Mike Mosier, a Marine Corps veteran, completed three tours of service, two in Iraq and one in Afghanistan, before retiring from military service in 2005. He never anticipated his fourth mission or that it would involve a herd of ill-tempered goats.
"My relationship with goats is really love-hate," Mosier said.
Mosier said he bounced around between jobs after retiring from the military, never finding a career he felt comfortable in and plagued by symptoms from his PTSD.
A couple of years ago, Mosier decided to try his hand at farming and found it suited him. He now owns Fourth Mission Farm in Ashley, IN.
The farm currently hosts several agricultural experiments, Mosier said, as he continues to find his stride as a farmer and business owner. He rears chickens and is dabbling in growing produce. Mosier said farm life and work help manage his PTSD.
Mosier credits many people and organizations for leading him to farming and said AgrAbility played a major role in this process. AgrAbility is a USDA sponsored program that supports farmers with a range of disabilities across the country. The National AgrAbility Project (NAP) and the Indiana AgrAbility Project (Breaking New Ground) are based at Purdue University. Clients' disabilities range from arthritis to spinal cord damage to traumatic brain injury. The project offers a wide range of services, including worksite assessments, assistance referrals and case management.
Justin is a disabled farmer who farms over 3,000 acres of ground in Huntington County, with the help of Purdue Extension and AgrAbility.
Cindy Chastain, veteran outreach coordinator for AgrAbility, said veterans turning to farming after wartime is a common thread throughout US history. After the Vietnam War and WWII, for example, agricultural careers experienced an influx of veterans.
Chuck Baldwin, special populations outreach coordinator for the National AgrAbility Project, said the organization's 2016-2017 demographics report for the 20 states currently hosting an AgrAbility project showed an increase from the previous year. The number of clients grew by over 250 farmers for a total of 1,553 clients who have received on-site services. Sixty-four percent of AgrAbility's reporting clients work full-time on a farm or ranch, a much higher percentage than the 12.7% of the general population of persons with disabilities reported by the US Department of Labor in 2017 as working full time. This gives credence to AgrAbility's effectiveness in enabling a higher quality lifestyle for agricultural workers impacted by disability. Veterans comprise 17.4 percent of all reporting clients across all 20 states.
Baldwin added that many of these veterans are pursuing agriculture as a new career path, while others are returning to former careers in agriculture or family farms.
Chastain and Baldwin said they think AgrAbility has a hand in turning veterans on to careers in agriculture. Disabled veterans who might once have been excluded from manual labor careers are now able to consider farming as a viable path.
Of course, Mosier said farming isn't a magical salve and it's challenging work at the best of times, but having a safety net like AgrAbility makes the career possible for him.


text:
package gdv.xport.satz.feld.sparte10.wagnisart9;

import gdv.xport.annotation.*;
import gdv.xport.feld.*;
import gdv.xport.satz.feld.common.Feld1bis7;

/**
 * Diese Enum-Klasse repraesentiert die Felder fuer Satzart 220, Sparte 10.
 * "Leben - Fondsgebundene Rentenversicherung = Wagnisart 9 - Bezugsrechte" (Satzart 0220)
 *
 * @author ralfklemmer
 * @since 19.01.2013
 * @deprecated Enums mit Annotationen werden ab v6 nicht mehr unterstuetzt
 */
@Deprecated
public enum Feld220Wagnis9Bezugsrechte {

    // /// Teildatensatz 1 /////////////////////////////////////////////////

    /** Feld 1 - 7 sind fuer jeden (Teil-)Datensatz identisch. */
    @FelderInfo(sparte = 10, teildatensatz = 1, type = Feld1bis7.class)
    INTRO1,

    /**
     * Laufende Nummer der versicherten Person (VP).
     * lfd. Nr., die im VU geführt wird
     */
    @FeldInfo(teildatensatz = 1, nr = 8, type = AlphaNumFeld.class, anzahlBytes = 17, byteAdresse = 43)
    LFD_NUMMER_VP_PERSONENGRUPPE,

  /**
   * Wagnisart. 9 = Fondsgebundene Rentenversicherung
   */
  @FeldInfo(teildatensatz = 1, nr = 9, type = Zeichen.class, anzahlBytes = 1, byteAdresse = 60, value = "9")
  WAGNISART,

    /**
     * Lfd Nummer zur Wagnisart.
     */
    @FeldInfo(teildatensatz = 1, nr = 10, type = Zeichen.class, anzahlBytes = 1, byteAdresse = 61)
    LFD_NUMMER_ZUR_WAGNISART,

    /**
     * Lfd. Nummer der Satzart
     * Lfd. Nummer der Satzart 0220.010.6/6 innerhalb der gleichen Folgenummer
     * (z. B. n-fache hintereinanderfolgende Lieferung der Satzart 0220.010.6/6, wenn mehrere Bezugsrechte vorhanden)
     */
    @FeldInfo(teildatensatz = 1, nr = 11, type = AlphaNumFeld.class, anzahlBytes = 2, byteAdresse = 62)
    LFD_NUMMER_SATZART,

    /**
     * Bezugsberechtigt im Erlebensfall.
     * 1 = Versicherungsnehmer
     * 2 = Versicherte Person
     * 9 = Sonstiger Bezugsberechtigter
     */
    @FeldInfo(teildatensatz = 1, nr = 12, type = Zeichen.class, anzahlBytes = 1, byteAdresse = 64)
    BEZUGSBERECHTIGT_IM_ERLEBENSFALL,

    /**
     * Sonstiger Bezugsberechtigter im Erlebensfall
     * Klartext (z. B. Name, Vorname)
     */
    @FeldInfo(teildatensatz = 1, nr = 13, type = AlphaNumFeld.class, anzahlBytes = 30, byteAdresse = 65)
    SONSTIGER_BEZUGSBERECHTIGTER_IM_ERLEBENSFALL,

    /**
     * Bezugsrechtanteil im Erlebensfall in Prozent (3,2 Stellen).
     */
    @FeldInfo(teildatensatz = 1, nr = 14, type = NumFeld.class, nachkommaStellen = 2, anzahlBytes = 5, byteAdresse = 95)
    BEZUGSRECHTANTEIL_IM_ERLEBENSFALL,

    /**
     * Unwiderrufliches Bezugsrecht im Erlebensfall.
     * 0 = nein, 1 = ja
     */
    @FeldInfo(teildatensatz = 1, nr = 15, type = Zeichen.class, anzahlBytes = 1, byteAdresse = 100)
    UNWIDERRUFLICHES_BEZUGSRECHT_IM_ERLEBENSFALL,

    /**
     * Bezugsberechtigt im Todesfall.
     * 1 = Versicherungsnehmer
     * 2 = gesetzliche Erbfolge
     * 3 = Reihenfolge: Ehegatte, Kinder, Eltern, Erben
     * 9 = Sonstiger Bezugsberechtigter
     */
    @FeldInfo(teildatensatz = 1, nr = 16, type = Zeichen.class, anzahlBytes = 1, byteAdresse = 101)
    BEZUGSBERECHTIGT_IM_TODESFALL,

    /**
     * Sonstiger Bezugsberechtigter im Todesfall
     * Klartext (z. B. Name, Vorname)
     */
    @FeldInfo(teildatensatz = 1, nr = 17, type = AlphaNumFeld.class, anzahlBytes = 30, byteAdresse = 102)
    SONSTIGER_BEZUGSBERECHTIGTER_IM_TODESFALL,

    /**
     * Bezugsrechtanteil im Todesfall.
     * in Prozent (3,2 Stellen)
     */
    @FeldInfo(teildatensatz = 1, nr = 18, type = NumFeld.class, nachkommaStellen = 2, anzahlBytes = 5, byteAdresse = 132)
    BEZUGSRECHTANTEIL_IM_TODESFALL,

    /**
     * Unwiderrufliches Bezugsrecht im Todesfall.
     * 0 = nein, 1 = ja
     */
    @FeldInfo(teildatensatz = 1, nr = 19, type = AlphaNumFeld.class, anzahlBytes = 1, byteAdresse = 137)
    UNWIDERRUFLICHES_BEZUGSRECHT_IM_TODESFALL,

    /**
     * Leerstellen.
     */
    @FeldInfo(teildatensatz = 1, nr = 20, type = AlphaNumFeld.class, anzahlBytes = 118, byteAdresse = 138)
    LEERSTELLEN

}

redpajama_set_name: RedPajamaGithub


Icon Presentations wide-screen technology brought the 2010 Palm Springs International Film Festival Gala Awards to eye-popping life at the Palm Springs Convention Center Jan. 5. It was the eleventh year that Icon has provided video projection for the show, produced by Event Management Productions. But this year the screens were bigger than ever. Here Icon's CEO Mike Fryatt, explains a little about the audio visual set-up just hours before showtime.


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How is the best way to monitor your claims and Workers Comp premiums? Accessing them online gives you 24/7/365 control.
If you have online access to your Work Comp claims notes, reserve history, background, etc, then you are in possession of a very valuable tool in controlling your Workers Compensation costs.
If you do not have online access, ask your Workers Comp insurance carrier or TPA (if you are self-insured) for a username and password. You will need to request full access to all notes, reserves, etc. If you are having to choose among many Workers Comp carriers or TPA's, online access may be worth spending more than the lowest bidder.
Will likely result in less contact with the adjuster to find out the claim status, saving you time. If you call/email the adjuster for a status, he/she will be looking at the same claim notes to give you an update.
Allows you to do an internal audit of all claims w/o the expense of doing an in-office audit.
Many other advantages to having online access – all save time and $.
We do a large number of online Workers Comp claim audits. It is much less expensive than an in-office audit. In fact, we are doing one for one of the largest employers in North Carolina as of now.
Update – Many TPA's and carriers now offer full online claims access to monitor your claims. We have sampled many of their services. Some are very easy to use. Getting away from using paper loss runs will benefit your company greatly.
Did you contact your Work Comp Adjuster this week or month? Why did you not?
If you have found something questionable about your total incurred or reserves, then you may want to contact your Work Comp adjuster. Politeness and establishing a working relationship goes very far with knowing your claim statuses.
Know who your Workers Comp adjuster is for every one of your claims, even if you have a new carrier. If you do not know who this is – you need to find out.
Email your adjuster – calling your adjuster is OK, but they will still have to look at what you are questioning and get back with you. Do not expect immediate answers.
Do not say, "My reserves are too high" without specifics. We see agents do this one very often. Make sure you are updated with all the info.
Be very specific with your questions. Do not send the adjuster a three page email.
Quite often, the adjuster does not know of a claim's development that would make the file worth less $. Updating the adjuster by email on what is happening on the claim is a great idea. It is even better to scan and email or fax any info that you receive on the claim to the adjuster ASAP.
Never threaten the adjuster with the Insurance Commissioner. This is only as a last resort. Please remember you may have to work with this person on your claims for many years.
Do not immediately ask for the adjuster's supervisor. Give them time to resolve your concerns.
KNOW WHEN YOUR TOTAL INCURRED AND RESERVES hit your E-Mod. Calling an adjuster two weeks before your policy expiration is fruitless. See my old posts or email me at [email protected] on when your E-Mod is affected.
Self-insureds – the adjuster is spending your $ directly from your budget. Even though there are no E-Mods to be concerned with, your Workers Comp LDF's are calculated from the reserves for budgeting purposes. We sometimes hear self-insureds say that they are glad they are not in the insurance system. Actually, you are even more than the non-self- insureds.
If you feel that you would be in over your head, contact a claims professional – shameless plug – that is what we do every day.
Workers Comp is full of buzzwords. Please click on http://www.cutcompcosts.com/ and click on the Definitions tab for a large list of definitions or email us at [email protected] if you have questions on any of the terms used in this or prior posts.
Performing a Workers Comp reserve review is the key to reduce premiums of your reserves very quickly.
Your Workers Comp premiums can be reduced very QUICKLY in most situations.. It is the reserve review.
The reserves are the engine of the premium charging process by insurance carriers.
I had written a post on this very subject a few weeks ago. The loss run is the map, so to speak, to use for the reserve reviews. Look for the column that is designated "outstanding reserves."When is the critical date to start a reserve review? The answer is 9 months before the next policy date.
Why start so many months ahead of time? Actually, you have only 3 months, not nine.
Please note – (with few exceptions) almost all policies lock in their E-Mods 6 months before the policy.No matter what policy provisions are in place, if the reserves on the files are wrong, you are paying dearly for Workers Compensation coverage.
The three month lead time is needed as many claims departments may have to go through many levels of supervisory and management personnel to have any reserves changed.
If you have a very large reserve, this process can easily take 60 – 90 days to complete. That is why you must start at the latest 9 months before your next policy expiry.
Next Up – How do you effectively do a workers comp reserve review?
The Workers Comp audit bills from your insurance carrier require some type of action. The insurance carrier's Workers Comp payroll auditor has been in for an audit. A few days later you receive a bill. What are your options?
Pay it – which is what we see most of the time. Companies should not just write a check without questioning how the increase occurred. We have seen companies that will at least look through the audit and question the auditor. This may result in a reduction in the bill. What do you do if the auditor says no to your disputes?
Review it – going through the original policy, any modifications during the policy period by the insurance carrier, and the payroll audit thoroughly may result in savings. Were the savings all you were supposed to receive for your efforts?
Call your agent – that may be a good tactic, but your agent has already looked over everything previously, or have they?
Call in a premium expert – that is what we do as part of our services for no fee upfront.
Write the Insurance Commissioner – this is one area where we see a company irreparably harming their relationship with their agent and insurance carrier. Contacting your respective Insurance Commissioner should only be done as a last resort before taking legal action. Never use the Insurance Commission as a bargaining tactic. We have never seen that work to the benefit of any employer.
Contact the State Rating Bureau or NCCI – that is sometimes a good idea, but what questions do you ask them? What would you want them to do for your company?
There is a common theme to all the bullets above except the first one. They all involve asking "why?". That is the most powerful way to reduce your Workers Compensation premiums. See our previous post on asking why. One of our clients just received a premium return of $240,000. How? They started asking "why?".
Next Up – I left one area out that is more important than anything mentioned in the last three posts. It is the fastest way to reduce your Work Comp premiums and it starts up just about the time of the audit billing.
Payroll (Premium Audits) – the mother of all Workers Comp budget busters. There are three kinds of Premium Audits – also called Payroll Audits. Usually, the audit is conducted within 60 days after the end of a policy period.
Self-Reporting – the employer faxes, calls in, or electronically reports the payroll. Danger – how do you know what classification code each of your employees falls under for reporting purposes? You may be overpaying your premiums. Check your Work Comp insurance policy – are the job types in your company described by your Classification Codes? Are you sure there are not certain discounts that apply? Quite often, you may not have an agent. Ask questions now or you will pay more later. Self-reporting may be of a great convenience but you must understand that there are over 600 different classification codes for a business's employees to fall under for reporting purposes.
Phone Reporting – The Workers Compensation insurance carrier will call you directly, or your accountant or some other outside financial consultant to obtain your payroll information. See #1 for the dangers of this type of reporting. Has anyone from your insurance carrier seen your operation? Most likely not at all. Are there certain mandated discounts that you are not receiving? Once again, you may not have an agent. Even if you do, only YOU know the business that you are in and the type of work that your employees perform daily. Once again, ask questions now or pay later. Do you have updated job descriptions for your employees? Have you expanded into other services over the years? Did you base your classification codes on your SIC code?
This one causes special concerns. I will cover it in the next posting.
#3 and The Insurance Premium Auditor – who exactly are they and what is their role?
How was the employee treated by their employer at the time of the claim?
Did the employer have a medical network established to send the employee to for treatment? Was that employee sent to an established network medical provider?
How quickly was the Work Comp First Report of Injury filed with the insurance carrier or TPA?
Did the adjuster talk with the employee, employer, and physician within 24 hours of receiving the first report of injury?
The clock is ticking when an employee reports an injury. I have studied Workers Compensation claim trends for over 20 years. If #1 – #4 above is not completed in 48 hours, the cost of Workers Comp claims jump tremendously. Actually, 24 hours is even better if logistically possible.
If the answer to any one of the four above questions is No, your company will be trying to control much higher than normal claims costs and paying at least 1,600% more claims $.
These four factors can make or break a good workers compensation claim investigation.
The Workers Comp claim time-clock consists of two days after the accident. This is one of the most startling truths about Workers Compensation claims.
This is why immediate notice of the claim being filed with your Work Comp carrier is so important. The three point contact by the adjuster must be made very quickly. The injured employee should be contacted within 48 hours after reporting the accident if lost time from work is indicated.
The employee already has filed their claim and has sought medical treatment in the first 48 hours. There is already a treating physician on the file. Until the adjuster has investigated the claim, the control of the claim is with the employee. The current and future cost of the claim has been set. There is nothing that can be done to lessen the major cost factors of a claim after 48 hours.
How this all occurs will heavily influence the amount of reserves/total incurred (see previous post on the Total Incurred) that the adjuster establishes on the file.
The claims for last year will affect the E-Mod – Your Experience Period does not include the claims from the last year. For example, if your policy is renewing on 1/1/08, then the claims for 1/1/04 – 12/31/06 will be counted, BUT NOT THE TOTAL INCURRED FIGURE FOR 12/31/06 or 12/31/07. See our previous posting on Total Incurred. The Unit Stat Date is critical.
I only need a loss run yearly – For better control of your Workers Comp Costs, you should have online access to your reserves and the ability to run a loss run on demand. Your insurance carrier should be supplying loss runs at least quarterly. Online access is the best way to look at loss runs. Check with your Work Comp insurance carrier's IT department to see if you are allowed online access. Most carriers have the service available for free.
Worst of ALL – I cannot control what reserves are on a claim – Communication with the Workers Comp adjuster will always help keep reserves at a reasonable amount. See our previous blog on the Six Ways to Cut Workers Comp Costs. Doing those five things and letting your adjuster know you are doing them will help greatly.
I cannot tell if the total incurred or reserves are out of line – If you feel you are in over your head, then consult with a reserving expert. We negotiate reserves with insurance companies and third party administrators daily.
A great Workers Comp Question was asked by one of our blog readers. This is a question that we are asked quite often at presentations and at client meetings.
Paid – what was paid on the Workers Compensation file to the date of the loss run. If any large bill or payment was in a pending status, Paid does not include the bill until a check has been cut. THIS IS ONLY PART OF WHAT YOUR EMOD IS CALCULATED FROM ON YOUR UNIT STAT DATE.
Total Incurred – This is what was paid + the Work Comp reserves on the file. THIS IS WHAT YOUR EMOD IS CALCULATED FROM ON YOUR UNIT STAT DATE. The Total Incurred on the file includes the reserves.
Reserves – This is the estimated amount the Workers Comp adjuster thinks will be spent on the claim OVER AND ABOVE WHAT HAS BEEN PAID ON THE CLAIM.
If you have not heard of some of the terms in this blog, check out http://www.cutcompcosts.com/ and click on the Definitions Tab.


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Organisations have invested an enormous amount of time and money to create an identity management scheme. Protiviti's experience with the most demanding and extensive federated identity environments can be leveraged to help you determine your identity federation strategy and design and implement it.


text:
Paul Friedrich Scherer (* 4. Dezember 1876 in Beilstein; † 11. April 1940 in Tuttlingen) war ein deutscher Kommunalpolitiker und von 1908 bis 1938 Oberbürgermeister der Stadt Tuttlingen.

Scherer stammt aus einer Lehrerfamilie. Sein Vater arbeitete unter anderem als Rektor an einer  Stuttgarter Schule. Paul Scherer schloss ein Studium der Rechts- und Staatswissenschaften ab und arbeitete anschließend als Amtmann in Urach. Im Juli 1908 wurde er als Nachfolger von Julius Keck, der zuvor zum Oberbürgermeister von Göppingen gewählt wurde, Oberbürgermeister von Tuttlingen. 1921 und 1931 wurde er jeweils im Amt bestätigt.

Nach der Machtergreifung durch die Nationalsozialisten im Januar 1933 blieb Scherer im Amt, lehnte aber im März 1933 die Beflaggung des Tuttlinger Rathauses mit einer Hakenkreuzfahne zunächst ab. Dieser stimmte er erst zu, als Reichspräsident Paul von Hindenburg dies anordnete. Die Gleichschaltung des Gemeinderats im Mai 1933 führte Scherer durch. In Scherers Amtszeit fiel die Eröffnung des neuen Tuttlinger Bahnhofs im September 1933. Im März 1938 setzte sich Scherer zur Ruhe und verbrachte seinen Lebensabend in Tuttlingen. Sein Nachfolger wurde Max Haug.

Literatur
 Wolfgang Kramer: Tuttlingen im Jahre 1933. In: Stadt Tuttlingen (Hrsg.): Nationalsozialismus in Tuttlingen (Sonderausgabe der Tuttlinger Heimatblätter). Tuttlingen 1986, Seite 33–56.
 Ernst Streng: Die Tuttlinger Stadtschultheißen und Bürgermeister seit 1829. In: Tuttlinger Heimatblätter 1992, Seite 21–32.

Bürgermeister (Tuttlingen)
Verwaltungsjurist
Kategorie:Wartungskategorie (Landkreis Heilbronn)
Württemberger
Deutscher
Geboren 1876
Gestorben 1940
Mann

redpajama_set_name: RedPajamaWikipedia


text:
Sat, Aug 03, 2013 - Page 8 News List
Time to stand up and be counted
By Huang Kun-huei 黃昆輝
The process of negotiations surrounding the cross-strait service trade agreement was handled behind closed doors and its contents were not revealed until just before the signing of the agreement. The result has been a strong public backlash and with reference to Taiwan's anemic economy, many people have described the agreement as the straw that will break the camel's back.
The Taiwanese government took steps to ease regulations governing investments in China by Taiwanese manufacturers, which undermined the domestic industry and led to rising unemployment, falling salaries and a widening wealth gap. This threw the Taiwanese economy into crisis.
The signing of the service trade deal is going to make things even worse. If ratified, it would not only create a new wave of capital outflow, it would also leave the door to the Taiwanese market wide open. Chinese enterprises bringing in cheap Chinese goods — the next agreement to be signed is to be a goods trade agreement — other inferior products and cheap labor will dominate the market and squeeze out small and medium-sized Taiwanese companies from the service sector.
Domestic demand is limited, and more competition would only bring with it vicious price-cutting and downward pressures on quality. The majority of Chinese businesses are owned or controlled by the state, and even the chairpersons of listed companies are appointed by the Chinese Communist Party (CCP). These firms do not focus on efficiency like many private companies do and they are ready to slash prices simply to boost their market share. Taiwanese companies may not be able to resist such tactics, and in the end, this will lead to a reshuffling of the nation's service sector. There will be a new boss in town.
From being small-business owners, Taiwanese would become employees of Chinese companies. This is the truth that lies behind the government's deregulation of Chinese investments despite the desire to create employment opportunities.
Even more frightening is that the service trade agreement could be a shortcut for the many Chinese that want to move to Taiwan. It completely ignores Taiwan's needs, there are no professional restrictions and the capital threshold is low. This could lead to the biggest influx since the Nationalist government fled to Taiwan in 1949.
While the Taiwan Solidarity Union (TSU) opposed the Economic Cooperation Framework Agreement (ECFA), many people took it all too lightly and believed President Ma Ying-jeou's (馬英九) honeyed words and even thought that Beijing would offer Taiwan some advantages. Time has shown that there were no advantages to be had and that there were no guarantees for Taiwanese businesspeople investing in China under the deal.
The same applies to the service industry, as can be seen by the cases of the Shin Kong department store in Beijing and the SOGO department store in Chengdu. Since Taiwanese have already tasted the bitter fruits of the ECFA, why would they fall for the same trick again? Why would they let Ma walk all over them again?
The service trade deal is an unequal agreement. The scope of the Taiwanese and the Chinese economies are not on a par: the Taiwanese economy is free, while the Chinese is a planned economy in which the state controls the vast majority of companies. This is why ostensibly mutual deregulation in reality means unilateral Taiwanese deregulation. Chinese businesses may enter Taiwan without any restrictions at all, while Taiwanese companies that want to enter China are faced with layer after layer of obstacles.

redpajama_set_name: RedPajamaCommonCrawl


text:
Jefford on Monday: New Zealand Pinot Noir finds fans in France
Andrew Jefford September 7, 2015
Nigel Greening and fellow NZ wine producers with Jean-Francois Coche in Burgundy
More and more French wine drinkers are enthusiastically embracing foreign wines, as shown during a recent tour of France by New Zealand Pinot Noir producers - who also offered a critique of Burgundy for good measure, writes Andrew Jefford in his weekly column.
This, I guess, is how the wine world moves forward. It starts, typically enough, with an idea – in this case, from Jérôme Faure, group head sommelier for the Constance Hotels group of Indian Ocean hotels and resorts.
The idea was to promenade some key New Zealand Pinot Noir producers (Nigel Greening from Felton Road; Ivan and Chris Donaldson from Pegaus Bay; Larry McKenna and Carol Bunn from Escarpment; and Helen Masters from Ata Rangi) on a series of wine dinners through Loiseau group restaurants in France, showing off their Pinots and Chardonnays to French diners as they did so, and fetching up in Burgundy. They kindly asked me to join them, but I had a pre-existing commitment; I did, though, recently catch up with Nigel Greening for a debrief.
Read more Jefford on Monday
Greening was surprised at the reaction his wines got. 'There's been a huge change in enthusiasm among the French about trying non-French wines, especially in Paris. A lot of this is down to sommeliers: they've worked in London, New York, Hong Kong, Dubai, and they've had the sacred nature of French wine knocked out of them years ago. People were curious, appreciative, knowledgeable.
I had to rethink my prejudices as fast as I absorbed their responses. One young man who was dining with his parents handed me an envelope containing a request for employment when he finished his studies – he was travelling to New Zealand to read for a masters in winemaking and viticulture at Lincoln University in Christchurch. How cool is that?'
Nigel Greening and fellow NZ wine producers with Mounir Sawma of Lucien Lemoine in Burgundy
French wine-lovers appreciated 'the relative quality of our village-level wines compared to the higher-tier wines. In Burgundy the gap is quite large; it's much subtler with us. But they were also shocked at the price of the top wines.' The Kiwis were in turn impressed by how many Burgundian wine producers turned out for the dinners they did there – and how familiar they already were with the wines.
'Mostly they get the wines poured by distributors when they are travelling, but we do sell in France and I was surprised to learn that there are three restaurants in Dijon with our wines on the list. They send their children down to us to be trained; we send ours up to them. And just as we try to visit Burgundy, they come down to have a look around. There are currently two prominent Burgundy wine makers making test cuvées in Central Otago with an eye to setting up shop.
'What do Burgundians make of conditions in Central Otago? 'They look at our fruit and often comment on what an easy ride we have. François Millet of de Vogüé is down a lot. The first time he was with us, he looked at the fruit coming in and said "This is what ours looks like after 12 hours' sorting." But,' continues Greening, 'it's a challenge as well as a blessing. To get their levels of tannic ripeness, we'd have to leave fruit out until it was about 17%.
Out of all the strings which form the race to ripeness, sugar is the slowcoach in Burgundy. They'll get everything else, and sugar is trudging along in last place. For us, the sugars are streaking out in front. Our phenological ripeness is the slowcoach. We waiting for decent lignifications of seeds and so on, as that's the first day we can pick. By then, we have 13.8%, 13.9% — if we're lucky; if not, it's more. If we go for an earlier picking window, we'll get green tannin.'
Greening and his fellow travelers were 'enormously impressed by the improvement in winemaking within Burgundy. They always had the experience passed down from generation to generation, but we tended to lead on technical understanding.
These days they have at least the same levels of technical understanding that anybody has in the New World, plus all that experience, and as a result they're making wines of extraordinary precision, with fewer and fewer flaky wines. At their prices, of course, they can't afford for the wines not to be absolutely right. There can't have been a time when Burgundy was making better wine than now: it's an absolute peak of quality. That excites me.'
He was, though, bemused at the notion of biodynamics in Burgundy, where growers may just own a row or two of vines in a particular vineyard. 'We run a closed-gate farm, with only a third of the land in vines; the rest is dedicated to creating the ecosystem. We have our own cows; we make our own composts and preps. That's just a dream in Burgundy. Biodynamics in Burgundy is just organics with a few preps added. I can't believe that would make a big difference.'
And what did the architect of Felton Road admire most in those he visited? He was impressed with 'risk junkie' Mounir Sawma of Lucien Le Moine.
'We looked at an amphora filled with Corton Charlemagne berries and left on skins with no treatment at all for the last nine months. The cap has just started to fall and the liquid is fabulous: deeply phenolic, like no Corton you could ever find in a bottle, but a completely engrossing, complex wine that is probably far closer to the wines made by the original Cistercians than anything in any Burgundy cellar today.'
Precision was a hallmark, he felt, of both Rousseau ('the incredible consistency of arc: winemaker and place just run together with accuracy that leaves me envious and bewildered') and Sauzet (whose wines were 'honed to a micron of accuracy').
And Jean-François Coche? 'No honing, no striving for perfection. These are wines of natural, organic power.' The man himself left an impression, too, on the winemakers who'd flown north from the landscape of Middle-earth. 'He was a bit gnarly, dressed for the vineyard. He sat on his stool made from old vine trunks like Radagast from the Lord of the Rings. One expected a goshawk to come and perch on his shoulder.'


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From RealScience.com, Posted on July 26, 2014 by stevengoddard – The frequency of 90 degree days in the US has been plummeting for 80 years, and 2014 has had the lowest frequency of 90 degree days through July 23 on record. The only other year which came close was 1992, and that was due to dust in the atmosphere from Mt Pinatubo.
I guess this removes all doubt about the truthfulness of the Global Warming hoax.
I had no faith in that concept from day 1.
Global Warming and climate change, it's snowing in August, now isn't that strange.


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Piotr Petrovitch Potemkine (en , que l'on prononce Potiomkine), né le  et mort le , est un poète, traducteur, dramaturge, critique et  maître d'échecs russe.

Il est issu d'une famille de la noblesse désargentée. Son père est professeur de lycée puis fonctionnaire aux chemins de fer Oriol-Riga.
Il a été marié (1911) à l'actrice Evguenia Khovanskaïa (1887-1977). Après la  révolution de 1917 il vécut à Moscou et en exil à partir de 1920 (Prague, Paris). En  il rejoint la loge maçonnique « Astrée ». En 1926 il joua un petit rôle dans le film d'Alexandre Volkoff Casanova. Il est décédé de la grippe. Enterré à Pantin, ses restes ont été transférés au Cimetière du Père-Lachaise.

Le poète
Les premiers poèmes de Potemkine (Humoresques politiques) ont été publiés en 1905 dans la revue Signal éditée par Korneï Tchoukovski. Il publia des poèmes satiriques et souvent des sketchs dans de nombreuses revues, disparues après quelques numéros. En  le magazine remporta le prix « La Toison d'or » pour sa poésie Le Diable (in: La Toison d'or, 1907. № 1). Durant ces années, Potemkine fréquenta des cercles littéraires à l'université, des soirées littéraires chez Fiodor Sologoub, rencontra des écrivains et artistes célèbres proches du Mir Iskousstva (Mikhaïl Kouzmine, Mikhaïl Vroubel, Constantin Somov, Alexandre Benois etc.). Des comptes rendus souvent virulents de sa poésie furent reproduits dans les journaux et le firent ainsi connaître.

Il publie en 1908 son premier recueil de poèmes, Amour drôle, qui suscita de nombreuses discussions. Cette même année, Potemkine est l'un des principaux auteurs et membre de la rédaction du nouveau magazine Satyricon. Il rencontre Nikolaï Goumilev, Alexis Nikolaïevitch Tolstoï, Viatcheslav Ivanovitch Ivanov, Ivanov Tauride.

Potemkine est l'auteur de plusieurs pessok pop, croquis de scènes des revues du fameux cabaret Le Chien errant (Brodiagaïa soboka) à Saint-Pétersbourg et  La Chauve-Souris à Moscou. Il publie Géranium, un second recueil de poèmes en 1912.

Potemkine aimait la poésie de Vladimir Maïakovski,  Valéry Brioussov, Innokenti Annenski, mais il n'aimait pas Alexandre Blok.

En exil, Potemkine traduisit des poètes allemands et tchèques et publia des anthologies et des critiques de poésie dans des revues russes.

Le joueur d'échecs
Les échecs étaient un des passe-temps de Potemkine. Pendant ses années d'étudiant il participa à des tournois amateurs puis il prit part à des tournois de première catégorie. À cette époque, il rencontra Alexandre Alekhine et joua avec lui tant à titre personnel qu'à l'occasion de tournois officiels.

Il prit la septième place à Saint-Pétersbourg en 1903 (victoire de Gelbal, Krijanovski et Emanuel Schiffers) et 1904 (Mikhail Tchigorine vainqueur), la cinquième place en 1907 (victoire de Znosko Borovsky) et la  à Saint-Pétersbourg en 1913 (victoire de Plats devant Romanovski). En janvier-, il disputa avec Alekhine et Vassili Osipovich Smyslov (père de Vassily Smyslov) le tournoi d'hiver de Saint-Pétersbourg remporté par Alekhine et E. Baasch.
En 1914, il gagna dans une simultanée avec José Raúl Capablanca à Saint-Pétersbourg. En 1920, il finit ex æquo pour les  et  du deuxième tournoi préliminaire du groupe B du championnat d'URSS à Moscou (Alekseï Alekhine, frère d'Alexandre Alekhine, vainqueur du tournoi préliminaire).

Il finit 7-8 ex æquo à Prague en 1923-1924 (Karel Skalička vainqueur). En , la Fédération internationale des échecs (FIDE) nouvellement fondée organisa le championnat du monde pour les amateurs. Bien qu'exilé en France, Potemkine représenta officiellement (avec Victor Kahn) la Russie à la première Olympiade non officielle à  Paris en 1924 (avant-dernier du tournoi préliminaire 8 et  de la finale B).  A Prague, Potemkine fut membre du club d'échecs local Alekhine.

Potemkine est l'auteur de la devise de la FIDE  adoptée à l'issue du tournoi olympique en 1924. Il finit ex æquo pour les  et  à Paris en 1924-1925 (Eugène Znosko-Borovsky vainqueur), ainsi que pour les  et  en 1925-1926 toujours à Paris (Victor Kahn et Bertrand vainqueurs) et partagea la première place avec Vitaly Halberstadt à Paris en 1926.

Piotr Potemkine fonda le « Club d'échecs russe » à Paris en 1925, club qui reprendrait son nom à sa mort et qui existe toujours.

Notes et références

Liens externes

Poète russe du XXe siècle
Poète français du XXe siècle
Dramaturge russe du XXe siècle
Dramaturge français du XXe siècle
Joueur russe d'échecs
Joueur français d'échecs
Naissance en avril 1886
Naissance à Orel
Naissance dans le gouvernement d'Orel
Décès en octobre 1926
Décès dans le 12e arrondissement de Paris
Décès à 40 ans


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US (1986): Drama/Comedy
104 min, Rated PG-13, Color, Available on videocassette and laserdisc
An enjoyable soft-shoe farce, directed by Roger Spottiswoode and written by Ron Shelton-the team who made the 1983 UNDER FIRE. Every smart aleck in the town of Taft, California, has been ribbing the smarmy bank vice-president Jack Dundee (Robin Williams) for 13 years-ever since he fumbled the beautiful touchdown pass that the high school's star quarterback, Reno (Kurt Russell), threw to him at the end of the Big Game with Bakersfield, in 1971. Jack fastens on the addlepated notion of replaying the game, and won't let go of it. His loony psyche operates at full tilt, and he's so nervous he's unstoppable. The mellow Russell is a great straight man to him: the way Russell plays Reno, you see his transparent normality in every curve of his face. What makes this movie more than a football fantasy and puts you in mind of Preston Sturges and of Jonathan Demme's HANDLE WITH CARE (1977)/CITIZENS BAND is how the rematch affects the two men's marriages. As the two pairs of high-school sweethearts who are now married lovers, Robin Williams and Holly Palance and Kurt Russell and Pamela Reed are as close to comic perfection as movie couples are likely to get. With Donald Moffat as Jack's father-in-law, M. Emmet Walsh as the head Caribou of the Caribou Lodge, and Margaret Whitton, Dub Taylor, R.G. Armstrong, and Kathleen Freeman. Cinematography by Charles F. Wheeler. Universal.
A hefty (172 minutes) piece of moviemaking that seemed to satisfy the public desire to see what changes the Second World War had made in people's lives. Despite its seven Academy Awards, it's not a great picture; it's too schematic and it drags on after you get the points. However, episodes and details stand out and help to compensate for the soggy plot strands, and there's something absorbing about the banality of its large-scale good intentions; it's compulsively watchable. And it's by no means a rah-rah film-there's an undercurrent of discontent. Fredric March is the infantry sergeant who comes home to his small (apocryphal) Midwestern city and the love of his wife (Myrna Loy) but finds no pleasure in his job as vice-president of a bank. Dana Andrews, an Air Force captain who had been a soda jerk before the war, discovers that his hard-as-nails wife (Virginia Mayo) doesn't want him any more than he wants her; he turns to the sergeant's daughter (Teresa Wright). Harold Russell is the machinist's mate second class who has lost his hands but has retained the love of his childhood sweetheart. Directed by William Wyler, it's clean and unmannered. In 1944, Sam Goldwyn had seen a photograph in Time showing a group of Marines coming home, and the accompanying news story had suggested that they might be returning to their families and jobs with mixed emotions. Goldwyn commissioned MacKinlay Kantor to write a screen treatment based on this idea; Kantor, instead, wrote Glory for Me, a novel in verse, which Goldwyn then hired Robert E. Sherwood to adapt. With Cathy O'Donnell, Gladys George, Hoagy Carmichael, Roman Bohnen, Ray Collins, Steve Cochran, Minna Gombell, Don Beddoe, and Erskine Sanford. Cinematography by Gregg Toland. A Samuel Goldwyn Production; released by RKO.
US (1984): Crime/Comedy/Action
The plot-Eddie Murphy is a Detroit cop who takes a vacation to go to Beverly Hills and hunt down the men who killed his best friend-is just a peg for little set pieces in which the street-smart Murphy, in his worn-out sweatshirts, saunters through swank Beverly Hills locations, tells whopping lies, and outsmarts the white dumbos. Yelling and fast-talking, and hotfooting the picture to keep it going, he rattles off pitifully undistinguished profanity, but we're cued to react to every stupid four-letter word as riotous. And, with Murphy busting his sides laughing in self-congratulation, and the camera jammed into his tonsils, damned if the audience doesn't whoop and carry on as if, yes, this is a wow of a comedy. There are a few likable, unforced funny scenes with Judge Reinhold as a credulous, velvet-voiced cop, Stephen Elliott as the police chief, and Bronson Pinchot as Serge. Also with Ronny Cox, Steven Berkoff, Paul Reiser, Lisa Eilbacher, James Russo, Jonathan Banks, and John Ashton. Directed by Martin Brest, from a lame script by Daniel Petrie, Jr. Produced by Don Simpson and Jerry Bruckheimer, for Paramount.
Beyond the Forest
US (1949): Romance
Consistently (though inadvertently) hilarious; there's not a sane dull scene in this peerless piece of camp. This is the melodrama in which Bette Davis tosses her black wig and snarls the line "What a dump!"-which Edward Albee took for the opening of Who's Afraid of Virginia Woolf? An evil Emma Bovary, she's a sloven married to a Midwestern doctor (Joseph Cotten); she treats him abominably, and every time she has a chance, she surrenders herself with hysterical enthusiasm to the hot-eyed embraces of a Chicago magnate (David Brian). Her obsession is to blow town, join her lover, and be a fancy kept woman; she nearly obsesses the sound track with variations of "Chicago, Chicago." The director, King Vidor, seems to be inventing his own brand of hog-wild Expressionism; covered with droplets of erotic sweat, Davis shakes her ample hips, kills an old man (Minor Watson), plunges down a mountainside to end an unwanted pregnancy, and dies within sight of a choo-choo pulling out for Chicago, Chicago. Max Steiner's music cues her every stormy mood. With Dona Drake, Ruth Roman, and Regis Toomey. The screenplay is by Lenore Coffee, from a novel by Stuart Engstrand. Warners.
Italy (1966): Religious
John Huston's agnostic version of the stories of Genesis. There are times when God seems to be smiling, such as during the dispersal of the animals after the landing of the Ark, and other times when God demands cruel proofs of obedience, such as in the story of Abraham (George C. Scott). A sprawling, flawed epic, but with some breathtaking conceptions and moments of beauty. With Michael Parks, Ulla Bergryd, Richard Harris, Ava Gardner, Stephen Boyd, and Peter O'Toole; cinematography by Giuseppe Rotunno. A Dino De Laurentiis Production; released by 20th Century-Fox.
Italy (1949): Drama
Also known as LADRI DI BICICLETTE.
This story of a poor man's search for his stolen bicycle is deceptively simple. At first, there is ironic tenderness: humanity observed with compassion but without illusion. Then the search becomes an odyssey of poverty, encompassing much more than the realistic method leads you to expect. And the richness and the enigmas sneak up on you. What is the meaning of the seeress's words? How is it that the hero who is searching for the bicycle thief becomes the bicycle thief? This neorealist classic, directed by Vittorio De Sica and written by Cesare Zavattini, is on just about everybody's list of the greatest films. It isn't a movie that warms you, though; it doesn't have the flawed poetry that De Sica's SHOESHINE and MIRACLE IN MILAN have. It's a more impersonal great film. In Italian.
A formula fantasy film that has been directed very gently and tactfully by Penny Marshall; she sleepwalks you through the script (by Gary Ross and Anne Spielberg) about a 12-year-old boy who wishes he were big and is magically given the body of a man in his 30s-Tom Hanks. There are neat, flaky moments, but everything has a tepid inevitability, and even as you smile you may be groaning inwardly, because BIG is dedicated to awakening the child in all of us. Of course, the Hanks character isn't ready to function as an adult; he wants to go back. The movie wants to go back, too. It's nostalgic for childhood, for suburbia, for innocent fun. (It isn't about kids wanting to be big; it's about grown-ups feeling little.) In its wholesome way, BIG is selling the slick wonders of immaturity. It turns prepubescence into a dream state. With the slyly sexy Elizabeth Perkins, and good comic work by Robert Loggia and Jared Rushton. Also with John Heard, David Moscow, Jon Lovitz, and Mercedes Ruehl. 20th Century-Fox.
The Big Broadcast of 1938
US (1938): Musical/Comedy
One of the best of the pleasantly anarchic Paramount vaudeville shows. This one features W.C. Fields, Kirsten Flagstad, Martha Raye, Dorothy Lamour, and Bob Hope and Shirley Ross singing "Thanks for the Memory," and most of it takes place on an ocean liner. Mitchell Leisen directed.
The Big Bus
US (1976): Disaster/Comedy
88 min, Rated PG, Color, Available on videocassette
This slapstick satire of disaster movies is full of gags that seem potentially hilarious, and the script, by Fred Freeman and Lawrence J. Cohen, may have looked really promising, in an all-out sophomoric-surreal way. But only a very few of the gags get their laughs-and when slapstick goes flat, the effect is grim. Right from the start, you get the feeling of indecisiveness; the director, James Frawley, doesn't stylize the clich�s he's parodying, and so they remain clich�s. Intermittently, some of the actors come through. Joseph Bologna and John Beck are the drivers of a nuclear-powered bus on its maiden run from New York to Denver. Bologna is a remarkably easy, unactorish actor; at times, he's like a smaller Sid Caesar or a deadpan Alan Alda. And the long-chinned Beck knows how to use his dumb-lug face for amiable stupor. But the heroine, Stockard Channing, has an abrasive voice, and it's hard to know how one is meant to respond to her smug whimsicality, or to her eyebrows, or to the way she crumples her lower face. With Bob Dishy, who wins at least a smile from the audience, and Lynn Redgrave, Jos� Ferrer, Sally Kellerman, Ruth Gordon, Ren� Auberjonois, Harold Gould, Larry Hagman, Ned Beatty, and Richard Mulligan. Paramount.
97 min, Rated PG, Color, Available on videocassette and laserdisc
Bette Midler and Lily Tomlin in a farce about two sets of identical twins accidentally mismatched at birth. They're the Ratliffs, who live in a backwoods Southern town, and they're the Sheltons, who run the New York conglomerate Moramax. The four women and their various courtiers, flunkies, and love objects wind up spending the weekend at the Plaza Hotel. (Actually, it's a more spacious, vacuously glamourized Plaza-most of the interiors were constructed at the Disney Studios in Burbank.) The film often looks third class, and the director, Jim Abrahams, doesn't have the knack of making the details click into place. You're aware of an awful lot of mistaken-identity plot and aware of how imprecise most of it is. Yet the picture moves along, spattering the air with throwaway gags, and a minute after something misfires you're laughing out loud. Fred Ward, who plays Tomlin's down-home suitor, is serenely unself-conscious, and takes over as the film's hero. And Midler breezes through, kicking one gong after another. Free and inspired, she plays the poor girl as a supplicant abasing herself before the world's goodies. She's pure appetite. And as the mogul of Moramax she flips up her collar and her gesture bespeaks perfect self-satisfaction. (Chaplin did this sort of thing, and he didn't do it better.) With Michele Placido, Deborah Rush, Edward Herrmann, Daniel Gerroll, Michael Gross, Barry Primus, Mary Gross, and Leo Burmester as the bum. Script credited to Dori Pierson and Marc Rubel. Touchstone (Disney).
The Big Carnival/Ace in the Hole
Also known as ACE IN THE HOLE.
Billy Wilder produced and directed this box-office failure right after SUNSET BLVD. and just before STALAG 17. Some people have tried to claim some sort of satirical brilliance for it, but it's really just nasty, in a sociologically pushy way. Kirk Douglas is the big-time New York reporter who is so opportunistic that when he gets to where a collapsed roof has buried a man in New Mexico, he arranges to have the rescue delayed so that he can pump the story up. The trapped man dies, while Douglas keeps shouting in order that we can all see what a symptomatic, cynical exploiter he is. With Jan Sterling as the trapped man's wife, Porter Hall, Richard Benedict, Ray Teal, and Frank Cady. Script by Wilder, Lesser Samuels, and Walter Newman. Filmed on location near Gallup, New Mexico. Paramount.
An amiable, slick comedy with some very well-directed repartee and skillful performances. It's ostensibly about how the late-60s campus activists have adjusted to becoming the kind of people they used to insult, but it isn't really political. Directed by Lawrence Kasdan, who wrote the script with Barbara Benedek, it's set in South Carolina, where a group of seven former friends from the University of Michigan gather for the funeral of Alex, the campus radical who brought them together, and who has now, after years of flailing about disconsolately, slit his wrists. The friends bury the 60s (which Alex symbolizes) and then dredge them up to talk about during the weekend. The movie may pretend to be about "life," but it's really about being clever (even the title tells you that), and about the fun of ensemble acting. Jeff Goldblum, William Hurt, and Kevin Kline do some of their best work here; Tom Berenger, Glenn Close, Mary Kay Place, and JoBeth Williams do remarkably well with what they've got to work with. And Meg Tilly, who plays Alex's young girlfriend, is an extraordinarily lovely presence; it's easy to see why Alex turned to this restful girl-she's a refuge from ideas. The picture offers the pleasures of the synthetic. It's overcontrolled, it's shallow, it's a series of contrivances. And whenever Kasdan tries for depth the result is phony. But a lot of the time he manages to turn phoniness into wisecracking fun. A Carson Production, released by Columbia.
Luise Rainer, wanly dying of leukemia, as the immigrant wife of a taxi-driver (Spencer Tracy) involved in a taxi war. William Demarest turns up, and in the final scramble on the New York docks, so do Jack Dempsey, Man Mountain Dean, Maxie Rosenbloom, and sundry other sporting figures. The picture doesn't hold together, and although Tracy struggles with the material, he can't win. Directed by Frank Borzage. MGM.
India (1963): Drama
Also known as MAHANAGAR.
The city is Calcutta, and Satyajit Ray's heroine, a young married woman, takes a job in order to supplement her husband's income (which must support them, their child, his teenage sister, and his parents). The movie deals with the wife's discovery of life outside the home, and her changed relations with each member of the family. Madhabi Mukherjee is lovely as the gentle but strong wife, and there are telling portraits of her cruddy, hustling boss, and of an Anglo-Indian girl (Vicky Redwood) who is the victim of his discrimination. The film does what it sets out to do, and it's perceptive and revealing; it stays with one. Yet it is very quiet and rather thin; it lacks the depths and richness and creative imagery of the best of Satyajit Ray. In Bengali and English.
Big Deal on Madonna Street
Italy (1958): Crime/Comedy
The Italian title is I SOLITI IGNOTI, the police term for "the usual unidentified persons." Mario Monicelli's gentle, casually underplayed comedy is about a group of petty thieves eager to move up in status-to rob a safe in a loan office. The thieves are ambitious, good-natured, and hopeful, but they are easily distracted; when they should be concentrating on plans, they become hungry or fall in love or quarrel or fuss over a sleepless baby. This is a shaggy RIFIFI. With Marcello Mastroianni (as a simpleton), Vittorio Gassman, Renato Salvatori, Claudia Cardinale, Carla Gravina, and, as the leading safecracker in Italy (now near-senile), whom the small-time thieves hire to show them how to pull off their big job, the superb clown Tot�-a stylized image of fatigue, sadness, decadence. From a screenplay by Age and Scarpelli, Cecchi D'Amico, and Monicelli. In Italian.
US (1987): Thriller/Crime
It has an amateurish, 50s-B-movie droopiness. Dennis Quaid plays a vain, irresistible New Orleans police lieutenant, half-Irish, half-Cajun, who is relaxed about accepting free meals and small favors; to him that's friendly, it has nothing to do with crime. Ellen Barkin plays a new assistant district attorney from up North who believes in the letter of the law-you can tell that from her drab tailored suits and her asexual prissiness. The lieutenant goes to work on her immediately in a few fairly explicit devilish-charmer-and-nervous-novice scenes, and her inhibitions melt away. The carnal humor of these moments gives the film a distinctive amiability, but there's too much TV-style drugs and killing, and the director, Jim McBride, has Quaid and Barkin playing too broadly; he also has the camera too close in-the performers stick out of the film frame. With Ned Beatty, John Goodman, Grace Zabriskie, Lisa Jane Persky, and the great Charles Ludlam, who thrives on broadness. As a gentleman lawyer of Old Dixie, he rolls his eyes and wraps the picture like a ribbon around his panama hat. The script is by Daniel Petrie, Jr., and Jack Baran. Released by Columbia.
US (1978): Mystery/Comedy
108 min, Rated PG, Color, Available on videocassette
A counterculture detective story, with a wisecracking detective-Moses Wine (Richard Dreyfuss)-who isn't the usual cynical down-at-the-heels private eye; he's warm and Jewish and disillusioned, with two sons to support from a failed marriage. The film's nostalgia for the great days of Berkeley in the late 60s-for the sit-ins, the strikes, the anti-war demonstrations-is like a form of intellectual mildew. The film uses "Berkeley" the way Stalinists used "Spain"-to set off waves of guilt and sadness. The plot involves someone's attempt to sabotage the campaign of the liberal candidate for Governor of California by dirty tricks, but the director, Jeremy Paul Kagan, doesn't draw our attention to the vital plot elements or provide enough visual emphasis and clarity for us to see who is chasing whom, or even who is in a sequence. The movie seems to have been photographed through sludge. Dreyfuss acts like a puppy surprising his master with little tricks he's thought of all by himself; you feel he wants petting after each scene. With a remarkable satirical performance by F. Murray Abraham as an Abbie Hoffman-like sloganeering radical, who bounces up and down gleefully, out of sheer kinetic high spirits, and with Susan Anspach, Bonnie Bedelia, John Lithgow, Rita Karin, Fritz Weaver, Ofelia Medina, Nicolas Coster, and Michael Hershewe. Produced by Carl Borack and Dreyfuss; from Roger L. Simon's adaptation of his own 1973 novel. Universal.
The Big Heat
Sidney Boehm's solid, hard-nosed script might have been made into a routine cops-and-robbers thriller, but the director, Fritz Lang, gave it a formalized style. The movie is all of a piece; it's designed in light and shadows, and its underworld atmosphere glistens with the possibilities of sadism-this is a definitive film noir, with a few stunningly choreographed nasty scenes. Glenn Ford is Dave Bannion, a police lieutenant who ignores the orders of his superiors and investigates a big-time gangster (Alexander Scourby). A bomb is planted in Bannion's car, and his wife (Jocelyn Brando) is blown up. Full of hate, Bannion leaves the department to find revenge. When one of the gangster's henchmen (Lee Marvin) throws scalding coffee at his mistress, a high-living tough-girl lush (Gloria Grahame), and she wants vengeance, too, she joins up with Bannion. And the film accumulates corpses and arrests. With Carolyn Jones and Dan Seymour. From a novel by William P. McGivern; cinematography by Charles B. Lang Columbia.
The Big Knife
111 min, No rating, Black & White, Available on laserdisc
It's in the same garish genre as THE BAD AND THE BEAUTIFUL. It's paced too fast and pitched too high, immorality is attacked with almost obscene relish, the knife turns into a buzz saw. Maybe because of all these faults of taste, you can't take your eyes off it. Rod Steiger gives a classic performance as a destructive, self-righteous Hollywood magnate; Jack Palance is surprisingly effective as the overwrought John Garfield-type star. With Wendell Corey, Shelley Winters, Everett Sloane, Jean Hagen, Ilka Chase, and Ida Lupino and Wesley Addy as sanctimonious characters who, regrettably, are the authors' mouthpieces. James Poe adapted Clifford Odets' play. Robert Aldrich directed, overdoing everything in sight; he just about turns hysteria into a style. United Artists.
The Big Pond
US (1930): Romance/Musical
The pond is the Atlantic, and in this musical starring Maurice Chevalier he's a Frenchman whose intentions are often misunderstood in the United States, particularly by George Barbier, the rich, chewing-gum-manufacturer father of the girl Chevalier loves (Claudette Colbert). Preston Sturges did part of the rewrite job on the 1928 Broadway play, but the spoofy film is remembered chiefly for the charming songs that Chevalier introduced, especially "You Brought a New Kind of Love to Me" and "Livin' in the Sunlight, Lovin' in the Moonlight." With Nat Pendleton. Directed by Hobart Henley. Paramount.
US (1946): Mystery/Crime
Humphrey Bogart is Raymond Chandler's private eye in this witty, incredibly complicated thriller. You may not be able to figure out the plot even after the d�nouement (Chandler reported that while the film was in production, William Faulkner and the other screenwriters had to appeal to him for guidance, and apparently Chandler couldn't exactly figure it out either), but it's the dialogue and the entertaining qualities of the individual sequences that make this movie. It takes place in the big city of displaced persons-the night city, where sensation is all. The action is tense and fast, and the film catches the lurid Chandler atmosphere. The characters are a collection of sophisticated monsters-blackmailers, pornographers, apathetic society girls (Lauren Bacall and Martha Vickers are a baffling pair of spoiled sisters; the latter sucks her thumb), drug addicts, nymphomaniacs (a brunette Dorothy Malone seduces the hero in what must surely be record time), murderers. All of them talk in innuendoes, as if that were a new stylization of the American language, but how reassuring it is to know what the second layer of meaning refers to. Howard Hawks directed-and so well that you may even enjoy the fact that, as he says, "Neither the author, the writer, nor myself knew who had killed whom." (The 1978 Michael Winner remake, starring Robert Mitchum, is easily forgotten.) Warners.
The Big Store
The Marx Brothers take over a department store. But they never quite take over the movie, which is far from inspired, though it does have Margaret Dumont and that great slimy villain Douglass Dumbrille. Directed by Charles Riesner; from a script by Sid Kuller, Hal Fimberg, and Ray Golden. MGM.
A Bill of Divorcement
The dialogue has the creaky sound of classy, overcivilized theatre; the film is just barely adapted from Clemence Dane's play about a father and daughter doomed by hereditary insanity-the kind of play in which the daughter is named Sydney Fairchild, her father Hilary Fairchild, and the daughter's boyfriend Kit. But as Sydney, Katharine Hepburn, in her film d�but, was like nothing that had ever been seen on the screen. It wasn't that she was good, exactly (in fact, her acting was mostly awful), but she was so angular and mannered, with her mouth a scar of suffering, that she was rivetting. And John Barrymore, who plays the father, was a fairly rivetting performer himself-though his role here is drearily subservient. Young George Cukor directed, in the insulated style all too appropriate to the material. With David Manners (Kit, of course), Billie Burke, Elizabeth Patterson, Paul Cavanagh, and Henry Stephenson. RKO.
Billion Dollar Brain
UK (1967): Spy
Ken Russell's second picture. (The first was FRENCH DRESSING, which didn't open in the U.S.) It stars a wearily nonchalant Michael Caine, as the seedy spy Harry Palmer, and it was a sequel to THE IPCRESS FILE and FUNERAL IN BERLIN. Russell finished off the series; he hurled the audience from one crisis to the next, and things went by so fast that the story line got befuddled and nothing at all seemed to be happening. It was Fran�oise Dorl�ac's last role; though part of the film was shot in Helsinki in winter and she's all bundled up, she looks lovely. The cast includes Oscar Homolka as the Russian Colonel Stok, Karl Malden, Ed Begley, Vladek Sheybal, and some lively Honeywell electronic calculators. Screenplay by John McGrath, based on Len Deighton's novel; cinematography by Billy Williams.
UK-US (1962): Drama
Melville's short novel is stripped for action in this tense, straightforward shipboard narrative, directed by Peter Ustinov. Ustinov's efficiency and Robert Krasker's stylized black-and-white cinematography help to release the ambiguities without clogging the film with metaphysical speculation or too many homoerotic overtones. As Billy, the beautiful sailor, an American Prince Myshkin, Terence Stamp wears white pants and suggests angelic splendor without falling into the narcissistic poses that juveniles often mistake for grace. Robert Ryan is the depraved master-at-arms, Claggart, whose self-hatred makes it necessary for him to destroy Billy, the image of goodness; Ryan gives the role the requisite satanic ugliness. Unfortunately, Ustinov miscasts himself as Captain Vere; as he plays the part, the Captain is a humane man, a good liberal tragically torn by the demands of authority. But what gives Melville's story its fascination and its greatness is the suggestion that Claggart is merely the underling doing the evil Captain's bidding. As actor, director, and co-scenarist, Ustinov may be too much the relaxed, worldly European to understand Melville's raging emotions; in Ustinov's view, Billy is just a victim of unfortunate circumstances. The film doesn't approach Melville's passion, but it's a good movie anyway. With Paul Rogers, Ronald Lewis, Melvyn Douglas, David McCallum, John Neville, and Niall MacGinnis. The adaptation by Ustinov, Robert Rossen, and DeWitt Bodeen comes via a play version by Louis O. Coxe and Robert H. Chapman. Allied Artists.
For a more extended discussion, see Pauline Kael's book I Lost it at the Movies.


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How the Youth are Seizing Opportunities in the Middle of a Pandemic through TikTok
2020 was a strange year for everyone. A virus introduced itself sometime towards the end of 2019, and not many thought too much of it at first. Then, it started to affect everyone – young and old, third-world countries and first-world countries alike. Jobs were lost, lives were changed and people grieved. This isn't news … Continued
Michael Peres
2020 was a strange year for everyone. A virus introduced itself sometime towards the end of 2019, and not many thought too much of it at first. Then, it started to affect everyone – young and old, third-world countries and first-world countries alike. Jobs were lost, lives were changed and people grieved.
This isn't news to anyone. We all know how the COVID-19 pandemic has affected every single person, be it in the simplest ways or the most staggering, life-altering sense. The New York Times is one of the many parties that have identified that feeling of listlessness and fatigue that naturally comes with dragging oneself through the day-to-day routine of dealing with the pandemic: 'languishing'.
But even with all this negativity, people have formed new habits and hobbies that bear testament to their will to simply live in the middle of all these constraints. They've resorted to simple activities to either sustain their happiness or find some financial stability. It could be baking, building computers, trying out new recipes, binging Netflix shows, or tinkering with handicrafts – you name it. If we haven't done these things ourselves, we certainly know of people who have.
TikTok and One Man's Opportunity
TikTok is one of the more popular products of human resilience that have peaked during the pandemic. Despite having strong competitors in other social media platforms like Instagram and YouTube, TikTok has bloomed over the past year. It has become a means of connection in a period of isolation.
Jonny Cutuli, a 24-year-old TikTok influencer, saw TikTok as a platform for new opportunities. Having lost his nine-to-five job before being confined in a nationwide lockdown, Jonny found himself in a tight spot. But this wasn't the end of his story. He began to create TikTok content to quench that boredom everybody can identify with oh-so-well. What started as a coping mechanism eventually turned into a solution for Jonny's troubles.
Born and raised in Aci Catena, a small town in Sicily, Jonny learned that one had to strive to overcome a disadvantaged background from a young age.
"There are little opportunities in my hometown, and you would need to do something unique if you want to stand out," Jonny said.
He had always been an avid social media user. But at first, he didn't see these online platforms as an opportunity to grow his public image. Still, that love for creating videos and expressing his creativity persisted. Only when he began to notice how other users unleash their creativity through their content did he realize that social media was a goldmine for opportunities. Slowly, he fell in love with the idea of creating videos for the public eye.
Using One's Assets at Hand
Armed with an education in administration, finance, and digital branding during his college years in Istituto Tecnico Commerciale in Acireale, Jonny found that having a background in digital branding gave him an edge in the social media world. TikTok has, since its inception, become a platform for information and entertainment. But what makes a TikTok influencer successful is their ability to catch people's attention. In a world where everything floods one's senses, an influencer's job is to draw focus to their content.
"It's all about branding when it comes to creating online content," Jonny explained. "We, as influencers, need to use the appropriate sounds, colors, and texts to hook viewers from the very beginning of our videos. This is what professional publicists do."
Hence, Jonny decided it was worth furthering his studies in the same fields at Edge Hill University in the UK.
But education can only go so far. To succeed, it's imperative to be creative with one's arsenal. Jonny initially struggled when starting his career as an influencer. Living in a humble home with four other siblings, privacy and space were scarce. He needed to create and deliver high-quality content – the issue here was that he didn't have the right tools for it. Lighting was a very simple, yet significant aspect of making social media content. Because these weren't naturally available for him, Jonny set out to remedy the situation. It took purchasing a simple kit of white lighting to allow his videos to take on a more professional, appealing quality.
Adapting to Never-Ending Problems
Another problem with being a TikTok influencer is that one never runs out of competitors.
Back in March last year, the Italian government announced a nationwide lockdown when Italy was massively impacted by the pandemic. Everyone stayed at home. Everyone started to make videos – hence, the popularization of TikTok. Jonny then realized that this surge of competitors was an issue that needed troubleshooting. He had to resort to out-of-the-box solutions. So, Jonny adapted. He revamped the format of his videos. Using a simple green screen, he appeared in front of a background of GIFs or images in his videos.
This change of format certainly set him apart. But this isn't the end of his troubles. This new video format has since been replicated by many users, and so Jonny has found himself in a new pickle: he has to find new, innovative ways to combat the competition.
The struggle is a continuous one. For instance, when his content stops being promoted on the 'For You' page on TikTok, he has to attempt to understand the reason behind this. He uses his advantage of having a background in commerce to analyze the statistics in his account to best unravel the issue. He continually works to adapt by reshaping the format of his videos.
"Obstacles will always be out there," Jonny commented when speaking about his struggles when building a TikTok empire as an influencer. "But never allow them to stop you from what you're doing. They're part of the process; once you overcome them, they'll lead you to the place that you want to reach eventually."
To remain focused, Jonny bears in mind the primary 'Why' behind his work.
"Someone said that when you do what you love, you'll never work a single day in your life."
Finding a Future Amid All This Uncertainty
Indeed, young entrepreneurs everywhere have found opportunities in the middle of all this social and economic shakiness. Businesses have taken their content online, influencers have decided to help the world move forward on social media, and people, in general, are learning to pick themselves off the ground. It's certainly easier said than done, but moving forward is not impossible.
Jonny, too, has formulated a plan for the future. Graduating and advancing his social media career is on top of his list. He plans to open an e-commerce website, where every product sold would be promoted on his social media platforms in order to gain some initial exposure.
"Personally, the most fulfilling thing [about what I do now] is that I can prove people wrong. People always say that you can't go anywhere if you start from a disadvantaged background. But that's not true. If you truly want something, you will find a way to get there," he said. "The most important thing is to not give up. There's nothing you cannot do in this life – it's all about having the right mindset and surrounding yourself with the right people who motivate you."
As a social media influencer, Jonny's number one advice for those aspiring to venture down a similar path is to not let those initially low views demotivate them. Sometimes, it takes fifty to a hundred videos before an influencer creates that one video that will change everything.
Perhaps, in an era of canceled plans and uncertain futures, the youth possess within them the capacity to endure. Developing a strong mind that continually learns and adapts is key in building goals that will give a person a reason to get out of bed each day.
"If you're growing and challenging yourself every day, you will live a happy life. If you're not, you will suffer. The mind is like a muscle; it gets stronger when you embrace challenges and push it to the limit."
-Jonny Cutuli


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Ryu Spaeth/ December 20, 2015
Let's not underestimate the significance of Hillary Clinton's Star Wars mic drop.
On one level, it was the ultimate example of a politician co-opting a popular phenomenon to make herself seem relatable. But on another, it was further evidence that Clinton is the only person in the Democratic primary race who can convey relatable-ness in a remotely believable way to a mass audience, which should be a welcome novelty for a candidate who has famously struggled to connect with voters.
What's striking isn't that Clinton dropped a Star Wars reference, but that her rivals didn't. You know that if Barack Obama were running today, he would have already locked up the Star Wars vote. Even Ted Cruz, widely considered one of the most socially inept candidates, to the point of being viscerally disliked by members of his own party, has been all over Star Wars, albeit in a way that reeks of some nerdish overcompensation.
What viewers of the Democratic debate on Saturday night were treated to was a display of unique social weirdness. Bernie Sanders cannot stop yelling all the time, even when he's telling people to take easy. ("CALM DOWN A LITTLE BIT, MARTIN.") Martin O'Malley does this thing where he tries to break down the fourth wall with the laser-like intensity of his gaze, which would be at least one reason not to have a beer with him. Between the two, Clinton almost seems human.
Ryu Spaeth @RyuSpaeth
Ryu Spaeth is an editor at New York magazine.


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275 George Street is a  office building located on George Street, Brisbane, Australia. Completed in February 2009, it has 32 storeys. The building was developed by Charter Hall and constructed by Watpac. It was designed by Crone Partners. It stands Immediately Behind Brisbane City Hall.
 To its roof, the building reaches , but a spire mounted atop it brings its total height to , making it the 11th-tallest in Brisbane. The commercial lettable area of the building is .

The main tenant is Telstra, which occupies floors 2 - 22. Telstra's lease was the largest commercial lease in Brisbane's history. Floors 23 - 30 are occupied by QGC. Various Queensland Government departments and the Director of Public Prosecutions (Australia) also occupy Floors 16 - 20 of the building.

See also

 List of tallest buildings in Brisbane

References

External links
 275 George Street on Emporis.com (General database of skyscrapers)
 275 George Street on SkyscraperPage.com (Diagrams of skyscrapers)

Skyscrapers in Brisbane
Office buildings in Brisbane
Office buildings completed in 2009
George Street, Brisbane
Skyscraper office buildings in Australia
2009 establishments in Australia


MADISON, Wis. (AP) -- The state Supreme Court's liberal-leaning justices are pressing a conservative attorney on why he's still fighting to force the state schools superintendent to get permission from the governor to enact regulations when the court has already ruled the superintendent is independent.
Republicans passed a law in 2011 that requires state agencies to get gubernatorial permission before writing regulations. The Supreme Court ruled 4-3 in 2016 that the law doesn't apply to the superintendent because the position is a constitutional officer elected by the people.
Republicans passed a new law in 2017 that largely duplicates the 2011 law. Rick Esenberg, an attorney for conservative law firm Wisconsin Institute for Law and Liberty, argued before the Supreme Court on Wednesday that the new law requires the superintendent to get the governor's permission.
Liberal-leaning Justice Rebecca Dallet said the court already has set precedent on the question. Esenberg said the issue is so important the court should revisit it.


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Tour de France Stage 4: Elia Viviani wins, Julian Alaphilippe keeps lead as Deceuninck-Quick Step carry the day (+ reaction and video highlights)
by Simon MacMichael July 9 2019
First-ever Tour de France stage win for Italian sprinter after yellow jersey helps on leadout
Elia Viviani of Deceuninck-Quick Step has won Stage 4 of the Tour de France in Nancy – his first ever victory at the race – with his team-mate Julian Alaphilippe, winner of yesterday's stage into Epernay, remaining in the overall lead.
On the second of the day's Catgeory 4 climbs, crested 15 kilometres from the finish, Team Sunweb forced the pace at the front of the bunch, trying to distance sprinters including Jumbo-Visma's Dylan Groenewegen and increase the chances of Michael Matthews taking victory.
The group was all together as they went over the top, however, and while Direct-Energie's Lilian Calmejane launched a solo attack shortly afterwards, the sprinters' teams would not be denied.
Into the closing 2 kilometres and two jersey wearers were performing leadout duties – best young rider Wout van Aert, working for Groenewegen, and yellow jersey Alaphilippe, riding for Viviani.
Three riders got away in the break early on in the 213.5-kilometre stage from Reims – CCC Team's Michael Schar and the Wanty-Gobert pairing of Frederik Backaert and Yoann Offredo, the latter also in the break yesterday.
Stage winner Elia Viviani
This victory means a lot to me. Actually, I can't believe that I won today, it's crazy. Notching up a stage here at the Tour de France was one of my season's biggest goal, and having achieved it thanks to the team's outstanding work makes me very, very happy.
With 1 kilometre to go I felt that everything was going perfect and was really confident. Then, when Kristoff anticipated the sprint, I was ready to go, but Max's experienced played again a huge role and I waited a bit before opening my sprint close to the barriers.
Julian's win in Épernay motivated us and I'm glad I could keep the team's streak going. I don't have enough words to tell you how proud I am to have this incredible team around me: Yves and Dries worked hard, Michael and Max provided a perfect lead and having yellow jersey Julian pulling for me in the final was truly special.
Race leader Julian Alaphilippe
For sure this was a very special day I will never forget. Since when I woke up… When I went to the start line, I felt things I'd never felt before. The public, the cries… It was something special. I've felt the difference to a normal day. It's a different world.
On the peloton, everyone was happy about me. I heard my first name every 10 seconds today. It's hard to explain. I don't chase popularity: I just want to make people happy. But we also had something to do for Elia and that special day ended the best possible way with his stage win and keeping the yellow jersey.
Tomorrow it will be harder. For sure, we will continue to defend the jersey. If I lose it, it'll mean someone will beat us but I won't give up.
Simon MacMichael
Born in Scotland, Simon moved to London aged seven and now lives in the Oxfordshire Cotswolds with his miniature schnauzer, Elodie. He fell in love with cycling one Saturday morning in 1994 while living in Italy when Milan-San Remo went past his front door. A daily cycle commuter in London back before riding to work started to boom, he's been news editor at road.cc since 2009. Handily for work, he speaks French and Italian. He doesn't get to ride his Colnago as often as he'd like, and freely admits he's much more adept at cooking than fettling with bikes.
Video: Behind the scenes as Mat Hayman wins Paris-Roubaix
Video: Cyclists stumble across couple going at it hammer and tongs
Project Practical: How to build a fuss-free everyday bike
RafatheRed 6 hours 8 min ago


So you both went to your house after a long wait in traffic and she decided to rest for a drink at your place, then you refused to take off your shoes till she left. We understand; you are worried about your stinky feet. Well, that really shouldn't be a problem anymore if you adhere to these steps. One cannot say it is only inherent in men. Hence, this is a must-read for everyone. You will learn how to get rid of stinky feet and shoes once and for all with these simple steps.
Foot odor mostly occurs as a result of excess moisture, sweating on the foot. First of all, clean feet and shoes prevent odor from your feet. It might sound common but a lot of things determine a clean foot, and of course clean shoes. Treatment to prevent stinky feet and foot odor should concentrate on three things – wearing the right footwear, controlling sweat and moisture, and keeping a clean foot.
Although you wash your feet alongside your whole body while bathing, it's important to pay special attention to your feet by washing it separately in warm water. Scrub thoroughly with a sponge around and in between your toes. Dry your feet thoroughly including in between your toes after washing.
After washing, employ one of the many soaking methods, like the tea bag method. Soak your feet in strong black tea for thirty minutes a day. Use at least three regular sized tea bags. Boil for fifteen minutes, and pour into a small bowl. Add little water to make the tea cool enough to soak your feet in. Soak them for about thirty minutes. Because it is acidic, the tea will have an antibacterial effect that can reduce foot odor or stinky feet.
There are antibacterial creams designed for the foot at very affordable prices in stores. You can get one for yourself, or use a deodorant if you can't find one. Spraying your feet with antiperspirant or deodorant will help prevent foot odor. You can also use antiperspirant for the underarm on your feet, so you don't embark on an endless journey looking for the right one for your foot.
If you do this, you would be giving your shoes more time to dry before wearing them again. But before you object; we know that some people may not have the luxury of possessing very many pairs of shoes. So, just dry your shoes very well each day, if possible under the sun before wearing them again.
One of the methods you can device to freshen your shoes is this; place fresh orange, grapefruit, lemon, or lime peel into the shoes. Researchers have revealed that fresh citrus peel has a strong smell because of its essential oils. After drying your shoes, leave fresh citrus peel in them overnight and remove them before using. This will surely change the smell of your shoes.
6. Say No To Dirty Socks!
Dirt and odor from a dirty sock will definitely transfer to your feet through moisture. Always wear a fresh pair of clean socks every day to prevent moisture, bacteria, and odor from getting to your feet.
Meanwhile, baby powder is also good for reducing odor. It has a pleasant and subtle smell, and it could help your feet from sweating. You can either pour it into your shoes or on your feet after washing at night. If you have to wear cover shoes, you can apply it before putting it on, as it will not show. If you have to wear a shoe that exposes your feet, then you can leave it for the night.
Adhere to these guidelines daily for at least one week, and you will begin to notice changes in the odor of your feet and shoes. Continue until you get the desired result.


Chris Cooley called in to ESPN's First Take on Friday to discuss the state of the Redskins. Near the end of the chat, we learned that Falcons wide receiver Roddy White has a bone to pick with Cooley.
White has challenged Cooley to a wrestling match at mid-field of the Georgia Dome, and has accused the Redskins tight end of ducking him at the Pro Bowl.
Cooley tells the story a little differently.
"Roddy knows that is absolutely not true," he said. "I was at the Pro Bowl out there doing some interviews, obviously he was playing and I tried to set up a match the whole week. I was actually personally asked by Mike Smith to please not wrestle his receiver.
Cooley finished by saying that he's working on his Flying Squirrel.
We suggest that Mr. White might refer to this video before pursuing this challenge.
We also imagine there's some sort of "Flying Squirrel" clause in Cooley's contract preventing him from wrestling mouthy wide receivers.


Wow! 98?! That's awesome. Those cupcakes look delish.
Love your dress! You look awesome in it!
you are so blessed and fortunate to have your grandmother with you still; i lost all of my grandparents when i was relatively young. obviously, i was very sad when they died, but frankly i often grow more sad now, thinking of how i wish i had known them better, adult to adult.
Can I just say I am so jealous you can fit into your HS senior prom dress AND you looked amazing!
Happy 98th birthday Grandma! I will have to try out that bakery soon.
That sounds like such a FUN party!! : ) You look awesome!! Fake eye lashes are my favorite ever. Found you from a comment on Cookies for Breakfeast! Isn't that girl ^^^ the best???? xoxo New follower!


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HomeNewsMilitary aviation newsLossiemouth will be UK home for E-7 Wedgetail
Lossiemouth will be UK home for E-7 Wedgetail
A Boeing E7 Wedgetail in use with the RAAF (Image: TransportMedia UK)
RELATED TOPICS:E-7 WedgetailrafRAF Lossiemouth
18/12/2020 Military aviation news, News 2 minute read
RAF Lossiemouth in Scotland has been announced by the Ministry of Defence (MoD) as the UK's home for the E-7 Wedgetail Airborne Early Warning & Control Aircraft (AEW&C) aircraft.
The MOD placed an order for five of the Boeing 737-700NG based surveillance aircraft in 2019 will replace the Boeing E-3D Sentry AWACS aircraft based at RAF Waddington which have been in service since the early 1990s.
Boeing E7 Wedgetails carry a Northrop Grumman electronically scanned array radar system with 360 degrees of scan up to 300nm. The type has been in service with the RAAF since 2009 and has already been proven in combat in the fight against ISIS.
E7 Wedgetail Infographic (Image: RAF/MOD)
The Wedgetail will be co-located alongside the P-8A Poseidon Maritime Patrol & Submarine Hunter aircraft, also based on a Boeing 737, which has already entered service at RAF Lossiemouth.
Operating both 737 based aircraft will allow the MoD to take advantage of the new £100m state-of-the-art facility that has been built at RAF Lossiemouth and also the recent £75m runway upgrade.
Minister of State for Defence, Baroness Goldie said: "Scotland's proximity to the waters and skies of the North Atlantic is of crucial importance to the UK's and NATO's security – this is why important military bases such as HMNB Clyde and RAF Lossiemouth are located here."
"Defence's latest decision to base the E-7 Wedgetail at RAF Lossiemouth demonstrates our commitment to investing in Scotland, and will complement and expand upon the success of Typhoon fast jet and submarine hunting Poseidon operations."
The first E-7 Wedgetail aircraft are due to arrive in the UK in 2023.
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