to slow down.
Salthouse: Once on the bike, Alicia stepped on the pedals in the first miles. Thankfully, I had my fastest ride ever.
Seymour: Even after a bad swim, I stayed positive and headed out on the bike. I knew it would be super hot so I made sure to drink a lot to stay cool.
Salthouse: I caught Alicia by mile 40 and we headed into T2 together. I just tried to quickly take off.
Seymour: I was glad to bike by myself and just locked into my pace. I had to stop because my arrow box popped off. I came into T2 feeling ok.
Salthouse: I soon got a run split that Jeanni was only two and a half minutes back. I knew she was coming for me.
The showdown
Seymour: The run course was hard and hot! Honestly, I wanted to DNF, but I was in third.
Salthouse: I wasn't having a great run and I knew it was going to be a tough day.
Seymour: I ended up catching Alica and knew Ellie was ahead, but I stayed patient because it was getting so hot.
Salthouse: I kept hearing splits between me and Jeanni that kept going down and down. By the start of the second lap, she was only 40 seconds back.
Seymour: I heard splits that I was doing better so I kept thinking about catching Ellie and told myself I would be ok.
Salthouse: Siri told me that Jeanni was going to pass me at some point and to just sit on her heels and be tough.
Seymour: I could finally see Ellie and even though I was giving everything I had, I thought "Why can't I catch her?"
Salthouse: I could see Jeanni on an out and back and knew she was close.
Seymour: As I got closer to Ellie, I kept focusing on her socks. They had donuts on them, right?
Salthouse: Yes, they did! Suddenly I heard her lead bike and my lead bike talking about how to organize "the pass" that was about to happen.
Seymour: Those last two miles felt like a lifetime!
Sprint finish
Salthouse: With a half mile to go, we could see the finish line together.
Seymour: I went too early in my attempt to pull away.
Salthouse: I told myself "If you don't sit on her feet, you'll regret this!"
Seymour: People were cheering for both of us. When she finally surged ahead, I had nothing left.
Salthouse: Coming from ITU, I knew I had a sprint, but I didn't know if Jeanni did too. I just went for it with 250 meters to go.
Seymour: It was tough to take, but I was stoked to finish second.
Salthouse: After over four hours of racing, it came down to that moment!
Related: Shoulder to Shoulder Finishes in Boulder
Salthouse: Racing in your backyard is amazing because you have so much crowd support.
Seymour: We don't get that kind of support that often, which made IRONMAN 70.3 Boulder special.
Salthouse: I enjoyed some ice cream, cheese cake, and popped a little champagne to celebrate with friends.
Seymour: I had family in town and went to Rocky National Park so I could enjoy something non-triathlon.
Salthouse: It's nice to let your hair down, but you have to stay focused during the middle of the season.
Friendly foes
Salthouse: It's cool to be up and comers at the half distance.
Seymour: I think we'll see a lot of each other at races in the coming years.
Salthouse: We've both had good results this year and so we'll see what happens next.
Seymour: My life is triathlon and I want to be a good ambassador as a strong woman in the sport.
Salthouse: Racing this distance is a fun experience for me so far, especially racing Jeanni.
Seymour: I am definitely trying to build a career in triathlon. It's nice having Ellie as a competitor.
Watch for these two on the race circuit, and Salthouse as she competes next month in Mooloolaba.
Originally from: http://www.ironman.com/triathlon/news/articles/2016/08/shoptalk-salthouse-and-seymour.aspx#ixzz4xmVmzKny
Talbot Cox August 8, 2016
Salthouse Takes the Title in the Sunshine State
Talbot Cox October 23, 2016
Salthouse Victorious At Ironman 70.3 Boulder
Talbot Cox June 13, 2016


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Engelmundus
Horwood, William - Hyddenworld 3, Harvest (ENG)
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I bought the third part of the Hyddenworld saga by William Horwood when it appeared in paperback, which was almost one whole year after the publication of the book. I'll admit, having devoured the first two parts, it took some effort not to give in to buying the hardcover. But I prevailed because I have about 200 books left to read, and because I find a hardcover book very clumsy to read. In the end Harvest easily exceeded my high expectations. It deserves an extensive 'leeservaring'.
In the prologue the author mentions the Mirror-of-All, in which the hydden believe:
"There are surely very few gatherings at harvest time that do not give thanks to the Mirror-of-All, in which hydden live their lives as reflections – living, moving, loving, dying as if they are real but knowing in truth that life itself is as insubstantial as a passing mist."
Welcome to the world of William Horwood. A world in which nothing is what it seems, but where everything has meaning and in which nobody doubts all that exists between heaven and earth. In Awakening the story of Judith was told. She is the daugher of Katherine (a human) and Jack (a hydden). They are part of the prophecy that says they have an important role to play in preventing the world from going under ("the Mirror-of-All will crack").
But first let me give you some background. In the sixth century Beornamund, a craftsman with exceptional skill, crafted more or less by accident four gems. Each one is bound with one of the seasons. Through the ages the very powerful stones vanished, which caused unbalance to the earth. Only the recovery of the four lost stones and resetting them in the golden pendant which Beornamund had once forged for this purpose, only then can the end of the world be prevented. The prophecy states that the Shield Maiden owns the pendant. For long the hydden believed Katherine to be the Shield Maiden, but in Awakening it becomes clear that it is Judith.
In a way she is the embodiment of the suffering of Mother Earth. Her childhood consisted almost exclusively of terrible pains, because her body ages much faster than that of a normal person. One day in the normal world means one whole season for Judith. So in four days she really ages one year. That is her suffering. Judith doesn't go after the lost gems herself. That task is appointed to the most beautiful character in this series: Bedwyn Stort. Even though he and Judith live in different dimensions, they love each other. It is like all the best loves in literature, a love that cannot be. However, Stort is not willing to abide by that.
In Harvest the quest of Bedwyn Stort ("scrivener, scholar and seer") continues, with Jack and Katherine by his side, as well as several other remarkable characters. Their quest is the finding of the gems of the seasons, so that the Shield Maiden can bring them together. Only, Stort doesn't have a clue as to where he can find them. Happily the gems of spring and of summer have already been retrieved. And now the search for the gem of harvest commences. But that is not the only story line.
Brum, the centre of the free hyddenworld, lies below Birmingham in the country that the hydden call Englalond. Brum is under threat by the hydden of The Empire, called The Fyrd. They represent the dictatorship that has spread from the German hyddentown of Bochum with brute force. Slaeke Sinistral, whom we get to know well in Awakening, has been Emperor for a very long time. Now he has retreated in one of the deepest chambers in Bochum, to surrender willingly and fully to the musica universalis that can be heard there.
"A combination of falling water and draughts, which sometimes whispered and occasionally raged, produced a miracle of sound."
For years he remains there in some kind of trance.
"The empire he built from the base of a ruined business (…) became to him no more than a pastime. His real work lay in learning how to meld his spirit and body, his mind and soul, with the musica and through that with the Universe."
All day-to-day affairs are carried over to his most loyal companion, Niklas Blut. Once a prisoner on death roll, but now for years true to his promise to Sinistral: to always and everywhere be honest to him in what he thinks, finds and sees.
Sinistral has lost faith in The Empire.
"Like an eastern mystic, or one who has dwelt in the desert and seen the truth, Sinistral had seen the truth of things.
All is but a reflection which, for the hydden, is made in that infinitesimally thin Mirror-of-All, that fragile shifting plane, on whose near-non-existent surface all things seem to be, yet nothing is at all."
One of Blut's strongest generals, Quatremaine, is preparing the invasion on Brum. This story line is a familiar one within the work of William Horwood. The struggle against the powers that forcefully try to restrain freedom. Or in the writer's own words:
"that which all true hydden love and fight for – freedom of the spirit and liberty of the individual."
Harvest, like the other books in this series, contains too many unique story lines and events than can be captured in one 'leeservaring'. One that needs mentioning however is that of 'The Scythe of Time'. The company of Stort, Katherine and Jack encounters this scythe of time and understand that this marks the beginning of the End of Days. This natural phenomenon is hard to describe. It sucks up all and everything which then sort of explodes into tiny fragments, like a mirror that falls into pieces. They barely survive.
One other story line that I want to mention, is that of the human Arthur Foale. He and his late wife Margereth, raised Katherine. She was a little girl when a car accident took away her father. Jack, who was in the human world at the time, rescued her and her mother from the burning wreckage. This story is beautifully told in the first part, Spring. Katherine's mother never quite recovers and withers away. When she has died Arthur and Margareth adopt Katherine.
Arthur is a professor in seismology and he is the only human who knows about the hyddenworld. He discovers a way to travel in between the human world and the hyddenworld, by performing some sort of dance inside a henge, a natural circle. One of his most brilliant students, Erich Bohr, suspects something. As the inexplicable natural phenomenons increase in the human world as well, the authorities have hired him to investigate its origins. He visits Arthur, but gets nothing out of him. Bohr takes Arthur to a distant accommodation, as his guest, but Arthur realizes that he really is Bohr's prisoner. Just outside the facility lies a natural henge. Arthur manages to escape and to perform the dance inside the henge. In front of his guards he vanished into thin air.
Arthur then finds himself in the hyddenworld in a sewer system from where he barely escapes drowning. He is captured by the Fyrd and looks upon a grim and probably short future. Out of the frying pan, into the fire. But fate, or the wyrd (more about that later on), brings him before Niklas Blut, the new Emperor. Blut has just arrived in Englalond in the company of Quatremaine, for the invasion on Brum. But Blut doesn't believe in it. He would preferably cancel the whole operation, but his authority is fragile. Staying in Bochum would have aided Quatremaine in his evil intentions, so Blut had no other choice but to come along. But in Englalond he is more Quatremaine's prisoner than his commanding officer. Arthur quickly becomes his true companion, in a way that Blut himself was to Sinistral. With the remainder of his authority he frees Arthur from the dungeons and appoints him as his personal assistant.
Judith's part as the Shield Maiden is not restricted to suffering and the receiving of the gems of the seasons. On the white horse of Uffington – a mythological horse that has been carved on a hill nearby Uffington and can be seen from the sky – she travels in a different dimension and reality towards people who need her help. If they are in trouble, or stuck on their quest for her cause, the Shield Maiden gives them a little nudge into the right direction, and sometimes the nudge is replaced by a firm kick in the… Like when she awakens Sinistral from his slumber, because he still has a task to fulfil. For many years Sinistral possessed the gem of Spring, which he repeatedly used to renew his life strength. After Judith has urged him to come fully awake again, Sinistral finds a new kind of peace:
"He had finally learnt the lesson that eternal beauty is not found by clinging to a false eternal mortal life, but in the graceful acceptance of inevitable death, without fear and in a spirit of compassion for self and all others.
Sinistral had grown wise."
Stort and his travel companions finally arrive at Brum, where Stort locks himself up with the mysterious embroidery of ã Faroün, a legendary hydden. In this tapestry lies the answer of the whereabouts of the gem of autumn, or so Stort believes. The mind journeys that Stort embarks upon are strongly surrealistic, and he just barely survives them. They do bring him closer to the mystery of the gem of autumn, though.
In the meantime Blut and Arthur have managed to escape their prison and also reach Brum. There they inform everyone about the oncoming invasion. Blut has stored the blueprints of Quatremains plans into his eidetic memory. How this invasion will proceed, and if or how the gem of autumn is found, I will not disclose here.
The term 'wyrd' is often used by Horwood's characters in this series. The wyrd is the unnameable urge to do something. It is the sense that you simply have to be somewhere at a certain time without knowing why. It is the course that events have to take.
"Naturally Blut had heard of wyrd, and it had never made sense to him to think that things happened for no reason. There was an order to the Universe, a harmony to its musica. Things didn't just happen. Wyrd was the Mirror's purpose which, often, was beyond the hearts and minds of mortal kind to understand."
I am forced to leave many story lines and characters unmentioned. It is the amount of characters, who are miraculously connected to each other in terms of blood and of destiny, and it is the amount of intertwining story lines that make this series so extraordinary. The stories moved me emotionally, and in many characters of mythical proportions I recognized the presence of deep wisdom.
William Horwood has the ability to bring tears to my eyes within half a page. I admire him as a writer for his language, his timing and his many insights. Admire with a capital A, mind you.
Read: December 2013
(C) Copyright 2019, Leeservaringen.com


On behalf of Mitchell & Shapiro LLP posted in Wrongful Death on Tuesday, June 3, 2014.
Losing a loved one can be among the most devastating experiences that a person can go through. It can be particularly difficult to deal with if that person's death was the result of negligence and could have been prevented. Readers of this blog should be aware that there are options for taking legal action against a party that acted recklessly or negligently by filing a wrongful death lawsuit.
Filing a legal claim can be an effective way to pursue damages and compensation for a tragic and untimely loss, but it can also shed some light on ugly or irresponsible actions that contributed to a person's death. For example, one woman lost her mentally disabled brother while he was in the care of a developmental facility and filed a wrongful death claim. Her lawsuit drew attention not only to the substandard care that allegedly caused her brother's death, but also to the reprehensible actions that followed.
According to the woman's lawsuit, her brother was being aggressively restrained by facility workers when he passed away. His sister says that this was not the first time her brother had been mistreated. In fact, she argues that the facility had a history of abusing her brother. Four months after the man passed away, a medical examiner confirmed that his death was a homicide.
It was a year after his death when the sister filed her wrongful death lawsuit, citing the abuse. As bad as the situation already was, state officials made it much worse by apparently sending the sister a bill for a whopping $11.67 million, which apparently was the amount of Medicaid-covered expenses for the man's treatment at the facility. The billing is being called retaliatory and outrageous.
That amount, says the sister, is quite unfair considering her brother did not receive adequate care in the facility and was, in fact, killed by workers who were supposed to be taking care of him. It will be interesting to see how this case plays out.
In the meantime, this case may serve as an important reminder that standing up to a negligent party can be very effective in publicizing dangerous, reckless and irresponsible behavior. Many people will do whatever they can to avoid taking responsibility for a fatality; but by taking legal action against these parties, a victim's family can seek the justice, accountability and compensation they deserve.


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Port of Long Beach Sees Record Cargo Movement
The Port of Long Beach beat its prior record of processing 8.1 million twenty-foot container equivalent units (TEUs) set in 2020 and is on track to have processed more than 9 million TEUs by the end of 2021.
According to a press release the port moved 8.6 million TEUs during the first eleven months of 2021 a rise of 18.3% from the same period in 2020.
The increase was driven largely by a 17.6% rise in loaded inbound containers and a 32% rise in empty outbound containers. Meanwhile loaded outbound containers registered a 1.5% decline.
The influx of goods led the port to introduce a new queuing process to which it attributes the reduction of the number of vessels waiting to enter the port from 80 in November to a current total of 34.
"Clearing the line of ships waiting to enter our port and moving containers off the docks are our top priorities to ensure shelves are stocked and consumers can purchase gifts during the holiday season," said Port of Long Beach Executive Director Mario Cordero.
Tags: Long BeachMovementPortRecord Cargo