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Merchandise // AUGUST 20, 2021
Tony McVey on Sculpting Regal Robot's New Salacious B. Crumb Replica
In conversation with Tom Spina, McVey, who designed the original Star Wars: Return of the Jedi icon, discusses making the 1:1 statue.
Kristin Baver	Kristin Baver is a journalist who loved science fiction before she could even write her own name. (Seriously, she was a card-carrying member of the Star Wars Fan Club when she had no other real reason to own a wallet.) Now she gets paid to pen stories and book reviews, interview fellow fans, writers, and other interesting people, and aspires to one day craft a Boushh disguise and join the ranks of the 501st Legion.
Tony McVey, the sculptor who designed and fabricated Salacious B. Crumb — including a new 1:1 replica statue from Regal Robot — and many other denizens of the galaxy far, far away, intended to have a career as a graphic designer.
Growing up in Glasgow, Scotland, McVey fell in love with movie magic and special effects after his father took him to see The 7th Voyage of Sinbad, with stop-motion by Ray Harryhausen. "I'd never seen anything quite like that before, so it really captured my imagination," McVey tells StarWars.com. After the family moved to England, a then pre-teen McVey became immersed in researching Harryhausen's other works and the world of stop motion animation. He can still remember the day he learned about King Kong. "(My dad and I) were standing at a bus stop waiting for the bus, it was taking forever to come. And he started telling me, for some reason, about this movie about a giant ape climbing to the top of the Empire State Building and swatting at bi-planes and being shot off. And I thought, 'Wow, I have to see that.' And I did see it eventually in a movie theater when I was 13, was on a double bill with The Thing from Another World."
But when it came time to graduate and enter the world of higher education, McVey says he was encouraged to spend his time on something with a little more job stability. "I went to art school (in Southampton) for three years and studied graphic design, which was totally boring for me," McVey recalls. "I was advised to get into that because that's where the money was. If you wanted to be an artist, be a graphic designer, get into graphics."
Ironically, after McVey finished the program, he couldn't find any work in his field. So he took his skills and applied for a job as a model maker in the taxidermy unit of the Natural History Museum in London, where he worked for four years creating sculptures for display. That job connected McVey to Arthur Hayward, who had worked with Harryhausen for over a decade, sculpting creatures and effects "from Mysterious Island up until The Valley of Gwangi." During their downtime on the job, McVey would comb through Hayward's scrapbooks and examine an Allosaurus model that had been used for Hayward's final film. Their shared love of movie making eventually led McVey to working in film. Looking back on it, McVey says his parents probably thought his foray into production was little more than "a phase I was going to grow out of and I'd come to my senses and get a real job," he says. "But I'm still waiting for that to happen." After a stint with Jim Henson's studio working on The Dark Crystal, Phil Tippett brought McVey on for Star Wars: Return of the Jedi. McVey sculpted the bodies for the Gamorrean guards, helped Tippett with the first incarnation of the rancor suit that was intended to be worn by a human, and worked on the armature for the massive rancor hand that gripped Luke Skywalker actor Mark Hamill in close-up shots. Occasionally, he even stepped into the hand, he says, a favorite place to pose for photos among the crew.
The original Salacious B. Crumb puppet on the set of Star Wars: Return of the Jedi.
But while McVey helped with the look of Sy Snootles and many background aliens for Jabba's Palace, his work is synonymous with the cackling court jester that perched on Jabba the Hutt's tail: Salacious B. Crumb. The Kowakian monkey-lizard was cooked up in a single night — in about 10 minutes, McVey recalled in The Art of The Mandalorian Season 1 — and was intended to perch on the shoulder of Ephant Mon, a blink-and-you-miss-it part of the crowd. However, the crew, including George Lucas himself, became so enamored with the creature that the puppet quickly got promoted to Jabba's minion, coming to life at the hands of puppeteer Tim Rose and Mark Dodson who provided the voice. "One day I came in and here was Salacious and I fell in love with Salacious," Lucas said in The Making of Return of the Jedi.
Recently, StarWars.com sat down with McVey and Regal Robot's Tom Spina to talk about sculpting the new, limited-edition Salacious replica.
Tom Spina: Tony had worked with us previously on the Gamorrean Fighter maquette from The Mandalorian. It's the first thing we got to see from Season 2. I immediately fell in love with the sculpt. I thought it was brilliant. Then one of our other sculptors here saw it and he said, "Look at those hands. That's McVey." [Laughs] "Nobody does hands like Tony McVey." So sure enough, we find out that it was one of Tony's sculpts. That was something that that really kind of put us together. We got to talking. We both love a lot of the same old stop-motion and things like that. And so, you know, the Salacious thing came out of [of that].
Tim Rose holds the Salacious Crumb puppet.
On set, director Richard Marquand studies the Salacious Crumb puppet.
Through the whole process, I bugged him with photos and really, really pushed to match not just the character, but the prop. And Tony does — and I don't know, he's probably too humble to say — again, brilliant hands. But the texturing on the skin that he did looks like latex and cotton fabrication or latex and tissue, like you would do when you're fabricating a prop like this. Everything on it is made to feel like that real prop, to look like the prop, to have that sense of kludged together effects [from a] guy working in the middle of the night, I'm sure, after many, many days. That was the whole goal. And much like Tony's brilliant sculpt on the original prop gave [Salacious] a great foundation, Tony's brilliant work on our sculpt gave me and our team inspiration. When we then went to do the paint mastering and to do the finished work on it, it has all these great little nooks and crannies that are just made to catch a wash and to pop those details and everything.
StarWars.com: The legend I have heard, Tony, is that you came up with the original in a night. He was going to be this little creature sitting on the shoulder of a background alien. And then everyone just fell head over heels for him and he became Jabba's little guy. And then, of course, Tim Rose made him this unforgettable screeching thing. So I'd love to hear some of your recollections, both from working on the original, but then also taking that expertise and bringing it into this sculpt.
Tony McVey: OK, well, let's see if I can remember that far back. Phil Tippett came to me one day in the middle of the 11 months I was working on this project, and he said, "We need a little pet character for one of the background of aliens." It was for Ephant Mon, which I also worked on. "We need a little pet for this guy. Can you come up with something?" So I went home that night and I scribbled something on a piece of paper. It's a cross between a parrot and a monkey. And I brought it back the next day and I showed it to him. He said, "OK, go ahead and make that." It was as simple as that. There's nothing to it. Just a little background monkey character. And I fabricated the body, which was then stuck to some kind of a, I think, it was a resin-impregnated canvas.… I fabricated the arms and legs, a dowel with rope joints and cover that up the foam to make muscles, and the head was sculpted and cast with foam latex right there in the creature shop. And once I got that back and fabricated a neck for it, we put the skin on it — it's just tinfoil, wrinkled up tinfoil. I made the mold off of that and cast it in latex. It was very simple. It was very basic. If I'd known it was going to be put on Jabba's tail, I would have spent more time on it because it was never, ever intended to be up front and center like it ended up.
Tom Spina: There's something about puppets in general. I got my start in puppetry and I find there are people you'll talk to who would swear to you that, you know, that they've seen a puppet character blink even when it doesn't have the capacity to. And it's because there is an immediate connection between performer and character that just has this direct one-to-one movement. And it imbues these things with a level of life that I really think fools you into thinking that they are more articulate than they really are.
The original prop is still in the [Lucasfilm] archives. We do a lot of research at the Skywalker Ranch archives and over the years with my other company, we've done restoration work for them on a number of pieces. So we did get to go and look at that real puppet. We got to spend many, many, many hours and days, actually, with it. We were able to measure things. We were able to take photos and really provide Tony with a foundation to make sure that this new sculpt was going to be one-to-one, 100% the same size, the same look, etc. And, you know, we sent Tony a lot of reference photos. Probably way too many reference photos. He can probably sculpt in his sleep at this point. [Laughs]
StarWars.com: So once you twisted Tony's arm, you got all of that research in the measurements and all that, how long does it take to create the replica start to finish? And also, Tony, I am curious if now that he's in the spotlight and this is something that's going to be in people's homes, if you are tempted or added additional details that you would have liked to see on the original.
Tony McVey: Not really, because I knew Tom was going to look at this thing with the eagle eye and say, "Oh, you can't do that. That wasn't in the original, dude, you can't put that in there." So, no, I just tried to stick to what was in the original piece. That seems about the safest route.
Tom Spina: We did talk that through early on and it was because as an artist, too, I know that tendency of if I'm redoing something I did in the past, man, I want to make it better.
Tony McVey: I had free time to work on it so I could just devote my time to that. But it still took a long time. About six months.
The original Salacious B. Crumb prop is seen in a vintage file photo.
Tom Spina: Well, he's bigger than people think, too. It's the sort of thing that it's careful, cautious, slow work when you're trying to replicate something. It's fast work when you're creating something for the first time! But to replicate it? It's a slog. You know, and I feel slightly bad for having asked Tony to do that.
Tony McVey: But only slightly.
[Laughs]
Yeah. I've gotten used to all that stuff because I've been doing this for 48 years now. So you kind of get into a pattern of doing things. So I guess I'm there by now. This is the fourth one I've done.
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The original Salacious B. Crumb puppet is seen on set.
StarWars.com: Why do you think this character has such enduring appeal and why do you think you keep getting asked to come back and create, if not a replica of Salacious Crumb, a similar version of that creature for The Mandalorian?
Tony McVey: Well, that's a good question. I wish I had an answer for that. I don't really know what is so popular. It's kind of a mystery to me. But I don't know, there's something about his personality and you can thank Tim [Rose] and Mark [Dodson] for that.
Tom Spina: [Laughing] I'll jump in because I fear that Tony may be too humble to ever say it, but…
Tony McVey: Well, I'm mystified by it, that's what it is.
Tom Spina: There is life and energy in that sculpture. That is a character that even as a still piece — ours is a static replica — But even as a static piece, it pops. It jumps at you. It wants to live. And Tim certainly did a wonderful job bringing it to life for the movie. But Tony brought so much to the table in that initial sculpting fabrication of that puppet that you can't help but find character in it. And to me, that's the mark of a brilliant sculptor, that sense of character that comes through in what they make.
So with our Salacious, when we first started looking at him, we were trying to come up with the right pose for him. And I think Tony was the one who suggested doing a maquette, so he actually sculpted a little mini version. And I had in mind that I wanted him to sit on a stone block. And so he made a little block, I think, out of Bondo or something like that. It couldn't have been more than six or eight inches tall in total, including the block he was sitting on. So it was quite small. But I found it useful to do stuff like that just to work out the pose and the proportions and so on before you get into the big thing. It helps save a lot of the time, actually.
StarWars.com: How big is the final 1:1?
Tom Spina: Sitting on the block? We actually just did his measurements yesterday like we were fitting him for a suit.
StarWars.com: He's getting ready for his debut.
Tom Spina: He's, I believe, about 28-inches tall, including the block he sits on and including a little hair. And it's about 20-inches deep and about 16 inches wide. And that's down to the tail sticking out a little and his foot sticking in the front. Overall, if you were to take him as a puppet and say from his bottom to the top of his fluff, he's about 18 inches tall
It's just so cool seeing it sort of slowly come to life. You have pieces, you have elements, things that are just maybe they came in and they're [painted in] primer and they're just gray. And then we're figuring out, how are we going to make it so we can put the glass eyes in and all of this other stuff? And then to get your first samples that come out of the molds, the eyes get installed. And now this thing that you've been looking at is looking at you. And that's the moment, you know, even before we put the paint on, that's when this is like, "Oh, this is going to work." From there, it's a lot of hand paint, a little bit of airbrush paint, and a little gloss here and there, a little flat finish here and there, and the tufts of fur. Sure enough, before you know it, he's ready to cackle.
Tony McVey: I think I did a few drawings before just to try and figure out what might be a workable pose. But, you know, those things like that can always change. I mean, you can still alter the position of the limbs a little bit.
StarWars.com: I imagine after 48 years of experience you have an eye for this at this point.
Tony McVey: You would hope so!
StarWars.com: And the block with the symbol of Jabba's tattoo. Tell me about adding that in, because, of course, you know, nobody — well, somebody has a Jabba at home that this can sit on, but not everybody who's going to get Salacious home has a Jabba to perch it upon.
Tom Spina: We wanted to find something fun to do with that block. We knew we wanted it to have the rounded vertical corners and the slightly sharper horizontal corners to match the feel of Jabba's dais. And we knew we were going to stain it in the similar way with the brown drips and the stone look and all of that. But I wanted to give one little extra thing that really connected it back to Jabba's Palace.
I love that symbol, Jabba's tattoo. It's this great asymmetrical, hand-drawn looking thing. We wanted it to just look ancient and old and, you know, that Star Wars lived in universe look. And I think it just makes it something a little special. And that sort of symbol, that's my kind of thing. That's stealth geek. People really have to know the property to know what that is. And, you know, if you're coming to us for that 1:1 replica that feels like the prop, you're exactly the type of person who's going to know what that symbol is.
With so much of this, we're just trying to capture what Tony did on that original. You know, once that sculpture is in place, we then have to do that finish work. Tony gave us these fingernails with lots of crevices and grooves and things like that in them, and that lets us find all those grooves and put dirt in. And that's when things really come to life.
Tony McVey: That's why the grooves were in there.
Tom Spina: You put the dirt on, you wipe the dirt away or whatever the prop wants, it keeps. That's the way we like to do it around here. And so that gives him that life. That gives him some history and some story. He's been around forever. His nails are not clean. He's not getting a manicure anywhere. And then the little the fluff, the fur, we wanted to make sure that we were using the same shag fur that they used on the originals. Anybody that's ever done a movie monster, a puppet can recognize that a mile away. Luckily, it's still being made. It's still in the same color. We do run a little bit of color into it just to age it a little bit. So it doesn't look like it's bright orange or anything like that and kind of like the nails. You want it to look like it's existed for a while, but from there it's patterning things up, make sure that everything lays in the right places and then we can glue everything on. We blend here and there. He gets his little tufts of fur on his cheeks and the tips of his ears, and of course, yes, the little top fluff is so important.
StarWars.com: Tom, you said it really beautifully before. You're working on this, you're looking at it for so long, and one day it looks back at you. So I'm curious, Tony, for your part of the sculpt when is the moment when you feel like, "OK, I'm done."
Tony McVey: You need to be careful about that. If it matches the look I've seen in my brain before I started, or it matches the artwork, that's when you know. Maybe it goes a little bit beyond just the point where you think, "OK, OK, this is good. This has a personality to it." And you get to know what that moment is pretty soon.
StarWars.com: Tony, why do you think you're so great at capturing these creatures and aliens that spring to life that are nothing of this world? What fever dream do you think these little guys come out of?
Tony McVey: That's a good question. I don't know where these things come from. I think it must be… when I was a teenager, I looked at a lot of comic books and science fiction. Edgar Rice Burroughs and Ray Bradbury and I don't know who else. And I watched a lot of movies and got into the history of movies and all these classic monsters and so on. And it definitely had an influence on me. The rest of it, I have no idea where it comes from.
StarWars.com: It's just that perfect stew of those things that you love filtering through your brain and coming back out creatively, I guess.
Tony McVey: Yeah. Wonderful. Funny how that works, isn't it?
Regal Robot's Salacious B. Crumb 1:1 Prop Replica Statue Dual-Signature Edition, signed by Tim Rose and Tony McVey, is limited to 150 pieces and will be available for order on August 24, 2021 at noon EST only on RegalRobot.com.
Associate Editor Kristin Baver is the author of the book Skywalker: A Family At War, host of This Week! In Star Wars, and an all-around sci-fi nerd who always has just one more question in an inexhaustible list of curiosities. Sometimes she blurts out "It's a trap!" even when it's not. Follow her on Twitter @KristinBaver.
Site tags: #StarWarsBlog, #ThisWeek
TAGS: Insider, Regal Robot, Return of the Jedi, Salacious B. Crumb, ThisWeek, Tony McVey
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We are delighted to announce that DZ Bank has chosen cats as its new partner utilising both the Request for Quote (cats-os) and Limit (cats-ls) platforms; DZ Bank plan to commence trading in September 2010. In addition to the great DZ Bank news, cat-ls is further enhanced with the addition of two new Issuers: Barclays Capital and UBS.
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Q: Java getResourceAsStream is always null in JAR I know, they're a lot of articles discuss it...but It did not work for me.
I have html file like below structure
src/main/resources
---------abc.html

I use Input stream to read it
InputStream inputStream = getClass().getResourceAsStream("/abc.html");
                    BufferedReader reader = new BufferedReader(new InputStreamReader(inputStream))) {
                    content = reader.lines()
                          .collect(Collectors.joining(System.lineSeparator()));

and build the jar file with maven:
mvn clean package

and run the project to jar file and run with cmd:
java -jar myproject.jar

But I always receive the java.lang.NullPointerException. Pls advice

A: As per Standard Directory Layout when using Maven the resource directory should be src/main/resources unless you modify the default layout.
Rename resource to resources and verify that the JAR file contains the HTML file:
zipinfo -1 myproject.jar | grep abc

redpajama_set_name: RedPajamaStackExchange


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This rack is a 33.86 wide Two Tier, but we also sell Single Tier racks as well. They are available in three shelf widths small 8.46 wide, medium 11.42 wide and Long 16.93 wide. The Two Tier has shelves of the same widths but the whole unit is twice as wide. All the racks are 41.34 inches long, which will accommodate the HuP Solar One Can.


Pulses with meat are a great combination! The Dodecanese version of this chickpea recipe uses cumin, coriander and/or allspice, which you may add at the end. Let the chickpeas simmer gently until they thicken in the meat sauce and serve each helping with a spoonful of yogurt on top. Simply divine!
Soak the chickpeas overnight in plenty of water and 1 tablespoon baking soda. The next day, strain and rinse with plenty of fresh water.
Sauté the minced beef in half the olive oil (1/4 cp) for 5-6 minutes. Do not stir constantly.
Add the onions, garlic and grated carrot to the meat and let them soften.
Add chickpeas, tomatoes, bay leaf and enough water to just cover the ingredients. Let it simmer, keeping the lid on, until the chickpeas soften and thicken and there is nearly no juice left in the pan but the olive oil.
Add the remaining olive oil, salt and pepper and the chopped parsley. Let it boil for a couple more minutes.


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In This Article Ancestor Worship
Ancestor Worship in the Neolithic Period, Shang, and Western Zhou
Ancestor Worship in the Eastern Zhou and Early Imperial Periods
Buddhism, Daoism, and Ancestor Worship in the Middle Period
Confucianism and Ancestral Rites in Middle-Period and Late Imperial China
Ancestor Worship, Popular Religion, and Local Society in Late Imperial China
Ancestor Worship in Christianity and Islam
Ancestor Worship in Southeast China, Hong Kong, and Macau
Ancestor Worship in 20th and Early 21st Centuries Taiwan
Ancestor Worship in 20th and Early 21st Centuries Mainland China
Ancestor Worship among the Chinese Diaspora
Ethnic Minorities and Ancestor Worship
Ancestral Worship and Material Culture
Ancient Chinese Religion
Ori Tavor
Ancestor worship refers to rituals designed to commemorate and venerate the spirits of one's deceased forebears. While it is often associated with the Confucian notion of filial piety, ancestor worship crosses the boundaries of religious traditions, geographical regions, and socioeconomic groups. Dating back to the Neolithic period, it is one of the oldest and most influential elements of Chinese religious culture. Sacrifices intended to pacify the spirits of the ancestors feature in Shang-dynasty oracle bone inscriptions, the oldest existing documents written in Chinese. These practices continued to flourish in early China, and the worship of imperial ancestors was eventually incorporated into the official state religion. When the organized religions of Buddhism and Daoism began to spread, new forms of ancestor worship rituals, such as the Buddhist Ghost Festival (yulanpen, 盂兰盆) and its Daoist equivalent (zhongyuan, 中元), began to flourish. By the end of the Song dynasty, following the Neo-Confucian reformation of domestic rituals, ancestor worship practices could be found at all echelons of Chinese society. In the early 21st century, these are performed in mainland China, Taiwan, and Hong Kong, and among overseas communities in Southeast Asia and North America. These rituals can be divided into several types: (1) the worship of individual-lineage ancestors, which entails the presentation of ritual offering to their tablets or images at the household altar, (2) the collective veneration of ancestors and, most importantly, the founder of the lineage, at the ancestral hall, and finally, (3) communal rituals dedicated to the worship of the ancestors, which also take place at the grave on specific dates, such as the Qingming (清明) and Double Ninth (Chongyang, 重陽) Gravesweeping Festivals. Given its longevity and cultural prominence, the cult of the ancestors has attracted the attention of scholars in Chinese studies. Following the earliest accounts of ancestor worship practices written by Christian missionaries, most of the work during the 20th century was produced by anthropologists, who situated ancestor worship in the larger context of the kinship system and lineage organization. Late 20th- and early-21st-centuries scholarship has sought to expand these seminal studies: archaeologists and art historians offer an analysis of the material objects associated with the cult of the ancestors, historians draw on textual sources to explore its different manifestations and sociocultural implications, and ethnographers offer new accounts of the varieties of ancestor worship practices among ethnic minorities groups in the mainland and overseas Chinese communities across the globe.
A definitive account of ancestor worship practices throughout Chinese history has yet to be written. Baker 1979 offers a brief introduction and might be a good place to start. Hsu 1967 and Freedman 1979 are significant because they represent the work of two of the most influential modern scholars of ancestor worship and are widely cited. Two more studies written by pioneering scholars of Chinese religion are Yang 1961 and Granet 1977, which include chapters dedicated to ancestor worship. Teiser 1996 effectively situates the ancestral cult within the larger context of Chinese religious culture, whereas Coe and Begley 2016 offers the most updated survey of early-21st-century scholarship and an analysis of ancestor worship in Chinese history, from a sociological perspective. Last, as for the two most recent monographs, Lakos 2010 argues that ancestor worship, rather than Confucianism, is the prime cultural symbol and paradigm of Chinese culture, while Batairwa Kubuya 2018 offers a historical overview of Western encounters with what the author calls "ancestor-related praxis" and its impact on the Chinese reception and reinterpretation of these practices.
Baker, Hugh D. R. Chinese Family and Kinship. London: Macmillan, 1979.
DOI: 10.1007/978-1-349-86123-1E-mail Citation »
Drawing on classical literature and modern ethnographic accounts (including Baker's field work in Hong Kong), chapter 4 offers an analysis of ancestor worship, burial practices, and notions of the afterlife from the Shang dynasty to the late 1970s.
Batairwa Kubuya, Paulin. Meaning and Controversy within Chinese Ancestor Religion. London: Palgrave Macmillan, 2018.
A study of the perceptions and interpretations of Chinese ancestor worship by foreign observers, from Catholic and Protestant missionaries to modern Sinologists, and their impact on the emergence of an indigenous Chinese theory of ancestor rites.
Coe, Kathryn, and Ryan O. Begley. "Ancestor Worship and the Longevity of Chinese Civilization." Review of Religion and Chinese Society 3.1 (2016): 3–24.
DOI: 10.1163/22143955-00301001E-mail Citation »
A sociological inquiry into the nature, function, and key cross-cultural characteristics of ancestor worship and its enduring legacy throughout Chinese history. The authors divide ancestral rites into two main types: the worship of nonroyal ancestors within the lineage, and the worship of the emperor in the context of the imperial state region.
Freedman, Maurice. "Ancestor Worship: Two Facets of the Chinese Case." In The Study of Chinese Society: Essays. By Maurice Freedman, 296–312. Stanford, CA: Stanford University Press, 1979.
This seminal essay offers a general overview of the dominant views of the afterlife, ancestor worship rites in the household shrine and at the gravesite, the role of geomancy in these rituals, and the relation to the social institutions of lineage and family throughout Chinese history.
Granet, Marcel. Religion of the Chinese People. New York: Harper & Row, 1977.
An English translation, with an introduction by Freedman, of Granet's 1951 book La Religion des Chinois. Chapter 2 contains a discussion on ancestor worship, in which Granet traces the origins of the ancestral cult to ancient agrarian festivals and argues that this practice was used to augment the hierarchical structure of Chinese society.
Hsu, Francis L. K. Under the Ancestors' Shadow: Kinship, Personality, and Social Mobility in China. 2d rev. ed. New York: Columbia University Press, 1967.
Originally published in 1948, this second revised edition is based on ethnographic work conducted in the 1940s in a small village known as West Town, located next to the town of Dali in modern-day Yunnan Province and inhabited by the Bai ethnic minority. Hsu uses his data to draw general conclusions on Chinese ancestor worship, famously asserting that in Chinese religion, ancestral spirits are unequivocally benevolent and only ghosts and other deities inflict harm on humans.
Lakos, William. Chinese Ancestor Worship: A Practice and Ritual Oriented Approach to Understanding Chinese Culture. Newcastle upon Tyne, UK: Cambridge Scholars, 2010.
This monograph provides an analysis of Chinese ancestor worship and its correlations, especially filial piety and ritual. Drawing on modern theories of ritual (mainly practice theory), the author argues that ancestor worship, rather than Confucianism, is the prime cultural symbol and paradigm of Chinese culture.
Teiser, Stephen. "Introduction: The Spirits of Chinese Religion." In Religions of China in Practice. Edited by Donald S. Lopez Jr., 3–37. Princeton, NJ: Princeton University Press, 1996.
In this introductory essay to a collected volume, Teiser identifies the kinship system, and particularly the practice of ancestral worship, as one of the key features of Chinese religious culture.
Yang, C. K. Religion in Chinese Society. Berkeley: University of California Press, 1961.
In this seminal study of Chinese religious life, Yang makes a distinction between official religions such as Buddhism and Daoism and diffused religion, whose beliefs, practices, and organization were embedded in everyday life. While the ancestral cult is not one of the main topics of the book, chapter 1 discusses it within the context of family and clan units.

redpajama_set_name: RedPajamaCommonCrawl


text:
Lamont names financier Dan Toscano as UConn chairman
by Kathleen Megan
Ariel Dowski :: UConn
Daniel Toscano '87 (BUS) gives the keynote address at the School of Business Commencement ceremony held at Gampel Pavilion on May 12, 2013.
Dan Toscano, a Darien financier and longtime financial supporter of the University of Connecticut, has been chosen by Gov. Ned Lamont as the new chairman of the UConn Board of Trustees.
Toscano, who graduated from UConn in 1987 and currently has a son enrolled there, is the former head of the UConn Foundation Board of Directors and has been a long time donor to the university.
He served on the search committee that recently selected Thomas Katsouleas as UConn's new president and is managing director of global leveraged finance at Morgan Stanley Co., Inc.
"A graduate of UConn himself, Dan has gone on to have an incredibly successful business career, helping manage one of the world's largest financial services firms, all while continuing to maintain strong connections to his home state of Connecticut and his alma mater," Lamont said Thursday in a statement. "Importantly, Dan's leadership will not only come from the perspective of a business leader and alumnus, but he will also provide the board with the much-needed voice of a parent who has a teenager currently enrolled at UConn."
Toscano said he is "humbled and excited" to join the trustees.
"As Connecticut's flagship university and a top research institution, UConn has the opportunity to play a pivotal role in the economic recovery of Connecticut. UConn has begun to show its full potential over the past decade and the state has chosen wisely to invest in a top 25 public research university. "UConn produces high-caliber graduates at all levels and is capable of attracting research funding that drives considerable economic development on its campuses. As my alma mater, I have incredible passion for the potential of UConn to rise to ever-greater heights."
His appointment ends four months of uncertainty about who Lamont would pick to lead the board of the state's flagship university, which recently welcomed Katsouleas as UConn's new president. Thomas E. Kruger resigned in April as chair once it became clear that Lamont wanted new leadership.
Kruger had publicly promoted Shari Cantor, a board member and West Hartford mayor, as a successor, a move that was seen as much as a criticism of Thomas D. Ritter, the former House speaker who is the vice chair. Without mentioning Ritter, Kruger described Cantor as "a unifying, non-polarizing force on the board."
Soon after Kruger resigned, Paul Mounds, Lamont's chief operating officer said the governor will be looking for a new chairman who "bleeds blue and someone in line with the governor's vision of how UConn can play a role in terms of the economy, in terms of the academic development of our students and workforce, but also an individual who understands what it means to be a UConn Husky."
Born and raised in Bristol, Toscano went on from UConn to earn a Master's of Business Administration at UPenn. Toscano is currently completing an eleven year stint on the UConn Foundation board, including serving as chairman from 2015 to 2018 and as chairman of the investment committee for several years.
He is also a member of the dean's advisory cabinet for the UConn School of Business and was previously on UConn's steering committee for athletics fundraising.
After graduating from UConn in 1987, Toscano headed to Wall Street, where he spent the bulk of his career at Bankers Trust and its successor, Deutsche Bank. Toscano joined Morgan Stanley in 2010. He returned to live in Connecticut in 1995 and has been an active advocate for UConn since 2005.
Toscano and his wife, Tresa, have directed the majority of their donations to UConn to students with financial need, attracting top faculty, and athletics. The couple established two four-year, need-based scholarships and they have also created the Toscano Family Chair in Finance in the School of Business.
A statement from the governor's officer said the Toscanos' generosity "has been felt in virtually every corner of the university, from the soccer team to the Natural Resources Conservation Academy. "
The couple has three children: twins, Max and Jeremy, 20, and Olivia, 16. Jeremy is a junior in the School of Business at UConn.
Lamont today also announced Thursday that he is appointing Scott S. Cowen to serve as a member of the board, and re-appointing four other members to continue their service on the group.
Cowen received his bachelor's degree in 1968 from UConn and also played on the school's football team. He now serves as president emeritus and distinguished university chair of Tulane University in New Orleans, Louisiana. From 1998 to 2014, he served as president of the university and was named by TIME magazine as one of the nation's Top 10 Best College Presidents.
The members Governor Lamont is re-appointing include: Charles F. Bunnell, chief of staff for external and governmental affairs to the Mohegan Tribal Nation; Shari Cantor, West Hartford Mayor; and Andrea B. Dennis-LaVigne, veterinarian and founder and owner of the Bloomfield Animal Hospital.
The Board of Trustees is comprised of 21 members: 12 appointed by the governor; two elected by alumni; two elected by students; and five ex-officio, including the governor, UConn Health Board of Directors chair, and the commissioners of Agriculture, Economic and Community Development, and Education.
Kathleen Megan Kathleen Megan wrote for more than three decades for the Hartford Courant, covering education in recent years and winning many regional and national awards. She is now covering education and child welfare issues for the Mirror.
State launches database showing FAFSA financial aid form completion rate
by Adria Watson
The FAFSA form is critical for students who might receive financial aid for college.
Superintendents association calls on state to increase funding for CT schools
by Adria Watson and Jacqueline Rabe Thomas
A coalition of superintendents is asking for a 2.5% annual increase in state spending for public schools.
Some states train jobless for post-pandemic workforce
by Sophie Quinton | Stateline
Amid high unemployment, governments are spending coronavirus relief dollars on training programs to help workers find new jobs quickly.
For CT teachers, Washington riot becomes a teaching tool
After David Bosso saw news of the riot in Washington, D.C., unfold Wednesday, he started thinking about how he would approach the issue with the students in his high school social studies class Thursday. "One of the things we want to do is get them ready for the world," he said. "This is something that […]
COVID-19 pandemic introduces new factors to CT's teacher shortage
The pandemic has complicated Connecticut's teacher shortage as sick educators have been forced to quarantine.
Opinion The revolution will proceed reclining: the Capitol mob, their past, and the future of democracy
by Chris Doyle
Looking at pictures of Richard "Bigo" Barnett in the U.S. Capitol last week, grinning, his foot resting on a staffer's desk in Speaker Nancy Pelosi's office and his arms extended, I recognized a jarringly familiar if initially hard to place tableau. Barnett appeared to be acting, according to Saul Loeb, the Agence France Press photographer who snapped the picture, "just sort of like he owned the place." Where had I seen this before?
Opinion Death? Taxes? Or a new political party?
by Eric Goodman
Connecticut faces a deadly threat from climate change, the local results of a global capitalist crisis, and an epidemic of inequality made worse by racial oppression. The means exist to solve these problems and build a better world, but not within the capitalist system.


text:
1893 Introduction
Wednesday 21 March 1659/60
To my Lord's, but the wind very high against us, and the weather bad we could not go to-day; here I did very much business, and then to my Lord Widdrington's from my Lord, with his desire that he might have the disposal of the writs of the Cinque Ports. My Lord was very civil to me, and called for wine, and writ a long letter in answer. Thence I went to a tavern over against Mr. Pierce's with judge Advocate Fowler and Mr. Burr, and sat and drank with them two or three pints of wine. After that to Mr. Crew's again and gave my Lord an account of what I had done, and so about my business to take leave of my father and mother, which by a mistake I have put down yesterday. Thence to Westminster to Crisp's, where we were very merry; the old woman sent for a supper for me, and gave me a handkercher with strawberry buttons on it, and so to bed.
Tue 20 Mar 1659/60
Thu 22 Mar 1659/60
33 Annotations
Susanna on 21 Mar 2003 • Link
Cinque Ports
The Cinque Ports (although there were and are more than five of them) have had a special legal status since the time of Edward the Confessor. Certain cities along the English Channel were allowed to keep the legal fees from their court cases, in exchange for providing ships and men for the crown in time of war. Dover is probably the most important of these "ancient towns."
http://www.britainexpress.com/History/cinque-port…
Emilio on 22 Mar 2003 • Link
Below is a little more information about the Cinque Ports, to be found at
http://www.open-sandwich.co.uk/cinqueports/cinque… .
It sounds like Montagu is perhaps seeking official credentials to act as Lord Warden.
"In Medieval times, the responsibility for the defense of the South East Coast and the Channel, fell to a Confederation of the five main ports at that time. These were, Sandwich, Dover, Hythe, Romney and Hastings, plus two other towns, Rye and Winchelsea. Their correct title is, The Cinque (pronounced 'sink') Ports and Two Ancient Towns. They supplied the Crown with ships and men, and in return were granted privileges.
Over the years there have been a varying number of member towns associated with them, called corporate and non corporate members, the present main associates can be seen on the map.
The Great Storm of 1287 was the beginning of the end for many of the ports, it silted up harbours, blocked rivers, and submerged towns. Despite this, the Cinque Ports still retained their status and privileges, probably in recognition of their service to the Crown Fleet, but not necessarily their loyal support of the Crown! The people of the Ports were notoriously independent and tended to go their own way.
Today, these towns are still known as the Cinque Ports, but the coastline has changed considerably over the centuries (see maps in the other sections) and only Dover remains as a major port.
There was always an overall Warden of the Cinque Ports, and this tradition is still carried on today. Former Wardens include, the Duke of Wellington, Sir Winston Churchill and lately, Queen Elizabeth the Queen Mother, who will be greatly missed. The present Lord Warden has yet to be appointed."
Pauline on 22 Mar 2003 • Link
"...which by a mistake I have put down yesterday."
Here is hard evidence that Sam at times collects notes and memories and writes a day's events in fair copy in the diary a day or so later.
Keith may have a different interpretation of this sentence for us.
David Quidnunc on 22 Mar 2003 • Link
". . . by a mistake I have put down yesterday"
This is also evidence that he's keeping his diary with him for the trip, not just writing down notes to copy into it when he returns.
Or does he think he'll have enough time once his departure time is confirmed to rush home and stow it with the rest of his things? I doubt it.
Keith Wright on 22 Mar 2003 • Link
a) Maybe Pepys is already catching up now---that is, later---when he's actually on board ship, going
b) wherever he thinks or doesn't think he's headed, depending on whichever volunteer expert witness you trust, to
c) fetch someone---who, oh who could it be?---from Over the Water; or else just to cruise the North Sea in springtime, the only pretty ring-time, when birds do sing, &c. &c. (He wasn't much impressed by "Twelfth Night" either time he saw it.)
Now everybody fight fair over the True Meaning of all this, and no, you can't skip ahead in Vol. 1 and make out like you're psychic.
KVK on 22 Mar 2003 • Link
According to this list
http://www.beer-genealogy.freeserve.co.uk/local/c…
the last person appointed Lord Warden was Admiral Blake (I think Winchelsea was appointed after the Restoration). Blake has been dead for over a year, so there might be a vacancy in the office of Lord Warden.
From the way Pepys describes it, it sounds as though Montagu is trying to take on one of the responsibilities of the office of Lord Warden, rather than the office itself. Widdrington is Commissioner of the Great Seal, which means he's responsible for issuing writs for the new Parliament.
This might allow Montagu to influence the election of MPs for the Cinque Ports. Each of the Cinque Ports sends two members to the Commons.
Lord Warden's influence
According to Blackstone's Commentaries:
http://216.239.53.100/search?q=cache:f2mrauB2-7YC…
"By vote alfo of the houfe of commons, to whom alone belongs the power of determining contefted elections, no lord of parliament, or lord lieutenant of a county, hath any right to interfere in the election of commoners ; and, by ftatute , the lord warden of the cinque ports fhall not recommend any members there."
This legislation, of course, will come long after Pepys' time - what it will outlaw are the practices that still prevail in 1660. That the Commons will find it necessary to curb the Lord Warden's influence by statute indicates that the Warden exercises the same kind of political patronage that lords or gentrymen exercised over many provincial elections.
Warren Keith Wright on 22 Mar 2003 • Link
Brief biographical notes added for Mr. [John] Burr today and Thomas Doling yesterday.
Jenny Doughty on 22 Mar 2003 • Link
A handkercher with strawberry buttons on it.
Buttons on a handkerchief? Why? Or am I totally misreading this? It can't be real but small strawberries in England in March 1660.
mary on 22 Mar 2003 • Link
Strawberry buttons
I take this to mean that the handkerchief is embroidered with a raised stitch, such as the French knot. Any other suggestions?
Mary's got the only explanation that makes any sense to me. Buttons fashioned in any design would be very rare at this time (not to mention in the way on a handkerchief--except to fasten it as a neckerchief).
Minor Plot Spoiler: Dover's MP
KVK's annotation just above ("Lord Warden's influence") refers to the Warden of the Cinque Ports influencing the selection of members of Parliament.
Mountagu's cousin, George Mountagu, will become a member of Parliament for one of the Cinque Ports, Dover, later this year.
This post from 7 March describes the relationship between the two Mountagus:
http://www.pepysdiary.com/diary/1660/03/07/#c2736
language hat on 22 Mar 2003 • Link
"By vote alfo...", or the Perils of Scanning
One problem with scanned texts is that the scanner inevitably reads the "long s" as an f (though it doesn't have the arm sticking out to the right). I move that when we reproduce old texts here from such sources, we silently correct to s, which is true to the original fource and doefn't confufe the modern reader.
more strawberry buttons.
One OED definition for Button is: a bud; also the small, round flower-head of some compositae.
Perhaps the handkerchief is embroidered with a pattern of buds and/or small flowers, similar to Bachelor's Buttons but strawberry coloured. Or, indeed, strawberry flower-buds? Though these last are not especially pretty.
Hhomeboy on 22 Mar 2003 • Link
Restoration chronicles...
Any biblioliterates or scholarly readers/17th century aficionados out there have authoritative text suggestions for the best/most detailed account(s) of the events of '59-'60, including the return of Charles II.
"My Lord was very civil to me"
Pepys must have remarked on Mountagu's "civility" two or three times before today. (I assume "civility" encompasses courtesy for Pepys.) It seems that he's noting a change in the relationship between Mountagu and himself, with Mountagu acting a little less "high" because Pepys's value to him is rising.
I'm sure it's not news to anyone that when employees are easily replaced (because they are unskilled, perhaps, or because the economy is bad and there's a lot of competition for their job), employers often tend to treat them less well, including matters of courtesy, even civility, between supervisors and underlings.
Mountagu has seen that Pepys is a good, trustworthy worker, and he's promoting him to a more lucrative job -- and treating him as a more valued employee. Contrast this treatment with Mountagu's peremptory letters to Pepys in the 1650s:
http://www.pepysdiary.com/encyclopedia/112/#c652
A final point: Since his late teens, Mountagu has been commanding troops or sailors. Neither situation generally calls for a high priority on avoiding hurt feelings. Of course, Mountagu has also been a politician, so he's also needed to know how to turn on the charm.
My lord was very civil to me
Surely it's Widdrington's civility that is being noted here. It is he who calls for the wine whilst he writes the long reply to Mountagu.
gerry on 22 Mar 2003 • Link
Homeboy, for an excellent overview of the period try Britain in Revolution 1625-1660 by Austin Woolrych
Oops! Surely, you're right, Mary!
Sorry -- too distracted by current events.
Helena Murphy on 22 Mar 2003 • Link
The old woman who gives Pepys this embroidered hankerchief before he sets out 0n his sea voyage calls to mind Othello, a general-at-sea who gives an embroidered handkerchief to the ill-fated Desdemona.He got it from his mother who got it from a sybil. It is to be hoped that Pepys will not pass it on to Elizabeth.
Bravo Helena.
Iago:
"Have you not sometimes seen a handkerchief
Spotted with strawberries in your wive's hand?"
Othello:
"I gave her such a one; 'twas my first gift."
---"Othello" (1604), III.iii.434-36.
Apparently a popular pattern from doubtless even further back.
And bravo Keith
And old mother Crisp calls to mind the sybil.
Curiouser and curiouser--suppose the design took off after the play was produced? Product placement, product tie-in?
These strawberry buttons must have significance
The fruit itself had been thought to have healing qualities since Roman times and its image could represent healing/health. Thus Mrs. Crispe may be offering Sam the contemporary or traditional equivalent of a St. Christopher medallion, wishing him protection on his travels.
The strawberry was also held to represent both passion and purity; these two attributes are more relevant to Desdemona's handkerchief.
In 16th Century emblematic art, the strawberry is said to stand for the human soul, but that doesn't necessarily apply in our context.
Nix on 24 Mar 2003 • Link
More on the Cinque Ports --
This may be construed as a plot spoiler, so skip it if you don't want to know:
The Cinque Ports had their own representatives in Parliament, known as barons (per Black's Law Dictionary).
Samuel will one day be a baron of the Cinque Ports (per Encyclopedia Britannica Online). Doesn't say when.
Restoration Chronicles
As far as I know, the best current restoration histories are R Hutton, The Restoration (1985), and P Seaward, The Restoration (1991). The problem is that 1660 is the major breaking point within 17th historiography; thus there are lots of books that begin with 1660 and lots that end with 1660, but not many that incorporate 1659-60 as their central focus. Those events tend to be treated as epilogue or prologue. I believe Hutton's book starts in '59.
A biography of, say, Monck or Lambert might have more detail for this precise period. Ashley's bio of Monck is probably still the standard.
Antonia Fraser's "King Charles II"
provides a complementary view of these events from the royalist perspective before, during and after the restoration period.
michael f vincent on 29 Mar 2003 • Link
"Strawberry" British wild berry small, size of a farthing or smaller,very very tasty maybe found still on old commons very pretty too . So much nicer than those ugly items in the market place,
Emilio on 7 Apr 2003 • Link
Back to ". . . which by a mistake I have put down yesterday"
In the actual journal books, toward the end of the diary years he left blank pages for periods of up to 2 weeks that he filled in later, but I'm surprised to see that back-filling began so early.
I don't think that writing entries from a day or few in the future is Sam's regular practice, at least not yet. There was at least one moment (the mysterious drum beats as Monk was entering London, 5 Feb.) at which Sam makes clear he's writing the entry precisely as an event is happening. Also, however thorough his note-taking, he would tend to lose the feeling of the moment the farther away from it he was writing, not to mention that the later he waited the more material he would have to catch up on.
For these reasons I think he would probably try to write for the diary as soon as he could after the events, on the same day if possible, and that he would certainly have the diary along with him at sea.
Terry Foreman on 7 Dec 2007 • Link
The Barons of the Cinque Ports were listed in Magna Carta:
"[9] The city of London shall have all the old liberties and customs, which it hath been used to have. Moreover we will and grant, that all other Cities, Boroughs, Towns, and the Barons of the Five Ports, and all other Ports, shall have all their liberties and free customs." http://www.archives.gov/exhibits/featured_documen…
Pepys was himself one of the Barons of the Cinque Ports -- one of those who carried the Canopy over the Sovereign -- at the Coronation of James II, 6 February 1685.
Terry Foreman on 22 Mar 2013 • Link
In 2003 there was indeed no Warden of the Cinque Ports. Admiral Michael Boyce, Baron Boyce has been Warden from 2004. http://en.wikipedia.org/wiki/Lord_Warden_of_the_C…
Pat McCann on 22 Mar 2013 • Link
An interesting aside. Whilst we all rely heavily on the internet these days as a source of information, and the reliance on the printed word holds less value, its interesting to see how many source links that were part of these annotations in just the last 10 years no longer link to their original information. It may be that the information is available, albeit at a different address, but it does give a cautionary hint at the temporary state of internet based information.
For those dedicated to commiting our history to print, long may you continue!
This is my second spin around this daily diary, having first come in about 5 years ago. Its fantastic and really fired up my enthusiasm for the history of the period. Thanks Phil!
Terry Foreman on 5 Apr 2017 • Link
"to my Lord Widdrington's from my Lord, with his desire that he might have the disposal of the writs of the Cinque Ports"
Mountagu's request to be appointed Warden of the Cinque Ports was successful:
http://www.pepysdiary.com/diary/1660/03/25/ Perhaps as a result he chose Sandwich as the title of the earldom bestowed on him at the Restoration. (L&M)
In Earl's Colne, Essex
Diary of Ralph Josselin
About these events
All diary entries from March 1660
Read a summary of this month's events


If you like crime fiction and caper stories, I have a pair of graphic novels that are required reading for you.
Parker is a cold criminal who is nearly killed when his wife and partner turn on him for money. Parker then methodically goes about seeking revenge, which brings him in conflict with the mob. Author Donald Westlake created the character after walking over the George Washington Bridge, where he was struck by how the cold steel bridge responded to the gusting wind and speeding cars. That speed, solidity and tension was transformed by Westlake into Parker, who debuted in the 1962 crime thriller The Hunter by Richard Stark (a pseudonym). The book was a hit and kicked off a series of crime novels starring Parker. It also inspired a number of movie adaptations (Point Blank, Full Contact, and most recently Payback starring Mel Gibson) but Westlake never allowed the use of Parker's names in those movies, perhaps a statement that he never felt they were authentic enough. In fact Westlake has never allowed any adaptation to use the Parker name until a recent series of graphic novels.
Starting in 2009, illustrator Darwyn Cooke has been releasing graphic novels with the full approval and cooperation of Donald Westlake and his estate. Sadly Westlake didn't live long enough to see the release of the first book, but he collaborated with Cooke during its creation. The Hunter and The Outfit are both wonderful adaptations that use the medium of comics to really enhance the feeling of being in the early 1960s, and seeing this compelling yet dangerous man named Parker go to work. Cooke uses differing storytelling devices and stylistic changes to lay out the various capers. His skills at depicting this world make for a fully engrossing and cool read.
The original plan was to adapt four books but there has already been talk of expanding it to five. The third book is expected to be The Score, where Parker joins a group of criminals for an ambitious heist of an entire town. It's scheduled for next summer from IDW Publishing.


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Well-known to theatre and concert audiences, Falzon's break-through came as 'Galileo' in the original Australian production of We Will Rock You. Enjoying critical acclaim, he was invited to reprise the lead role in Japan, further shattering box office records in the first UK tour playing the show's first-ever arena.
His diverse credits since include The Wharf Revue for STC; Australia, NZ, UK and European arena tours of Jeff Wayne's The War of the Worlds; the titular role in Hedwig and the Angry Inch; 'Stacee Jaxx' in the award-winning Rock of Ages and 'The Arbiter' in Chess.
Having played many of the great roles in contemporary musical theatre, Harrison is perhaps most well-known for originating the role of 'Elphaba' in the Australian production of Wicked, Harrison made her professional debut as a teenager playing 'Jenny' in Aspects of Love. Other Australian theatrical credits include 'Betty' in Sunset Boulevard; Les Miserables; 'Ellen' in Miss Saigon; 'Liza' in The Boy From Oz; 'Ellie' in Leader Of The Pack and her Helpmann Award- winning portrayal of 'Oz' in We Will Rock You. In 2012, Amanda created the role of 'Paula' in the world premiere of An Officer And A Gentleman.
For The Production Company, Amanda has appeared in Mame; She Loves Me; Guys And Dolls; Oklahoma! and most recently as 'Reno Sweeney' in Anything Goes.
Carly's first big gig came when she was cast in the Pulitzer Prize, Tony Award-winning Broadway musical RENT. Since then, when We Will Rock You staged it's first American production, Carly was handpicked by Queen's Brian May & Roger Taylor for the role of 'Oz'. She went on to play the role of 'Lorraine' in the Las Vegas production of Jersey Boys and more recently, in the Pasadena Playhouse's production of Smokey Joe's Café.
Carly has fronted bands of all kinds, from small jazz ensembles to the all-female world music group Angaza. In concert, she has fond memories of her debut at Sydney Opera House as a soloist with SSO and The Music of Queen – A Rock and Symphonic Spectacular. She has also taken the stage with Perth and Richmond symphony orchestras, getting back to her jazz roots, singing too with Columbus Jazz Orchestra as a guest artist for their concert series A Night at the Movies. Her voice can be heard too in many films, most notably the Kevin Hart feature, Ride Or Die with the song 'In Time', which she co-wrote.
Richard was born and still lives in London where he studied at The London College of Music graduating in 1987 with a BA(Hons). As a trumpet player he has enjoyed touring the world, recording and gigging with many artists including Blur, The Stranglers, Robbie Williams, Duran Duran, Brian May & Roger Taylor, The Pet Shop Boys, Sir Tom Jones, Boy George, Sir Bob Geldof, Gary Barlow, Nancy Wilson, Buddy Greco, Shirley Bassey, Peggy Lee and Herbert Gronemeyer. In addition, he has worked in many West End theatres, and performed on various TV & radio shows & has headlined at all the major festivals in Europe including Glastonbury, Roskilde, Benicassim & T In The Park.
Richard now spends most of his musical life arranging and orchestrating, from wind & string trios through to jazz big bands, right up to full symphony orchestras. In this capacity he has worked for opera star Katherine Jenkins, McBusted, Robbie Williams, Take That, Jamie Cullum, Shirley Bassey, Russell Watson, Beverly Knight, Gregory Porter, Will Young, Scott Walker, Emma Bunton, Sarah Brightman, Kerry Ellis, The BBC Concert Orchestra, The BBC Big Band and The Pussycat Dolls, as well as various TV shows including The Voice UK(Series 1-3), The Royal Variety Performance, X-Factor, Children in Need, Soapstar Superstar and Star For A Night. In November 2009 Richard conducted The Bangkok Symphony Orchestra in a concert of Disney music at The National Cultural Centre and in 2014, an orchestra for the legendary Jacksons in Dubai. That year also saw Richard collaborate & arrange for Swing On This, the smash hit Australian swing show.
In 2007 The Bournemouth Symphony Orchestra invited Richard to arrange a concert of Queen music featuring 4 singers from We Will Rock You London along with rock band and full symphony Orchestra. He has since performed this concert with orchestras all around the world including The Halle and City of Birmingham SO in the UK, The Colorado SO at Red Rocks, The Atlanta SO & The Richmond SO in the USA, The Unite Arab Emirates NSO in Dubai, and in 2014 conducted 3 sell out shows at The Sydney Opera House with The Sydney SO and The Perth SO on the West Coast.
Richard is delighted to present that concert to you tonight, conducting his arrangements of some of Queens biggest hits, supported by 4 amazing international singers from the Queen musical 'We Will Rock You', along with the finest & most rocking of rhythm sections, and of course, this most amazing Symphony Orchestra. He hopes you enjoy the show.
James spent his childhood years learning classical piano before dabbling in drums and bass in his teens, finally settling on his preferred instrument of guitar. As a guitarist, James has played live music in pubs and clubs in original and covers bands, as well as session and studio work, throughout Australia.
A lifelong love and passion for Queen's music provided James the opportunity to join the Australian production of the musical We Will Rock You as an original band member in 2003, after a successful audition process before Brian May and Roger Taylor of Queen. Since then, James has been a part of the following We Will Rock You tours: Australia 2003-05; Japan 2005; Japan 2006-07; UK and Ireland 2009-10; UK and Denmark 2010-12; 10th Anniversary European Arena Tour 2013 and Australia 2016.
2014 saw James team up for the first time with The Music of Queen – A Rock and Symphonic Spectacular for shows at the Sydney Opera House and in Western Australia. These concerts combined the power of a symphony orchestra with a five-piece rock band and four vocalists to perform Queen's classic songs live on stage.
Mark Costa is an electric bassist, music arranger and composer based in Sydney. Mark has performed and toured with numerous international and local artists including The Temptations, Tom Jones, Thelma Houston, Leo Sayer, Debbie Reynolds, Go West, David Hasselhoff, Chris Isaak, Shannon Noll, Guy Sebastian, Marcia Hines, Margaret Urlich, James Morrison, Emma Pask, John Foreman and the 2012 Long Way To The Top Australian tour.
As a session musician, Mark can be heard on countless recordings and jingles including The Prayer by Anthony Callea, which won the Highest Selling Single Award at the 2005 ARIA Awards. Other notable credits include major theatrical productions of Jesus Christ Superstar, Grease – The Arena Spectacular, Shout, Hair, Footloose and TV shows such as the Gold Telethon (2015), Young Talent Time Grand Final (2014), NSW Schools Spectacular (2005), Strictly Dancing, Have A Go and The Midday Show (1990-92). Between 2003-2009, Mark was the resident bassist and one of the music arrangers for the popular TV series, Australian Idol.
Mark's musical arrangement credits include The Voice (2012), Carols by Candlelight, NSW Schools Spectacular (2005 & 2006), Dusty – The Musical, Oh What A Night, Priscilla – Queen Of The Desert, Brisbane School Spectacular (2006) and Rotary International.
In August 2010, Mark released his debut CD, TEXTURES featuring eight of his original compositions and a stellar jazz-fusion ensemble. This recording was the Featured Album on the ABC Jazz radio network during November that year and still continues to receive regular airplay.
Mark holds a MMus in Composition and is currently a PhD candidate in Composition at the Sydney Conservatorium Of Music. Mark is also an online instructor for the Berklee College of Music in Boston, USA and has lectured in most of the major universities across Sydney including the Sydney Conservatorium of Music and the Australian Institute of Music.
Simon returns THE MUSIC OF QUEEN after completing the 2016 Australian tour of WE WILL ROCK YOU and a preceding eight-month stint with the WE WILL ROCK YOU "Anthem Of the Seas" Royal Caribbean production, performing with an International cast and band where he was the featured guitarist. Prior to that in 2013 Simon toured with the WE WILL ROCK YOU European Arena touring company as well as two hugely successful WE WILL ROCK YOU tours of the UK and Denmark in 2009 and 2011. At the conclusion of the 2009 UK tour Simon performed live on television with Brian May and Roger Taylor from Queen on Dublin's very popular "The Late Late Show".
In 2003 Simon successfully auditioned for Brian May and Roger Taylor from Queen for the Original Australian Production of WE WILL ROCK YOU. Simon then went on to tour with this Production from 2003-2006. Which took in Australia and then Japan on two occasions. This led to him being asked to return to Japan in 2007 to hold guitar clinics in conjunction with the official launch of the Brian May model guitar in Tokyo.
Simon is also an extremely busy guitar teacher, session player and gigging musician and can seen playing every week around Melbourne in one of his five bands! A guitar instructional package was released in 2008 featuring Simon called "Simply Electric Guitar" and has sold more than 50,000 units Worldwide.
Simon was the featured guitarist with a project called "Queen Rocks" with Orchestra Victoria at the Crown Casino in Melbourne in 2007. When told about these shows Brian May is quoted saying "the Bohemian Rhapsody guitar solo could not be in safer hands than Simon Croft".
Simon previously played with the Australian premiere production The Music of Queen with the Sydney Symphony Orchestra at the Sydney Opera House in 2014 and then went on to performances in Perth.
Simon is endorsed by, Ulbrick Sound custom guitar amplifiers, Live Line (The Sound of Perfection) guitar straps & Stage cables & also most Recently, Dunlop Guitar Strings and Picks'.
Winner of the 2011 'Young Australian Jazz Artist of the Year' (Australian Jazz 'Bell' Awards) and the 2011 'Jazz Work of the Year' (APRA/AMC Art Music Awards), Johannes Luebbers has emerged as one of Australia's most interesting young composers.
Graduating from the West Australian Academy of Performing Arts (WAAPA) in 2006, Johannes studied arranging with Graeme Lyall, piano with Graham Wood and Tom O'Halloran and was awarded the 'Bob Wylie Scholarship' for the most outstanding graduate. Throughout his career he has been the recipient of numerous other awards including the 2009 'Youth Arts West Australian Citizen of the Year', 2009 'Best Australian Jazz Composition of the Year' (Bell Awards), 2008 'Jazz Song of the Year' (WA Music Industry Awards) and the 2006 'APRA Professional Development Award' for jazz. He has also released two albums with his own award winning ensemble, the Johannes Luebbers Dectet (JLD).
In addition to his work with the JLD, Johannes has written music for the Tasmanian Symphony (with Kate Miller-Heidke and Missy Higgins), Orchestra Victoria (with Sinead O'Connor and Dan Sultan), the WA Symphony Orchestra (The Panics and Jay Laga'aia), the Australian Rock Symphony (with the Baby Animals and The Divinyls), the Logie Awards, Mark Vincent (2009 Australia's Got Talent winner), the WA Youth Orchestra, the WA Youth Jazz Orchestra and 'Decibel' new music ensemble. He has also performed his original work at the Wangaratta Jazz Festival, the York Jazz Festival and was a featured performer at the 2011 APRA/AMC Art Music Awards. In 2012 Johannes composed the music for new music theatre production 'Melba', which will have its professional premiere at the Hayes Theatre in Sydney 2017.
Johannes is a lecturer in jazz and popular music at the Sir Zelman Cowen School of Music, at Monash University in Melbourne.
Andrew Swann's association with Queen began in 2003 when he was hand-picked by Roger Taylor and Brian May to play drums for the original production of We Will Rock You in Australia and Japan where he went on to perform in over 1000 shows.
Swann's music career began as a session freelance drummer working in Australia and internationally with many well-known artists, culminating in 2005 with the release of his first solo album "The Braves", an all-original country/jazz brew, Swann wrote, produced, engineered and laid down vocals, drums, guitars, piano and harps in his home studio.
"The Braves" was nominated for 2006 Album of the year in the USA Independent Music Awards with reviewers stating, "Sitting between Tony Joe White, Tom Waits or perhaps Steve Earl, Randy Newman, Dr John. Swann's music contains an authenticity only a true believer can deliver" Drum Media and "**** A startling talent", Melbourne Herald Sun. Brian May chipped in with a personal note, "Swanny you rock, Dig The Braves".
Over the past 20 years Swann has performed his eclectic mix of blues and jazz in the USA, Australia, Japan, China, UK and at many of Europe's music festivals including Germany, Switzerland, Netherlands, Finland, Denmark and Sweden.
Swann lives in NYC and is touring his latest release "11th street shakedown" in the US and Europe this summer.
© 2016 Asia Theatricals Pty Ltd. All rights reserved.


Icebox Planet Smoothie : It will take you just one weekend to build this ultimate workbench plan. It has a large top, uses common lumber dimensions, and is built to last a lifetime.Learn how to build a door using the traditional cope and stick joint. This joint has been around for a long time and is easy to produce with hand or power tools. This download will teach you how to prepare the stock and machine the joinery, and show you how to build a door that will last.The Family Handyman has another free workbench plan for you, and this one is perfect for the garage. The finished workbench includes drawers and a shelf as well as a top that folds out for extra workspace.Here's a set of storage cabinet plans that will help you organize all those tools that are always lying on your saw's out feed table. This isn't just a tool cabinet, it's also a table saw stand and a router table! It's got built-in dust collection, too! Check out these plans and build a cabinet you'll use every time you work in the shop.This project is a great way to share your passion for woodworking with the whole family. I have also used this project in my classroom as a way to grow students confidence in their abilities to adjust their handplanes.
Icebox Planet Smoothie Where to Buy Oreo Cool Whip Mix-Ins | POPSUGAR FoodLadies and gentlemen, I have three words that just might make your sweet tooth do a happy dance: Oreo Cool Whip. Yup, it exists now, and it looks fan-freakin'-tastic, y'all. I mean, did you expect . lemon blueberry muffin recipe-so soft, moist, light and This lemon blueberry muffin recipe with thousands of berries hidden inside are so light, moist, flavorful, fluffy, easy to bake and so good to be true.. 10 Foods You Should Never Buy in Bulk | Eat This Not ThatA study in the International Journal of Consumer Studies found that low-income households waste more food than middle-income homes, due in part to bulk buying. It typically goes like this: We see something that's a better value when bought in bulk, we get bored stiff of it, and by the time we can stomach the idea of digging back into the pile, it's either gone bad or lost its flavor or . Wi-Fi-FreeSpot Directory - locations that offer Free Wi-Fi.Wi-Fi-FreeSpot Directory - locations that offer Free Wi-Fi. Every attempt is made to keep this Directory accurate. If you want to Add or Remove a Free Wi-Fi location please fill out the Form. Read the Interesting Faqs to learn more about using Wi-Fi-FreeSpots.. United States - Florida. Check the Panera Bread site for an updated listing of Florida locations with Free Wi-Fi.. Buy Camping Equipment & Outdoor Gear Online - Free Camping. If you've got the open road on your mind, or you're dreaming of escaping the hustle and bustle of the city – grab your nearest and dearest, pack your tent, caravan or camper trailer, and go camping!. Amazon.com: Grocery & Gourmet FoodOnline shopping from a great selection at Grocery & Gourmet Food Store.. Weight loss, nutrition, and healthy diet advice | FooducateThe nutrition supplement industry has done an amazing job convincing people to buy its products. With an annual revenue of over 25 billion dollars, the industry has likely gotten you to buy at least one bottle of pills, if not more.. Oprah.comThe place for everything in Oprah's world. Get health, beauty, recipes, money, decorating and relationship advice to live your best life on Oprah.com. The Oprah Show, O magazine, Oprah Radio, Angel Network, Harpo Films and Oprah's Book Club.. Mystery Lovers' KitchenYou can search our blog archive by ingredient or key words. Simply type your search term into the "Search This Blog" window above. For example: Chicken, Chocolate, Cookies, Potatoes, Appetizers, Desserts, Dinner, Side Dishes, etc . GigaNotoSaurusFor six years, opening the GigaNotoSaurus submissions inbox and beginning the hunt for the next gem has been a highlight of my week. But it's time to start a new adventure..


We think of First Christian Church in Mesquite as a family. A place to be loved and encouraged by people who share our desire for genuine friendships and a closer relationship with God. Whatever your reason for checking out First Christian Church we count it a privilege to answer any questions you may have and share ways you can engage in the life and ministries of this church! If you can't find the information you're looking for on this website, please use the "Contact Us" above.
We hope you will join us for our Worship Service this weekend: Sunday at 10:45 a.m. or for some very practical Sunday Bible Classes for all ages at 9:30 a.m.
Be encouraged to "come as you are" as you seek answers, comfort and encouragement.


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The Women's Foundation of Colorado Awarded $1 Million Grant from the Colorado Health Foundation to Support Strategic Plan, Bolster Infrastructure
Taryn Fort
tfort@coloradohealth.org
Reaching economic security ensures better health outcomes for Colorado women and families
DENVER, CO – The Women's Foundation of Colorado (WFCO) is thrilled to announce that the Colorado Health Foundation has awarded it a $1 million grant to support the remaining four years of its 2017-2021 strategic plan. With the grant, WFCO will enhance operations to strengthen infrastructure and leverage philanthropy to broaden its statewide reach, deepen its impact, and affirm its role as an anchor institution for the economic advancement of Colorado women and their families.
WFCO is the only statewide community foundation focused on catalyzing community to build more pathways to economic security for Colorado women. While Colorado's economy thrives, too many women are not: In 2018, not only are women still more likely to be impoverished, they earn less than men at every level of education and are more likely to suffer poor health.
"When we open opportunities for women to thrive economically there are positive ripple effects for children, families, communities, and entire economies," said Lauren Y. Casteel, president and CEO of The Women's Foundation of Colorado. "Economic status is a leading determinant of physical, mental, and behavioral health. Women experience incredible stress when they work hard but are unable to meet their families' needs. Our goal is to help all Colorado women achieve economic security, which leads to better health outcomes for them and their families."
More than 260,000 Colorado women live in poverty and hundreds of thousands more live on an economic edge, in which one unanticipated expense can send them spiraling into financial turmoil. And although unemployment is historically low, wages are stagnant. According to WFCO grantee partner Bell Policy Center, when adjusted for inflation, average weekly wages have only risen $33 since 2000.
"The headlines suggest that Coloradans are flourishing financially, but as cost of living soars, many women are struggling to grow their own wages. Additionally, substantial pay disparities persist for women of color," said Casteel. "We are thrilled with the Colorado Health Foundation's belief in the importance of our work and generous support to help WFCO advance economic progress for all women in our state."
In 2017, WFCO formed WAGES (Women Achieving Greater Economic Security), a programmatic body of work to advance equity through research, public policy, and direct-service grantmaking. Informed by the insights of nearly 1,300 Coloradans, WAGES helps women reach economic security by increasing access to education, job training, equal pay, paid family leave, and affordable high-quality child care.
"We believe that investing in WFCO's strategic plan and bolstering its infrastructure for the future will bring health in reach for more Coloradans across the state. Policies such as paid family leave are not only economic issues – they are health issues," said Karen McNeil-Miller, president and CEO of the Colorado Health Foundation. "Systemic change takes time and it's critical that WFCO has the resources it needs to continue pursuing gender equity in our state. We hope our grant inspires individuals, foundations, and corporations to generously fund the ongoing, essential statewide work of WFCO."
The Colorado Health Foundation's $1 million grant is the second grant WFCO has received in two years from leading philanthropic organizations to support its statewide work. In 2017, Women's Funding Network awarded WFCO $150,000 for up to three years to shape public policy that will help break intergenerational cycles of poverty by addressing the needs of caregivers and their children at the same time.
About The Women's Foundation of Colorado
WFCO is a unique community foundation creating more pathways to prosperity for Colorado women through the power of community, philanthropy, and impact. Since 1987, more than 70,000 individual gifts have helped WFCO fund more than 30 research reports, pass nearly 50 pieces of legislation, and grant more than $18 million to nonprofits in communities statewide. Visit www.wfco.org for more information about our communities of giving, including donor-advised funds, Power of Extended Philanthropy, Empowerment Council, Women Will, Dads for Daughters, and more.
About the Colorado Health Foundation
The Colorado Health Foundation is bringing health in reach for all Coloradans by engaging closely with communities across the state through investing, policy advocacy, learning and capacity building. For more information, please visit www.coloradohealth.org.
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It's not the Eastern Connecticut Conference record 2,572 yards that Ledyard senior running back Alex Manwaring will remember most about his 2011 season, nor is it the 23 touchdowns he scored.
What he will remember most is the 379 carries he had for the Colonels this season.
"That was a staggering number," Manwaring said.
Manwaring was powerful, but not explosive; elusive, but not quick; and above all, durable this season, and Ledyard coach Jim Buonocore made the most of Manwaring's talents. Buonocore said that was what he thought he had to do if the Colonels were to succeed.
As a junior, Manwaring rushed for 1,139 yards despite playing in seven games after he suffered a bad knee sprain and stretched ligaments against Montville. It was the first season Manwaring, who sees himself more as a wrestler, truly committed to playing football.
"I knew I was going to play a pretty big role. I wasn't sure it was going to be that big," Manwaring said.
Buonocore gave Manwaring only three carries in Ledyard's first preseason game, eight in the second and 10 in the third. Manwaring, 5-foot-8 and 168 pounds, got antsy.
"I told him to be patient and when Sept. 16 got here (Ledyard's opener versus Killingly), those numbers would increase dramatically," Buonocore said.
Manwaring carried the ball 29 times against the Redmen and only finished a game with fewer than 20 carries twice this season. He had 48 carries in a 15-7 win over Waterford.
"All we ran was power, over and over again," Manwaring said.
He finished with 116 yards in Ledyard's state championship loss to Ansonia, a game, he said, in which he didn't do what made him successful all season: Be patient and let the game come to him.
At 5-foot-8, 168 pounds, Manwaring doesn't jump off the charts. His speed and size don't leave college coaches "in awe," according to Buonocore. His statistics certainly draw attention to him.
For that reason, Buonocore feels Manwaring can and will play in college, something the senior hopes to. His first choice is Trinity College in Hartford, although he has not committed to it. He also has been talking to Oberlin College, Worcester Polytechnic Institute and Stonehill and several other Division III schools also have expressed interest.


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Czech Government Fears Muslim "Super-Holocaust", Urges Citizens To Shoot Them Yourselves
On the heels of Czech President Milos Zeman's warnings of a possible "super-Holocaust" carried out by Muslim terrorists, urging citizens to arm themselves, WaPo reports the country's interior ministry is pushing a constitutional change that would let citizens use guns against terrorists if police are delayed or unable to make their way to the scene of an attack.
Czech president Milos Zeman had previously proposed that economic migrants should be deported from Europe to "uninhabited Greek islands" or to "empty places" in North Africa. The spectacularly incredible president also proposed that the Greek debt should be progressively reduced in return for shouldering the cost of hosting hundreds of thousands economic migrants.
"We are in Greece, and Greece has plenty of uninhabited islands, and big foreign debt. So if you have 'hotspots' in Greek islands, this would be a sort of payment of foreign debt," Zeman told Financial Times in an interview on the islands of Rhodes where he participated in the Rhodes Forum.
As The Guardian previously noted, the Czech president has unleashed a rhetorical fusillade against Muslim incomers of such intensity that it makes the anti-Islamic sentiments of Robert Fico, the Slovakian prime minister, and even Viktor Orbán, Hungary's prime minister, seem mild in comparison.
Zeman has warned that the Czech Republic – home to fewer than 4,000 Muslims out of a population of 10.5 million, according to official figures – could be targeted in a jihadi attack and urged Czechs to arm themselves against what he referred to as a possible "super-Holocaust." The concern is believed to have prompted the unprecedented introduction of metal detectors to screen the crowds of foreign tourists that visit Prague castle each day.
The alarmist message is particularly striking because unlike most anti-immigrant politicians in western Europe, Zeman, 71, is a social democrat (and former communist) rather than a rightwinger, and the Czech Republic has been largely spared the waves of refugees that have swept into neighbouring Austria and Hungary en route to Germany.
But now, as The Washington Post reports, the rhetoric is getting even louder as the country's interior ministry is pushing a constitutional change that would let citizens use guns against terrorists.
Proponents say this could save lives if an attack occurs and police are delayed or unable to make their way to the scene. To become law, Parliament must approve the proposal; they'll vote in the coming months.
The Czech Republic already has some of the most lenient gun policies in Europe. It's home to about 800,000 registered firearms and 300,000 people with gun licenses. Obtaining a weapon is relatively easy: Residents must be 21, pass a gun knowledge check and have no criminal record. By law, Czechs can use their weapons to protect their property or when in danger, although they need to prove they faced a real threat.
This puts the country at odds with much of Europe, which has long supported much more stringent gun-control measures. In the wake of the 2015 terror attacks in Paris, France pushed the European Union to enact even tougher policies. The European Commission's initial proposal called for a complete ban on the sale of weapons like Kalashnikovs or AR-15s that are intended primarily for military use. Ammunition magazines would be limited to 20 rounds or less.
The Czech Republic came out hard against the directive. Officials warned — somewhat ominously — that the measure would limit the country's ability to build "an internal security system" and make it nearly impossible to train army reservists. And a total ban on military-style rifles that can fire large numbers of rounds would make illegal thousands of weapons already owned by Czech citizens, potentially creating a black market for terrorists to exploit.
Of course, the populist rhetoric may be the driving force behind this bill, as for now the Czech republic is the only country to oppose the EU's directive for being too strict.
This is not the first 'extreme' move by Czech politicians with regard refugees/muslims/terrorists, as we noted previously, police in the Czech Republic are investigating comments made on Facebook by an extremist politician calling for refugees to be placed in Terezin, the former Nazi concentration camp.
Adam Bartos, the leader of the fringe yet vocal far-right nationalist National Democracy Party, published the comments about the site, located in the central European country, on Monday.
Reacting to the establishment of a refugee camp near the country's border with Slovakia, Bartos wrote, "Why build tent camps for the aliens? We have the beautiful fortress town of Terezin where the aliens could concentrate before they are taken home by trains."
A police spokeswoman told the Czech News Agency on Monday that the police will probe whether or not the comments constitute a criminal act. According to Czech law, hate speech and comments inciting national, racial or religious hatred can carry penalties of up to three years in prison.
Bartos is under investigation for four incidents involving allegedly racist, anti-Semitic and violence-inciting remarks. He also keeps a blog titled Hall of Jewish Fame that critics say lists politicians, journalists and other public figures of supposedly Jewish origin.
Bartos' party failed to gain seats in the European elections last year, the only campaign it has run in under his leadership.
Terezin, also known as Theresienstadt in German, is located some 40 miles northwest of Prague.
The town was turned into a concentration and transit camp by the Nazis in 1941. Roughly 144,000 Jewish people were sent there during the Holocaust, most of whom were later transported to extermination camps in occupied Poland. Some 33,000 died in the Terezin camp.


After Jesus left the girl's home [he had just raised her from the dead], two blind men followed along behind him, shouting, "Son of David, have mercy on us!" They went right into the house where he was staying, and Jesus asked them, "Do you believe I can make you see?" "Yes, Lord," they told him, "we do." Then he touched their eyes and said, "Because of your faith, it will happen." And suddenly they could see!
They had a problem = they couldn't see. This affected their entire lives!
They had heard about Jesus and what He had been doing so they took a chance and asked Him to heal them.
They said, "YES! We REALLY believe!" And then it happened… he touched their eyes and said, "Because of your faith, it will happen." And suddenly they could see!
Here's the question that comes from this story, if you got what your faith deserved, what would you get? If you got everything that you are trusting God for, how different would your life be now?
Recently I read a great book that will challenge your faith and give you biblical guidance on how to strengthen your faith. It is written by a local pastor, Steven Furtick and it is called, Sun Stand Still. If you are struggling with faith I encourage you to buy and prayerfully read this book along with the Scriptures that you are reading daily!


The Royal College of General Practitioners (RCGP) has published a manifesto outlining recommendations for ensuring future high quality patient care.
The report, Leading the Way: High Quality Care For All Through General Practice, contains proposals the RCGP says are "designed to produce a healthier society and promote healthier lifestyles" regardless of which political party wins the general election.
Longer consultation times and longer GP training are the key recommendations within the manifesto, which is split into: High-quality GP care for all; Care for patients closer to home; and Improving the health of the nation.
· Better services for socially excluded groups.
Professor Steve Field, RCGP chairman, said: "Our health service faces a huge challenge: how to respond to reduced funding without reducing the quality of the services we provide, or the quality of the care our patients deserve. The RCGP is up for the challenge and is already leading the way in showing how high-quality, cost effective care can be available to all, based on clinical need and not an individual's ability to pay."