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What does assassination of Russian ambassador in Turkey mean for Moscow-Ankara ties?
Relations had been fraught in the past but nations had cooperated over Syria.
By Brendan Cole
Updated December 20, 2016 09:28 GMT
Russian ambassador to Turkey Andrey Karlov killed by assassin	IBTimes UK
The assassination of Russian ambassador Andrey Karlov was immediately condemned by the international community but attention quickly turned to what it will mean for relations between Moscow and Ankara.
Turkey's interior minister, Suleyman Soylu, said the killer was Mevlut Mert Alintas, 22, who had been working for the riot police squad in the capital for the past two-and-a-half years.
Russian Ambassador to Turkey Andrei Karlov accompanies Russian President Vladimir Putin (not seen) at Ataturk airport in Istanbul, Turkey, 10 October 2016. Reuters
Vladimir Putin (R) and Turkish President Tayyip Erdogan in Moscow in September 2015. REUTERS/Ivan Sekretarev/Pool
Russian ambassador to Turkey Andrey Karlov killed by assassin who shouted 'Don't forget Aleppo!'
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The US State Department is warning its citizens to steer clear of the American embassy in Ankara which is located about 4km from the Cer Modern gallery where the killing of Karlov took place, referring to an "ongoing security incident".
Russian foreign ministry spokesperson, Maria Zakharova said: "It's a tragic day in the history of our country and Russian diplomacy.
"Ambassador Karlov has made a lot of personal contributions to the development of ties with Turkey. He has done a lot to overcome a crisis in bilateral relations. He was a man who put his heart and his soul into his job. It's a terrible loss for us and also the world."
US Secretary of State, John Kerry called the killing a "despicable attack" which was "an assault on the right of all diplomats to safely and securely advance and represent their nations around the world".
Damascus called the attack "terrorist and cowardly" as ties between Ankara and Moscow were put under the spotlight, given their importance in the Syrian civil war.
Relations had been fraught in the past, especially after the shooting down by Ankara of a Russian plane in 2015, but their cooperation in Syria helped pave the way for an agreement in the Turkish capital to evacuate the Syrian opposition from Aleppo.
The reaction from Moscow has been measured so far, with the head of the Russian government's international affairs committee saying: "There will be no fresh cooling in relations between Moscow and Ankara, no matter how strongly our strategic opponents in Ankara and the West want this.
"This is not going to happen. There are differences between us. It's a horrendous tragedy, but relations between our states will not suffer."
Meanwhile, the former British ambassador to Russia, Sir Tony Brenton, told Sky News he expects ties between the countries to actually strengthen.
"The Turks have responded exactly right. They have killed the killer, Erdogan has been on the phone to Putin ... and it will reaffirm the Russian view of the enemy they are dealing with," he said.
"This man, some of the language he used smacked of Islamism, smacked of links with the so-called Nusra front. They will see the enemy they are dealing with in Syria as being Islamist and terrorist, and it will reinforce the determination to deal with it vigorously".
The global intelligence analysis company Stratfor said that attack will strain ties but will not rupture them.
"Moscow will lean heavily on Ankara for intelligence-sharing and will demand more autonomy in protecting its assets," it said.
"Yet neither country is keen to backtrack on the economic and diplomatic progress made over the past year. And now that Turkish forces are active deep within Syria, Ankara needs to maintain a working relationship with Moscow now more than ever."
Despite the killing, talks will go ahead in Moscow on Tuesday (20 December) to discuss Syria involving Iranian, Russian and Turkish foreign ministers.
The gunman has been identified as 22-year-old riot police officer, Mevlut Mert Altintas Hasim Kilic/Hurriyet
Related topics : Russia Turkey Moscow

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Following their hugely successful adaptation of David Walliams' Awful Auntie earlier this year, the acclaimed Birmingham Stage Company return to the Belgrade Theatre for the second time this season with the latest chapter in their Horrible Histories series.
Running in Coventry 30 May-2 June, Horrible Histories: More Best of Barmy Britain promises a gag-filled gallop through history, looking back at all the gruesome, gory stories from our country's colourful past. Ahead of the show, Birmingham Stage Company founder, actor and manager Neal Foster tells us more about his work during the company's own 25-year history.
Why and how did you form Birmingham Stage Company?
I started my theatre company when I was nineteen but I wanted to do a variety of work and I realised that as an independent company you have to have a specific identity. Cheek by Jowl does Shakespeare adaptations, Shared Experience does adaptations, etc., but I wanted to do Chekhov and children's theatre and new plays and the only way you can produce such a variety of work is to have a venue. So for six months I looked up and down the country for a theatre in which to house my company and it was only by chance that I found The Old Rep Theatre in Birmingham, my home town.
It took twelve months to get the council to let me base my company at the theatre before we started in 1992, so we celebrated our 25th anniversary in 2017. Our first Christmas show was Fantastic Mr Fox by Roald Dahl and that was what started our long association with this great writer. Fantastic Mr Fox was the first professional Christmas show at the Old Rep for twenty years and yet 17,500 people came to see it, which proved that there was a big demand for high quality children's theatre. This has proved true during our tours all over the UK ever since.
Why do you enjoy producing children's theatre?
I love children and I love children's writing. A lot of children's writing has really interesting characters. The writing and the characters are very challenging and so too are the audiences. Whereas adults go to sleep if they are bored, children will quickly let you know if they lose interest. Keeping that interest and keeping them engaged is difficult but very rewarding because they are so giving as an audience.
They often respond in a way that you don't anticipate and you never cease to underestimate their sophistication and what they will find interesting. You can never guess what direction they will want to go in when you tell the story. That is why children's theatre is so exciting.
How did you come to get involved with doing Horrible Histories on stage?
One day we were all sitting in the office thinking what we should do next and my Education Director said "What about Horrible Histories?" I thought it was a great idea so I looked up Terry Deary on the internet and gave him a call. He was delighted and that's all it took – just one phone call! The rest is Horrible history!
BSC have passed their 25th year milestone, where would you like to see yourself after the next 25 years?
I'd like the next two decades to continue to give me the same opportunities to work with great writing and great people in really good theatres with fantastic actors. It is less about getting bigger and more about making sure you are still excited about what you are doing.
We produced five different Christmas shows a couple of years ago and that is probably as much as I'd ever want to do at one time. I don't want to end up running a bigger operation because then I would end up being a manager and supervising a lot of people and getting them to do creative things whereas I like to be at the heart of the creative process. There are only four of us in the office and I want to keep it that way.
Over the last 25 years are there are any shows which really stand out for you?
We have been extremely lucky because I'd say we've been involved with something amazing every year since we started. So if I named highlights there would probably be twenty shows!
But our productions of David Almond's Skellig going to New York and our adaptation of Rudyard Kipling's The Jungle Book have been very important for us. We did Philip Pullman's The Firework-Maker's Daughter recently and it has been very special working with Michael Morpurgo on two shows – Kensuke's Kingdom and Why the Whales Came. Horrible Histories has given us the longest running children's show in West End history with Barmy Britain and a couple of years ago we performed it at The Sydney Opera House & did so well they invited us back twice more. For adults my particular highlights would include our productions of The Dice House, Cat on a Hot Tin Roof and Proof.
You are increasingly taking BSC shows abroad – is that an area you would like to see develop?
Our international work is growing because we are being invited to travel to different countries across the world. More and more people are contacting us and asking for our shows. The list so far includes New York, Dubai, Abu Dhabi, Bahrain, Syria, Malta, Hong Kong, Singapore and Australia. Hopefully more to come!
Horrible Histories: More Best of Barmy Britain runs at the Belgrade Theatre, Coventry from Wednesday 30 May until Saturday 2 June.
Tickets are available to book now by calling the box office on 024 7655 3055, or visiting www.belgrade.co.uk where prices are even cheaper.


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Update: Bishop Malone will not resign, calls recent case 'convoluted'
Posted on September 5, 2019	by Administrator1
Bishop Richard J. Malone of Buffalo, N.Y., is seen at the headquarters of U.S. Conference of Catholic Bishops in Washington Jan. 17, 2018. (CNS photo/Tyler Orsburn)
BUFFALO, N.Y. (CNS) — Bishop Richard J. Malone of Buffalo said the majority of priests and parishioners in the diocese supported him and he would not resign over his handling of a situation involving two priests' relationship with a seminarian.
"I'm here because I feel an obligation as the one who was sent here to lead this diocese, to carry on, and once again, if I thought the majority of Catholic people in particular were calling for my resignation, that would be a different story," Bishop Malone said during Sept. 4 news conference in Buffalo.
"But I don't feel that. I go out to parishes and schools all the time for visits. I am always well received when I go … I do feel enough support, honestly to continue on," he told reporters gathered at the rectory of St. Joseph's Cathedral.
Bishop Malone called the news conference to discuss a letter from Father Ryszard Biernat to a seminarian, Matthew Bojanowski, and allegations by Bojanowski that another priest, Father Jeffrey Nowak, harassed him.
Father Biernat began a leave of absence from his position as the bishop's priest secretary Aug. 14. He had been in his position since 2013.
In a recording obtained from Father Biernat by WKBW-TV, Bishop Malone is heard saying that he feared having to resign over what he called a "love triangle" involving priests and a seminarian.
Bishop Malone also expressed concern to Biernat that "this could be the end for me as bishop" if the news media learned about the situation involving the three men and called the situation he was facing "a true crisis."
The television station posted a transcript of the recording on its website.
The beleaguered bishop has faced questions about how he has handled allegations of abuse against diocesan priests for more than a year.
Bojanowski, who has withdrawn from Christ the King Seminary in suburban Aurora, said he first notified Bishop Malone in November 2018 of the allegation against Father Nowak. The diocese announced in an Aug. 28 statement that Father Nowak had been placed on administrative leave.
During the news conference, Bishop Malone said he thought the conversation with Father Biernat was confidential and expressed concern that the recording was made public.
The bishop also defended his handling of what he described as "a very complex, convoluted matter."
He said Father Nowak had not been accused of engaging in sexual contact with an adult or child and that the diocese was unaware of any activity that endangered parishioners or the public. He said he placed Father Nowak on leave when the priest refused to seek a behavioral assessment at St. Luke Institute, which serves priests, deacons and consecrated religious.
The situation involving the two priests and the former seminarian has its roots in a July 2016 letter from Father Biernat to Bojanowski in which he discusses his love for the student. Father Nowak photographed the letter without Father Bojanowski's permission, the Buffalo News reported.
Bishop Malone explained that the two priests had been friends and that Father Nowak had mentored Bojanowski as he discerned a vocation to the priesthood. After Bojanowski met Biernat, he began spending more time with him.
"Matthew's relationship with Father Nowak cooled you might say, and this was disturbing to Father Nowak," the bishop explained. "Father Nowak secretly photographed the letter he found in Matthew's apartment in Boston, when he was there. This was several years ago."
The bishop called the content of the letter "a bit concerning" and said he "suggested that Father Ryszard should go on a personal leave of absence."
The newspaper said the letter suggested that Father Biernat and Bojanowski were involved in a romantic relationship. However, Bishop Malone said he was "not aware at this time of an allegations of sexual impropriety between Father Ryszard and Matthew."
Attorney Barry N. Covert, representing Father Biernat and Bojanowski, told the newspaper that Bishop Malone was trying to distract people from his failure to remove Father Nowak in a timely manner.
"There's not love triangle," Covert said. "That's a complete deflection."
Copyright ©2019 Catholic News Service / U.S. Conference of Catholic Bishops. Send questions about this site to cns@catholicnews.com
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Q: dns resolve for 2 IPs with same reference We having following situations:
On a server, we have to set 2 IPs which will be refereed to the same fqdn.
in the application which is running on the server, we are configuring the FQDN. Once there is problem with access to one IP (based on the FQDN), the server will use the second IP assigned to the same FQDN:
example:
/etc/hosts will contain
1.1.1.1 server1.google.com
1.1.2.1 server1.google.com

once there is problem to access to 1.1.1.1, the server will use the server1.google.com as 1.1.2.1
Can we use such a thing? Is there some other option?

A: /etc/hosts will not round-robin. It just returns the first match it finds.
If you want round-robin resolution, you'll need a full DNS server doing it.
Furthermore, round-robin DNS is not a good tool for load-balancing, which is what you want. As convenient as it seems, name resolution is not the layer for doing what you're trying to do.

A: If don't want or cannot change your application, you will have to put a load-balancing layer somewhere in between the server running the application and two servers you want to connect. This will allow to :

*

*keep using the same DNS name and even same IP address (the load-balancer will create a virtual IP)

*be directed to all the servers in turn

*avoid to connect to any server that would disappear in case of problem

*allow authentication session to be kept with the same destination, if necessary

For load-balancing solutions, you may have a look to the Linux LVS project.
You can change also your application, if this is supported, to give both IP in any connect string. The first IP will be used and if it is not responding, the second one will be. But this depends a lot on the language used to build the application. E.g. this is possible with Java Database connector.

redpajama_set_name: RedPajamaStackExchange


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About / News
No One Surprised 2021 One of the Hottest Years on Record—and That's Terrifying
Statement by Dr. Kristina Dahl at the Union of Concerned Scientists
Ashley Siefert Nunes
Climate and Energy Media Manager
Climate, International Climate Negotiations, Corporate Accountability
WASHINGTON—The U.S. government agencies NASA and NOAA released their latest scientific data on 2021 climate change trends, including how the global average temperature compares to that of years past. According to NASA and NOAA, 2021 was the sixth warmest year on record globally. This data continues a long-term trend that saw the previous eight years ranking as the eight warmest recorded.
Below is a statement by Dr. Kristina Dahl, a senior climate scientist at the Union of Concerned Scientists (UCS).
"What terrifies me about the latest data showing 2021 ranks as the sixth hottest year on record is that these facts and figures are no longer surprising or shocking. Rising temperatures are already triggering dire impacts worldwide and will only worsen as the planet warms. Scientific research shows the deadly 2021 Pacific Northwest heatwave, for example, would've been virtually impossible without climate change. It's time for policymakers to take decisive actions and pass policies that sharply rein in heat-trapping emissions, such as the Build Back Better Act. Failure to act together with the global community will all but ensure more devastating impacts and even irreversible climate tipping points. In 2022, we need bold leaders who prioritize the well-being of people and the planet, not incrementalism or regression from those beholden to the fossil fuel industry."
A UCS study was also published today in the peer-reviewed journal Elementa. It found that between now and 2065, climate change is projected to quadruple U.S. outdoor workers' exposure to hazardous heat conditions, jeopardizing their health and placing up to $55.4 billion of their earnings at risk annually if no action is taken to reduce global warming emissions. This analysis was previously released on a preprint server in August.
In addition to Dr. Dahl, UCS has the following experts on staff who can discuss this and other scientific findings from the latest 2021 NASA and NOAA data, as well as their significance nationally and globally:
Dr. Rachel Cleetus, the policy director and lead economist for the Climate and Energy Program at UCS. She is based in Cambridge, Massachusetts. Click here for her biography.
Dr. Juan Declet-Barreto, a senior social scientist for climate vulnerability at UCS. He is available for interviews in English and Spanish. Dr. Declet-Barreto is based in Washington, D.C. Click here for his biography.
Dr. Brenda Ekwurzel, the director of climate science and a senior climate scientist at UCS. She is also a co-author of the Fourth U.S. National Climate Assessment. Dr. Ekwurzel is based in Washington D.C. Click here for her biography.
Dr. Rachel Licker, a senior climate scientist at UCS. She is based in Madison, Wisconsin. Click here for her biography.
Erika Spanger-Siegfried, the director of strategic climate analytics at UCS. She is based in Cambridge, Massachusetts. Click here for her biography.
Shana Udvardy, a climate resilience analyst at UCS. She is based in Washington, D.C. Click here to view her biography.
To interview a UCS expert, please contact UCS Climate and Energy Media Manager Ashley Siefert Nunes.


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The Flashback Interview: Helene Udy
by Johnny Caps
in Articles, Film, Horror, Interviews, Music, Television
My next interview subject, Helene Udy, is a very versatile performer. From her start as an actress in cult classics like My Bloody Valentine and The Dead Zone to her popular Los Angeles revue Was Ist Das? to directing and writing screenplays to working on aerial silks and in miming, Helene Udy has done quite a lot of things, and she has some great stories to tell. We talked on Monday, April 15th, and I hope you all enjoy getting to know her.
Say hello to Helene Udy!
Johnny: I'll get into specific credits in the following questions, but to start off with, many of your early films were made in Canada, so what would you say is the biggest difference between the United States and Canada when it comes to film-making?
Helene: Well, at the time I was filming in Canada, the Canadian film industry was just experiencing a real surge of activity because the Canadian government was investing money in it. This gave opportunity and budget to a lot of young and creative burgeoning filmmakers. I remember the level of excitement about being on a set and working on a set that everybody, from the P.A to the catering to the actors, was experiencing a sense of gratitude at the opportunity we all felt we were being given. Americans had been making movies for a long time, not that Canadians hadn't, but generally speaking, the film industry grew exponentially at that time and those of us involved felt we were building something meaningful form the ground up, and that was exciting to us. The excitement of an American movie set on the same budget would be far less, and so I really appreciate those years when I was in Canadian movies because I was young enough to really feel grateful, and feel like I was on an adventure that was just exceptional. I didn't take it for granted, and no one around me did. Now, in the States, I often do independent movies that are funded by the filmmakers, and I find that those projects carry the same level of excitement. Even though they're not well-funded, it does end up being a bunch of people getting together to create something that they all believe in, and I really think that reminds me of the early Canadian film boom days, where I started. I really cherish that. I'm all about the American independent film scene for that reason. It is inspiring to bereally trying to help young filmmakers get somewhere, and to be participating in a group effort. That's exciting, so I guess that's the difference between the two industries .
Johnny: Alright. Pinball Summer was a very fun comedy, and apparently it's one of Quentin Tarantino's favorite movies, so what are your favorite memories of filming Pinball Summer, or Pick-Up Summer, as it's called in some markets?
Helene: Yeah. Pinball Summer was my first feature film, and I was a teenager. I just remember sitting in a dressing room with all of my costars one afternoon, waiting for a shot to be announced and waiting to get on set, thinking I'd died and gone to Heaven. It was just a teenager's dream to be starring in a movie that was funny with a bunch of funny people. Director George Mihalka himself, I think, was in his late 20s, and it was just paradise. Everybody was happy. Everybody was excited about the same thing. What a great movie.
Johnny: Okay. You played Sylvia in My Bloody Valentine, where you had a very memorable death scene. When Canuxploitation is discussed, My Bloody Valentine ranks high in that genre, so what do you think has given the movie such staying power?
Helene: I think that the director, George Mihalka, had a lot to do with that. He was a visionary, and is still a visionary. He created a world that was so appealing and mesmerizing. Nothing was by chance. He chose Nova Scotia, and he adhered to what it had to offer. It was exceptional in every way because of the director's eye and the director's intention. It's a movie that pulls you along, and submerges you in a very unique, specific and very Canadian environment. It was a well-made movie by a very talented director.
Johnny: Definitely. When your death scene was filmed in My Bloody Valentine, what did you do to prepare for it?
Helene: I drove everybody crazy (laughing) preparing for my death scene because I was a Method Actor, as all young actors are. They're really devoted. I wanted to have the experience that my character was having, and I was looking for ways to frighten myself, so when it got to filming, I was definitely in a high-tension situation. I know that people were giggling behind the scenes, thinking, "Jeez, if she could only learn how to act", like the line Laurence Olivier said to Dustin Hoffman when Hoffman was running around in "Marathon Man" staying up for days, so he could experience the travails of his character more honestly. People were making fun of me, but I was doing my best to make it as real as possible, and in all fairness, it was the most elaborate death scene in the script, so I felt a lot of responsibility to make it work, and I knew that if I was frightened, the audience would be, too, so I did my best.
Johnny: Cool. You played Weizak's Mother in the 1983 movie The Dead Zone. Had you read the book before filming, and if so, did it influence your work in the film?
Helene: No. I was not aware of the book. I was aware of David Cronenberg, the filmmaker. It was a part that was given to me because I was in New York shooting a soap at the time, and it was a one day part. It probably could've been given to just about anybody. I really have one line, one word, and the fact that it was offered to me was a real thrill. I just remember being on set that day, and being struck by how convincing the set was. It was a really easy piece to act because as soon as they called, "Rolling!", people were running by screaming, and fires were burning, and the cart was rolling ahead of me and my child was yelling to me. If you're a method actor, you didn't have to do much work. You just had to be there. It was a pretty compelling scene on set. The amount of attention to detail, to make it real, made my job easy. It was one of the thrills of my life, even though it was probably one of the smallest roles I've ever had (laughing).
Johnny: Alright. If you, in real life, had the powers that The Dead Zone's main character, Johnny Smith, had, what would you do with them?
Helene: I would try to make the world a better place, but you know, I'm disappointed by the possibilities. One can only try to make the world a better place, try and try and try. I have had great, great hopes for the world, but I'm losing faith, and that's sad to say. Still, If I had his powers, I would use them for good (laughing).
Johnny: The best thing to do. To move to a lighter question, you're credited as having provided additional voices for the 1986 revival of Hanna-Barbera's Jonny Quest.
Helene: Uh huh.
Johnny: How did you land that gig, and what was your favorite part of working for Hanna-Barbera?
Helene: My girlfriend was doing a lot of voice-overs, and she and I really felt alike. She was unable to do it that day, so she called me up and asked in desperation if I could replace her, and I was allowed to. I got to play this wonderful Russian lady, which, given my low voice, was a good fit. Any time an actor gets a job, they are excited
(laughing). If they are not excited, they're in the wrong business. There is no greater thrill than the moment you get a phone call saying, "You got the job". There is no describing the excitement. It's like winning the lottery, and it was no different with Jonny Quest. It was really, really fun to be in a room with all the actors. We have earphones on and we're talking into a microphone, and it's just really fun.
Johnny: Cool. To move to my next question: You played Lilly in 1987's Nightflyers, and you're the second talent I've interviewed from that film, the first being Catherine Mary Stewart. One of the earliest adaptations of a George RR Martin novel, what was your favorite part of working on that film?
Helene: Oh, gosh. I made a dear friend out of Lisa Blount on that film, and we remained very good friends for several years afterwards. She was a little older than me, and I looked up to her. Very lovely, very dear. You know, when you did a movie such as Nightflyers, you walk into a space where, everywhere you looked, you were in a spaceship. It was an elaborate set, and I felt like I was the character. It's always thrilling to live somebody else's life for a while, and I got to live the life of this scientist in this spaceship, and who wouldn't want to do that (laughing)? That was really, really fun, and everybody was fantastic.
Johnny: You mentioned Lisa Blount. I was disappointed that she wasn't included in the Oscars In Memoriam after she died, considering that she WAS an Oscar winner in 2002 for Best Live Action Short Film for The Accountant. I figured that if you had won an Oscar, you would be guaranteed inclusion in the In Memoriam when you passed away, and when Lisa wasn't included, that puzzled me.
Helene: Well, there are all sorts of theories. Certainly Lisa would have theories about that. I can't speak for Lisa, but yes, that was incredibly disappointing. Lisa was an incredibly talented actress. I mean, An Officer And A Gentleman, who can forget that performance? Who can forget it? Just so amazing, and she was an amazing human being all the way around. It is very disappointing that there are people who don't get remembered. Geoffrey Lewis is also an incredible actor who got overlooked by the Academy after his passing. It's strangely painful and unfair.
Johnny: Well, on a lighter note, to move into the 90s, you played Pel, a female Ferengi, in the 1993 Star Trek: Deep Space Nine episode Rules Of Acquisition. Once an actor gets involved with the Star Trek franchise, they'll often have that association with them for the rest of their lives, so what's been your most memorable encounter with a Trekker?
Helene: (Laughing) You know, it's interesting because I've never really done a Deep Space Nine convention, but I do get lovely letters and e-mails and requests. Obviously, if I'm walking down the street, people won't know I was Pel on Deep Space Nine because I look nothing like her, but when people find out, like if someone tells them in front of me, I see the way people's eyes light up. Star trek series fans are an ardent and devoted group of people. Horror movie fans, sci-fi fans…It is so flattering to know somebody has enjoyed anything that much. It's an honor to be approached on the odd occasions. And the enthusiasm is contagious. Watching eyes light up, sometimes I think about some of the things that I've done that I'm well-known for, like Pel on Deep Space Nine, or My Bloody Valentine or Dr. Quinn, Medicine Woman, and I am like a fan. If I see one of those movies or episodes on TV, I'm shocked at it because it's a miracle (laughing). It's a miracle to be given the opportunity to do anything. I've never taken any of that for granted.
Johnny: Definitely. Was there talk of having Pel return in another Deep Space Nine episode, or was she a one-and-done character?
Helene: Well, here's the story behind that. Pel was supposed to be a recurring character. What happened was, I think, all told, the makeup took three hours long, and with the makeup and false teeth on, the working day was 14 hours, and then you had to take the makeup off. It's a minimum of 16 hours, during the process of which , I discovered that I was claustrophobic, phobic being the underlying word because when I was 5, my head was almost crushed beneath the wheels of a car. At the emergency room, the doctors weren't able to sedate me because I was so young, so instead they wrapped me like a mummy which prevented me from moving even an inch while they were doing very delicate work on my eye. I was not sedated and they sewed my eye. I didn't know I had been affected by it until I was in another claustrophobic situation, and then I just about lost my mind. About 12 hours in, I lost my mind and felt I wanted to claw the prosthetic off my face . Fortunately, they called my boyfriend who came on set to calm me, and talk me through the last few hours of work, and then bring me home. I'm sure production was understandably furious. I could have cost them hundreds of thousands of dollars, so after that, it was quite clear that I could not handle playing the character, Pel in that lengthy make up again, and thereafter, whenever there was a role that required extensive makeup, they would put in the description,
"Please make sure your client is not claustrophobic". (Laughing) It was a learning curve for everybody, and I really regret it because what an opportunity to be a recurring character on Deep Space Nine. What a great character. She was just so much fun to play, but that was the end of that.
Johnny: Alright. To move to a show where you didn't have to worry about makeup, you were a regular for several seasons of Dr. Quinn, Medicine Woman as the character of Myra Bing. What was your favorite episode of the show to work on?
Helene: Oh, boy. That's a tough question because that was another show that was so much fun to work on. I think the one that I'm most remembered for is "Little Brown Jug". There were moments in that series where, whether intentionally or not, I discovered that I was funny, that my interpretation of the character made people laugh. It wasn't intentional or that I was sending anything up. It's just that the combination of my thinking and the writing created a lighthearted, endearing portrait of the character, so those were really fun moments. I remember running through the streets. One of my character's johns had died on his feet or something. I can't remember what I said, but it produced a lot of laughter on set. When people laugh like that, it really makes you feel good, and it makes you feel good to make people feel good. I remember those moments. "Little Brown Jug", though, was an episode where I discover that I'm pregnant, and this pregnancy side effect makes me sleepwalk and sing songs and do silly things. Over the years I have received a lot of happy messages about it. What a fun episode.. They were all great, but I would say those are the ones I'm most remembered for.
Johnny: Alright. As Jane Seymour would spoof Dr. Quinn in several videos for Funny Or Die, were you asked to reprise the role of Myra in those videos?
Helene: I was, and I wasn't available at the time. I think I was shooting something and I wasn't in town, but I would've been in those, yeah (laughing). What a fun thing. Did you like them?
Johnny: I thought they were pretty interesting (Helene laughing). Funny Or Die? I kind of have mixed feelings about it because, I mean, they do get all these stars in a lot of their videos, and they do have humor to them, but at the same time, I'm not exactly a Will Ferrell fan. I find him to be an acquired taste. I mean, I did like Will Ferrell on Saturday Night Live…
Helene: Is he the person heading up Funny Or Die?
Johnny: He co-created it with Adam McKay, who has since left the company.
Helene: Oh, I see. Okay. I didn't even know that, and I haven't even seen the episodes, so I don't know (laughing).
Johnny: With Will Ferrell, everybody thinks that More Cowbell is one of the all-time funniest SNL sketches, but I don't get what makes it so funny. I mean, Will's wearing an undersized shirt, and Christopher Walken is demanding cowbell in the song. How is that so four-on-the-floor hysterical? It's just not something I ever really understood the appeal of.
Helene: Yeah, that's the funny thing about comedy. It's really subjective, and I don't know that I would disagree with you, but that's the crazy thing about comedy. Comedy is so hard because it can be offensive to some people or just not touch some people's funny bone. If you get something that everybody thinks is funny, it's gold (laughing), but even Richard Pryor had critics. Comedy is my new devotion. I am actively studying comedy, to see if i can get a hold of it because the things that made me funny on Dr. Quinn came from the naive and sweet intention of the character, but I, myself, have never been able to produce laughter much without the help of skilled writers. Yeah. Comedy is really tough. Really hard. So gratifying when you manage to tickle someone, though.
Johnny: Yes. Well, the interview is not about Will Ferrell, it's about you, and so we go to my next question: You've spent some time as a director and writer, most notably with 1997's Naked In The Cold Sun. What has writing and directing provided for you that being on camera has not?
Helene: I guess, taking after George Mihalka, the opportunity to create a vision of a world. You know, as an actor you're a soldier, for lack of a better word. Your responsibility is to take care of the words of the writer and the vision of the director. They've chosen you to represent their mind, their vision, and so you have a lot of responsibility that way. Hopefully you're not hired unless you're capable of it, and so the script and the direction make this fairly easy box you for the actor to live within, if you think of it in that context, whereas as a director, you're the box maker and the creator. As a director, often the writer makes the box and the director executes the vision of that box to his liking, and sometimes the writers aren't satisfied with that, but the director has ultimate control over the writer's initial creation. The writer writes it, the director creates it, and the actor interprets it according to how the director wants it created, hopefully if things are going well. I was very enthusiastic because I had a lot to say this, that and the other at the time that I was writing and directing, and I'm still directing. It's an
outlet, an opportunity to express something meaningful to you, as opposed to interpreting the world somebody has felt meaningful to create. I will say that it's difficult to be a female writer. I didn't know at the time that it
was an almost insurmountable task, but now, with the Me Too movement, it's become clear that that maybe a factor as to why it was so hard for me to break down walls or get through was possibly because I was not only fighting my talent or lack of talent, but I was also fighting an industry standard that was simply used to hiring men. It may have nothing to do with it, but I'm glad things are changing, and it's never stopped me from being creative. I mean, my need to direct or need to write or need to act goes far beyond a movie. It's the thing that I
do, the thing I was born to do. I don't know what else to do. They are all part of the same thing because, for me, a movie or a piece of theater is an opportunity to commune and communicate…To create a space for love and community and understanding…To bring us together when we are divided….To illuminate the dark spaces….To discuss the things that are important and make us human…To embrace each other. We're all in it together. We forget this, but human blood is red when it hits the air. That is true for every single one of us. That is what compels me.
Johnny: Alright. To move back to acting, you played the title role in 2005's Katiebird* Certifiable Crazy Person. A rather unique spin on the serial killer genre, what was your favorite part of filming that movie?
Helene: That movie was absolute hell. It was hell from beginning to end, and the reason is because it's a hellish story. If you're going to put yourself into it, and be the method actor that I am, you're going to be experiencing a whole pile of confusing thoughts. The director in that case, again, Justin Ritter, another visionary, a man with a vision, tried to break boundaries. I think he was quite successful. I think that's a pretty exceptional movie in the horror genre. I would say people should see it. It's pretty horrific. It's pretty blood-curdling, and there's no way around saying there's nothing fun about acting in films like that, unless you yourself are a serial killer (laughing),
which I am not. It was a stretch for me, and it was a horrific experience, but for all the right reasons and in all the right ways. I really think it's an exceptional movie, and I'm so glad you mentioned it.
Johnny: No problem. You've acted in several films for David DeCoteau, including 1313: Frankenqueen and 3 Wicked Witches, the latter of which matched you up with two of my former interview subjects, Lisa London and Kristine DeBell, so what's been your favorite part of working for David DeCoteau?
Helene: Well, I still work for David DeCoteau. David DeCoteau will go down in living history. He will be remembered as a hero of independent filmmaking. I mean, people talk about Roger Corman, but David DeCoteau has taken that mantle and expanded it so beautifully because he is a master. There's no two ways
about it. He can produce an infinitely watchable movie in three days. Nobody else I know can do that. He's got a technique that is unparalleled. He is on set. He is calm. He's nurturing. He is clear-headed. He makes you want to please him because he is so kind. Every time I get on a David DeCoteau movie, I consider myself lucky because I'm positive I'm going to be a part of history, and one day, there will be a statue of David DeCoteau and I'll say, "I was a part of the making of that legacy" because I've done so many movies with him. He creates incredible characters. He does not limit the cast to The Nice Lady and The Mean Lady. I'm always excited to see what part he casts me in because he really, really gives me amazing opportunities. He's also done comedies for Ion TV. A Husband For Christmas was one that I was in, and I got to do this wonderfully comedic character. I know I'm going on about David DeCoteau, but he's an amazing director as well. I've been really, really lucky. His eye, and his understanding of women, is just spot-on, and there was this one particular moment where I was on the phone talking to somebody. I can't remember what it was, but we did the take and he said, "Hmm, I'm going to give you a line reading on this one. I hope you don't mind". I said, "No, please". I actually like to parrot if it helps the direct get what he feels is right. I had that much faith in David, and he gave me a line reading, and I parroted it, and later, I saw the movie, and it was hysterical. He just knows everything, so it is as fun as can be to be around David DeCoteau…
Johnny: Cool.
Helene: …And I love Lisa London and Kristine DeBell. They've both become good friends of mine. I think we're all excited when we get to be on a David DeCoteau movie when we're together. That's really fun, too.
Johnny: To move from on-screen roles to something different, one of your most unique creations is not a film or TV role, but instead the California stage show Was Ist Das?. How did you create such a unique concept?
Helene: Oh, well (laughing), thank you very much for saying that. My friend Joel Axelrod, maybe four or five years ago, ran a little show at the top of iO West in Los Angeles, which no longer exists. iO West is a comedy school where people go to learn comedy, and comedy was a thing that was never in my life. I was always a dramatic actor, so I pursued comedy with a class called The Idiot Workshop, headed by John Gilkey, who was one of the original Cirque Du Soleil clowns, an incredibly talented visionary clown. He is now the head of a school that is sort of standing on what his vision is to be a clown, and to be funny, just a really unique thing. Having been immersed in all of these clown classes, and meeting incredibly talented performers…When you think comedy, you think UCB, you think of stand-up comedy, you might even think of storytelling, but very few people get to just go out for a night and see a clown show. In Los Angeles, you have to go to Circus Vargas. You think of a circus when you think of clowns, so there's nothing available to those of us that were studying this art form, for lack of a better word. It is an art form, and so I was really so impressed with these amazing people I'm surrounded by on a daily basis that I wanted to continue the forum that Joel Axelrod had created. He created this place for clowns to come and try their stuff out, and then he lost the space because iO was going through a transition and finally closed, and I looked for another space. Joel handed me the mantle, and when he passed me the mantle of responsibility for a place for clowns to come and do their thing, I had a vision. Cabaret has always been one of my favorite movies, and what compelled me about it is the darkness of it. Brecht has always been one of my favorite playwrights, for strangely similar reasons. Finding humor at a very difficult and tragic time in life, to me, is really fascinating. In Berlin in 1924, people were buying bread with bales of money. People were broke and starving and the world was a terrible place, and that, unfortunately, was what allowed Hitler to take hold because people were desperate for change. How people survive through laughter and rebelling at the deepest, darkest times of their life is an incredibly creatively fueling idea to me, and we're going through similar times right now, and I wanted to create a space where people could drop all their woes, and enter into a universe and just be soothed and contained and transported and moved to laughter and to joy. I know that's a very long answer, but that is how Was Ist Das?, set in Berlin in 1924, came to be, because dark times deserve humor and joy and compassion and community. I do it at my house. It's on the corner of a busy street, and the community comes and there are lines out the door. I'm not bragging about this, although I am bragging about this, because it's a pretty amazing thing that happens that I was hoping for, but didn't know would occur. People want to just hang out and talk to each other afterwards, and share a beer and just relax, and feel like, "Hey, cell phones don't matter", just for an evening once a month. You can tell this is my passion. I put a lot of energy and a lot of effort into it, and it's a losing proposition financially, but in terms of how it feeds me and the kind of hope it gives me for humanity, and I get to hang out with the most talented people in the world, how can I go wrong?
Johnny: Art is definitely important, especially in these times.
Helene: Yeah.
Johnny: As there always unique acts in each installment of Was Ist Das?, what have been some of your favorite acts that have appeared in there?
Helene: Well, my favorite thing, to be honest, is to see people grow, because I've been doing this for three years now, and there's some artists I feel that I've supported that I've absolutely adored, that I've brought up and said, "Let's try this out". One of the things we say about the show is written in a song that I wrote as an emblem of the tone "Some of what you see will be horrible, absolutely horrible, and we don't care. We love it all." That line always gets laughs. Maybe because I sing it with such relish. We love the effort. We love your energy. We love your vision. If we don't agree with it, we still love it. One of the most memorable people to come out of it, I think, is Al Naz. You can find him on Facebook, and he is a tap-dancing magician, and he is so thoroughly mesmerizing. To see him from the first day he appeared on the show to where he is now, and the kind of magic, the visual dynamic and laughter he creates now in a four-minute bit just like that, is amazing. We love unique people like Rachel RaRa Carlson. She's a clothing designer and a costume designer. She also does burlesque, but she doesn't just do burlesque like take her clothes off. She has got a very funny take on everything, and sometimes it's political, and sometimes it's social, and sometimes it's just for fun. She does a parody of Miley Cyrus' "Wrecking Ball" that is out of this world. It is so beautiful and so funny at the same time, and it's not against Miley Cyrus at all. It's a parody of what it is to be so heartbroken, just very, very funny. I adore Miley Cyrus. I think she's incredibly talented, so it's not to say she can't be made fun of because that was not RaRa's intent. It is ultimately an ode to that song, but look her up. She's amazingly talented in so many different ways. There is the Independent Intrepid Dance Project. That's headed up by my girlfriend Jennifer Jonassen. Look her up. She is an obese woman, and she has created a dance company that is full of people that you would think could not, or should not, dance. There are women and men of various shapes and sizes. We had a woman with a cane dancing. We had somebody in a wheelchair dancing. I dance in it, but she is visionary. She has done some heartrending work, and she has supported Was Ist Das? from the very beginning. She's closed the show many times. The Independent Intrepid Dance Project is amazing, and Jennifer is starting to get recognition for the great work that she does, and the beauty she creates, and the tug at the heart she has. There's also Robert Patrick, who is a very famous, award-winning playwright, but little did we know that Robert Patrick also has an incredible voice, and he can as easily write a play as he can write a song. He, up until two months ago, was opening our show with an acappella song he would write for each show that would set the tone for the show. To be around a talented playwright who is willing to come and devote a little bit of his time to helping me create a show…(Tearing up) I'm getting a little moved. I'm very, very lucky. I know I'm forgetting people. I started the show with Jason Poston, whose father was well-known comedian Tom Poston. Jason, from the time that he was there, was just an incredibly funny addition to the show. One of our clowns, Matthew Godfrey, travels all around the world,
teaching clowning to people in Dubai, Greece…You name it, he's been there, because his ability to clown is tremendous. Right now, I have Lisa Moncure , an old, old friend of mine, co-creating the show with me, and the
wonderful Bob Mitchell, who is also a co-creator, and he is the music in the show. There's Eric Stein, who is devoting himself to the sound of the show, and all these people are working for free. Tomorrow, I have Ben Namnoum and Mark S L Royer and Michael Soldati coming to help me put our circus tent up, and they do that for free, so everybody contributes to the possibility of making Was Ist Das? a reality. You can't do something like that by yourself, so I am pretty blessed. There's also Bob Baker's Marionette Company. They're a very world-renowned puppet company, and Jared Ramirez and Molly Fite are company members with Bob Baker's Marionette Company. They come almost every month to support us with puppetry.
Johnny: Was Ist Das? is a show that reminds me of how unique California can be. In spite of that, it seems as though the Los Angeles area, in recent years, has been looking to get rid of what makes it special and unique as part of the gentrification process. Do you think that shows like Was Ist Das? are an antidote to the gentrification of the area?
Helene: My show is an antidote to the isolation of all humanity, like cell phones and the web. People have to get out, drop the phone and create community if we are to be happy. They say that people in rural communities, people with less access to technology, are happier people, and the reason for that is pretty obvious. Shows like Was Ist Das? cropping up in communities all over is the antidote to depression, to a feeling of isolation, to a feeling of loneliness. We're in a unique and horrible situation, and I'm convinced that people come and people
contribute because of the joy that it gives them to create with each other. Gentrification? Obviously, if your community is being gentrified, you get together and create art against it. You know, art is a way of speaking that politicians cannot curb. Art has always been that. It has always been the voice of the people. It has always had the opportunity to be the voice of the people. Art is the one thing we all have access to. We can all pick up a pen. We can all create a story. We can all open our homes. We can all sing a song. We can all do that together, and that's the antidote to these very dark times.
Johnny: Very cool and very noble. I definitely admire that, and it's a very admirable thing that you're doing. On a lighter note, you still look great, and one of the ways you keep looking great is through movement, a memorable example of which can be found with your work with aerial silks on YouTube. How did you get started with that skill and do you still do it?
Helene: I don't do it right now, simply because I have so many other things to do, but along with my claustrophobia came a tremendous fear of heights. I forget to mention this, but in Nightflyers, I did my own stunts because that's the kind of person that I am. If you offer me something, I'll say yes even when I really shouldn't. I fell from a great height, and that gave me a fear of heights. I had always admired silk, and so I set myself to conquer it, my fear of heights. I think it's a thing of beauty, and I'm incredibly proud of the fact that I'm
able to do it. I'm sure aerialists all around will hate me for this, but it's a lot easier than it looks (laughing). It IS a lot easier than it looks, you know? It's kind of a little bit like learning a routine. You have to know your work. You have to know where to place your hands and feet so you don't kill yourself. If you remember what you're taught to do, then you can do it. I really love that art form. It's incredible and beautiful, for sure.
Johnny: You're also an accomplished mime. What have been your most memorable performances as a mime?
Helene: (Laughing) I am NOT an accomplished mime. I wish I was. That is one of the things I'm really hoping to do better. I do use mime, but I'm telling you that a real mime would wince at what it is that I do (laughing). No, not an accomplished mime, but thank you for thinking that. In fact, on my website, I do have a mime piece that I do. I've wanted to take that mime piece around because I love it. It's set to The Beatles' "Because", and I love the whole concept of it, but the fact is that I'm not really accomplished at it, and I set my goals too high. My goal for it is much higher than my experience. I think, perhaps, I should give it to somebody else. Nobody wants to see me do it (laughing), so that's one I'm going to have to work harder on.
Johnny: Alright. I now come to my final question, and it's this: What advice would you give to somebody looking to enter the entertainment industry?
Helene: I would say the age old saying is true, and that is if you are not compelled to be an artist of any kind come hell or high water, this is not the job for you. It requires the kind of commitment that a 9 to 5 job does not require, and often it doesn't pay at all. I would say that the thing that is unique about actors, or anybody else in the arts, is that they're willing to risk everything for it, and it's not a smart thing to do. It's just not a smart thing to do. It's a hard life for a lot of my friends that are suffering. They're doing menial jobs so they can do their art at night, and it is frightening to not know if and when you'll be paying the rent. I've been through that. Obviously, I met with some success, whether it was by luck or by chance or by sheer will, drive and commitment. I can tell you that when I started, I was devoted 24/7 to being an actor. I rarely went out. I was focused on my work, focused on creating and doing as best a job as possible, and I think all of that devotion helped me. Not really having an adolescence or early adulthood full of partying and the normal things people do barely got me halfway to the middle, and I don't regret it. I work daily on my art now and wouldn't have it any other way, but I do see some people around me now complaining about how hard it is and how tough it is, and I've seen them actually break down in tears over it because they're shocked by the amount of energy it takes. I say to you: If this sounds exciting and compelling, like "It's different for me and I'm going to do it", then you should, but if this sounds like a deterrent, don't heed the call. It's not to say that I don't want people in the industry making every effort. I want people to devote themselves to this thing they believe is meant for them, with abandon and without fear of what may occur, all the while knowing that nothing may happen. That's the reality of art. Having said all of that, you can imagine how blessed I feel to have made it anywhere at all, and to be affecting any kind of change or giving any kind of joy is a privilege to have people allow you to entertain them. It's a privilege for people to open their hearts up to you, to walk into a room and say, "I'm going to give you an hour of my time". That's a privilege, and if you want to, then you should (laughing).
Johnny: Well, that does it for my questions. I thank you for taking the time out of your schedule to do this.
Helene: Thank you so much for offering, and thank you so much for doing this. I'm really grateful. You asked the most wonderful questions. Thank you so much for letting me be part of your wonderful project. I can't wait to see it.
Johnny: That's about it from me, and I'll catch you on Facebook. I hope you have a wonderful afternoon.
Helene: You, too. Have a great one.
Johnny: Thank you, Helene. Bye.
Helene: Bye.
I would like to again like to thank Helene Udy for taking the time out of her schedule, and I would like to thank Shaun Blayer of StrangeLand Oddities for setting this interview up.
For more on Helene Udy's work, you can visit her official website.
For more information about Was Ist Das?, you can visit the show's official Facebook page.
Thank you as always for reading. More Flashback Interviews are on the way, so keep your eyes peeled for them.
Tags: 1313: Frankenqueen1980s1990s2000s2010s3 Wicked WitchesDavid DeCoteauDr. Quinn: Medicine WomanHelene UdyJonny QuestMy Bloody ValentineNaked In The Cold Sun: Katiebird: Certifiable Crazy PersonnightflyersPick-Up SummerPinball SummerStar TrekStar Trek: Deep Space NineThe Dead ZoneWas Ist Das?
Johnny Caps


SUNNYVALE, Calif., April 4, 2012 (GLOBE NEWSWIRE) -- Arrayit Corporation (OTCBB: ARYC) and Arrayit Diagnostics, Inc. ("AD") report significant results from a 257 patient research study on its pre-symptomatic ovarian cancer molecular diagnostic test in development, OvaDx®. In this study, OvaDx® recorded sensitivity of 79.7%, correctly identifying patients known to have cancer, and specificity approaching 100%, correctly identifying the healthy controls, patients known not to have cancer.
Since July of 2009, AD has operated as an independent subsidiary of Arrayit Corporation and holds all the intellectual property, licenses and development agreement assets related to the pre-symptomatic ovarian cancer diagnostic test known as OvaDx®. On December 14th, 2011, Arrayit Corporation announced the spin-off of AD and the distribution of its 78.18% interest in AD as a stock dividend to ARYC shareholders. The record date, dividend distribution date and further details will be announced shortly.
"We continue to make additional enhancements subsequent to this pilot study that indicate improvements in the sensitivity number approaching 90%. We are working to make this diagnostic test superior to any existing test. Requiring only a finger stick of blood, this will also be the easiest test to administer," says Dr. Mark Schena, President and Chief Scientific Officer of Arrayit Corporation.
Arrayit Diagnostics, headquartered in Redmond, Oregon, is leading the research and approval process of the pre-symptomatic ovarian cancer test, OvaDx®, based on molecular diagnostic technology.
We have identified forward-looking statements by using words such as "expect," "believe," and "should." Although we believe our expectations are reasonable, our operations involve a number of risks and uncertainties that are beyond our control, and these statements may turn out not to be true. Risk factors associated with our business, including some of the facts set forth herein, are detailed in the Company's Form 10-KA for the fiscal year ended December 31, 2011 and Form 10-Q for the quarter ended September 30, 2011.


text:
Liberty Crest Wins Best of NAIOP Northern Virginia Award
posted by Kendra Bishop on November 16, 2018
from NAIOP Northern Virginia
"Focus on Excellence" was the theme of the Best of NAIOP Northern Virginia Awards held November 15, 2018, at The Ritz-Carlton, Tysons, with almost 800 people registered. Thirty-one awards were presented in the following categories: Interiors, Membership, Transactions, and Buildings. The Awards Gala was an opportunity to celebrate significant new and renovated contributions to Northern Virginia by the commercial, industrial and mixed-use real estate community.
Liberty Crest received the Award of Merit for adaptive reuse. See the full press release here.
Powerhouse Project Wins Architectural Festival Award
VA seeks redevelopment proposals for three more Milwaukee Soldiers Home district buildings


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How long can Northern Ireland continue with no power-sharing at Stormont?
The first responsibility of government is to govern. Right? Well, ours has got an excuse. It isn't really a government; it is a devolved Executive.
It doesn't have tax raising powers or a standing army or a foreign policy. It leaves all that to Mother.
And now, like a teenager who won't tidy her bedroom, we know that ultimately, when the job has to be done, it will be done. And Mother will get in there with a mop and dustpan and make the room fit for human habitation again.
And to extend the analogy, of course Mother will get no thanks for this.
In our case, Mother is holding out for the errant child to have a change of heart. That is the only explanation for the refusal to penalise those who abandon their posts, the disinclination to do their jobs for them and the prolonged stasis.
Mother doesn't want to be Mother any more.
Which is amazing when you think of it.
The teenager's complaint, after all, is that Mother is so overbearing. She has been throwing her weight around for - goodness! - 800 years. Now after inflicting all kinds of grief, from Cromwell to Famine, and stamping her foot and shrieking, "there's going to be changes round here", Mother doesn't want to be an imperial dictator now. She's on strike.
You can rely on nobody.
Wouldn't it be wonderful if it was actually as dramatic as that. Instead, Theresa May just looks preoccupied and her representative on Earth, Karen Bradley, looks slightly dazed.
And the teenager continues to huff and moralise and smugly proclaim that she isn't the problem: "It's her. Big sister. She's Mother's favourite."
All the stroppy teenager wants is equality and if she's not going to get equality then nobody - but nobody - is going to get anything else.
Saying in effect: "You think that schools not being able to pay their way is a problem? You think that clogged up A&E departments is a problem? You think that not being able to wash your car is a problem? I know a guy who speaks Irish and he's afraid that one day he'll be charged with speeding and have to defend himself in the language of the imperial oppressor."
Doesn't he speak English too?
"The point is that Arlene says I'm a crocodile. She says I'm blonde."
According to the ruling of the Court of Appeal, civil servants can't take decisions; only ministers can do that.
That brings us to the full implications of Sinn Fein's withdrawal from the Executive. Either it goes back in and makes decisions or Mother makes them instead. And Mother is disinclined to do that for then the teenager will say she is just being an imperial oppressor again.
The question for you and me is: how much longer can this farce continue?
Perhaps not the worst possible consequence of this is that North Down MP Sylvia Hermon will ask Karen Bradley another perfectly sensible question and Ms Bradley will crawl into a corner and weep. Would it not be possible to make Lady Hermon the Secretary of State?
A few weeks ago at a select committee meeting she laid waste to one bumptious upstart who was pontificating about Brexit and the Good Friday Agreement.
"Have you read the Good Friday Agreement?" asked Sylvia. "Have you?" Last week Lady Hermon was harassing poor Ms Bradley with the charge that she had wimped out of cutting the pocket money and privileges of all the teenagers, whether they have tidy bedrooms or not.
Ms Bradley doesn't want to do that.
The injustice is plain. Only one party is boycotting Stormont and holding it to ransom. Only one teenager has a messy bedroom.
Of course, all the other good children are saying they'd love to have their pocket money cut, just to show what good children they are.
The victims of a slash and burn policy on salaries would be the Ulster Unionist Party, SDLP and Alliance Party, the ones who can least afford the loss.
And in the bosom of Mother resides a fantasy that gives her a warm glow, that one day the stroppy parties will be eclipsed by the nice parties and everything will work out fine. But for that to happen they need to survive.
The trouble is that if any party has a chance to bully all others out of their jobs to get its way, it will do that.
Practically every party that has had a chance to pull down the Assembly has either done so or threatened to.
If a party has power to assert itself, it will.
Like any brat, it will find the weakness it can work on.
There is no civility in politics unless there is something to be got in return for it.
The Ulster Unionists brought down the Assembly because of the IRA's procrastination over decommissioning.
The SDLP's Seamus Mallon almost banjaxed its restoration with an umbrage resignation that was later revoked. The DUP threatened to pull it down over the On The Run letters to IRA members fleeing the law, and Sinn Fein threatened to walk out unless Justice was devolved.
Even Alliance jeopardised the Assembly once by refusing to go on being the "back half of the circus horse" by designating as unionist to save David Trimble and later by refusing to take the Justice portfolio and forcing the other parties to phone up Claire Sugden while she was out shopping.
One must suppose that if the Greens or People Before Profit had the power to crash Stormont they would at least threaten to.
Parties use what power they have.
And so there is merit in Peter Robinson's recent suggestion that the Executive be protected against being brought down by any one party that just happens to be in a huff.
But in the meantime we have one party imposing a veto and nothing getting done and the Court of Appeal confirming that nothing can be done until a minister says so.
The ministers in Stormont are stumped and the ministers in Westminster are looking round themselves as if they truly believe there is nothing they can do.
Surely this huff has gone on long enough and if the brats won't oblige each other, then Mother needs to roll her sleeves up.


GDPR as BAU: are your processes in place?
Data is used by all businesses – from insurance firms and banks to social media sites and search engines. There are no borders online and cloud computing means data may be sent from Berlin to be processed in Boston and stored in Bangalore. The General Data Protection Regulation (GDPR) is an EU initiative which came into force in the UK on 25 May 2018, replacing the Data Protection Act 1998. It introduced wide-ranging changes to UK data protection legislation.
Personal data is so pervasive that virtually every organisation holds it, making the scope of GDPR unmatched.
Penalties for failing to comply are potentially huge.
Boards should have already prioritised GDPR.
Internal audit is well placed to provide assurance by providing a top down risk assessment of how likely the organisation is to comply.
The GDPR standardises data protection law across all 28 EU countries and imposes strict new rules on controlling and processing personally identifiable information (PII).
It also extends the protection of personal data and data protection rights by giving control back to EU residents, along with introducing significant penalties for organisations that fail to comply with the rules, and for those that suffer data breaches. It is widely expected that the UK will continue to comply with GDPR even after Brexit. Internal auditors need to understand how it affects their organisation.
Miss our recent webinar on GDPR?
Our recent webinar, hosted by our partner ACL, examined the role of internal audit within an organisation's GDPR agenda. It free to view – you'll just need to provide a few details.
Seven key changes in the new regulation highlighted along with seven key questions for internal audit.
Has a risk assessment been conducted to understand whether the organisation is compliant and where further work is required?
Has the organisation mapped out its personal data assets (as distinct from other data assets)?
Is the organisation's cyber perimeter secure and are personal data assets protected, eg encrypted?
Does the organisation process personal data on a large scale and/or is the organisation a public body and if so has an internal/external Data Protection Officer been appointed?
Do assurance providers have access to the DPO role however it is provided?
Has a reporting procedure to the relevant national authority been established for use in the event of a personal data breach?
Has the organisation established a programme to raise awareness and train personnel on the management, security and disclosure of personal data?
Have data protection principles been enshrined into contracts with relevant third parties/data processors?
Is sensitive data protected, stored and backed up securely?
How will this EU directive impact your organisation following the result of the UK's referendum to leave the EU?
The new regulation came into force on 25 May 2018 in the UK without the need for domestic legislation whilst we remain part of the EU.
Monitoring of EU individual's behaviour takes place as far as their behaviour occurs within the EU.
Given the above, many businesses with supply chains or customers in the EU will therefore need to ensure they are meeting the regulation, regardless of UK decisions on data protection law.
Personal data from the EU may only be transferred to jurisdictions which protect that data as per EU standards.
We will publish further comment once we know more about the Brexit plan. Monitor the Information Commissioner's Office for statements on Brexit. Internal auditors in the Republic of Ireland should continue with their plans, and may find the Data Protection Commissioner useful.
Awareness must now become action – and internal audit should be involved at all levels, to help management better understand and mitigate the related risks.
GDPR introduces a duty on all organisations to report certain types of personal data breach to the relevant supervisory authority. This must be done within 72 hours of becoming aware of the breach, where feasible. We look at the features that should be included in the plan and the work that internal audit can undertake.
Asking a third party to provide a service or product can deliver important benefits – it also increases exposure to loss, theft and misuse of data.


text:
import InputWithUnit from '@/components/public/inputWithUnit';
import MakeField from '@/components/public/makeField';
import { resourceValidate } from '@/components/public/validate';
import { Radio, Form, Row, Col } from 'antd';
import { Field, withFormik } from 'formik';
import PropTypes from 'prop-types';

const FormItem = Form.Item;
const RadioButton = Radio.Button;
const RadioGroup = Radio.Group;

const _RadioGroup = MakeField(RadioGroup);

const allocationMap = [
  {
    name: 'basic',
    value: {
      'requests.cpu': '0.5',
      'limits.cpu': '1',
      'requests.memory': '1Gi',
      'limits.memory': '2Gi',
    },
  },
  {
    name: 'middle',
    value: {
      'requests.cpu': '1',
      'limits.cpu': '2',
      'requests.memory': '2Gi',
      'limits.memory': '4Gi',
    },
  },
  {
    name: 'high',
    value: {
      'requests.cpu': '2',
      'limits.cpu': '4',
      'requests.memory': '4Gi',
      'limits.memory': '8Gi',
    },
  },
];

class Quota extends React.Component {
  static propTypes = {
    setFieldValue: PropTypes.func,
    field: PropTypes.object,
    values: PropTypes.object,
    label: PropTypes.string,
    onChange: PropTypes.func,
    form: PropTypes.object,
    parentSubmitCount: PropTypes.number,
    setTouched: PropTypes.func,
  };
  constructor(props) {
    super(props);
    const { field } = props;
    this.getInitialValues(field.value);
  }

  componentDidUpdate(prevProps) {
    const {
      parentSubmitCount,
      setTouched,
      values: { type },
    } = this.props;
    const prevSubmitCount = prevProps.parentSubmitCount;
    const touchedValue =
      type === 'recommend'
        ? {
            config: true,
          }
        : {
            custom: {
              limits: {
                cpu: true,
                memory: true,
              },
              requests: {
                cpu: true,
                memory: true,
              },
            },
          };
    if (prevSubmitCount !== parentSubmitCount) {
      setTouched(touchedValue);
    }
  }

  getInitialValues = value => {
    const configItem = _.find(allocationMap, n => _.isEqual(n.value, value));
    let init = {};
    if (configItem > -1) {
      init.config = value;
    } else {
      init.custom = {
        limits: {
          cpu: _.get(value, 'limits.cpu'),
          memory: _.get(value, 'limits.memory'),
        },
        requests: {
          cpu: _.get(value, 'requests.cpu'),
          memory: _.get(value, 'requests.memory'),
        },
      };
    }
  };

  handleType = e => {
    const { setFieldValue, onChange } = this.props;
    const value = e.target.value;
    setFieldValue('type', value);
    onChange('');
  };

  handleConfigSelect = e => {
    const { setFieldValue, onChange } = this.props;
    const name = e.target.value;
    setFieldValue('config', name);
    const item = _.find(allocationMap, n => n.name === name);
    onChange(item.value);
  };

  handleInputChange = (name, value) => {
    const { setFieldValue } = this.props;
    setFieldValue(name, value);
  };

  handleBlur = () => {
    const {
      values,
      form: { errors },
      onChange,
      field: { value },
    } = this.props;
    const customValues = values.custom;
    if (
      _.get(customValues, 'limits.cpu') &&
      _.get(customValues, 'limits.memory') &&
      _.get(customValues, 'requests.memory') &&
      _.get(customValues, 'requests.cpu') &&
      _.isEmpty(_.get(errors, 'custom'))
    ) {
      onChange({
        'limits.cpu': _.get(customValues, 'limits.cpu'),
        'limits.memory': _.get(customValues, 'limits.memory'),
        'requests.memory': _.get(customValues, 'requests.memory'),
        'requests.cpu': _.get(customValues, 'requests.cpu'),
      });
    } else if (value) {
      onChange('');
    }
  };

  // TODO(qme): realize custom and validate residual quota
  render() {
    const {
      values: { config, type },
      label,
    } = this.props;
    return (
      <FormItem
        label={label}
        required
        {...{
          labelCol: { span: 4 },
          wrapperCol: { span: 16 },
        }}
      >
        {/* TODO: split into sub-components */}

            <Field
              name="type"
              value={type}
              component={_RadioGroup}
              onChange={this.handleType}
            >
              <RadioButton value="recommend">
                {intl.get('allocation.recommend')}
              </RadioButton>
              <RadioButton value="custom">
                {intl.get('allocation.custom')}
              </RadioButton>
            </Field>

            {type === 'recommend' ? (
              <Field
                name="config"
                component={_RadioGroup}
                value={config}
                onChange={this.handleConfigSelect}
                formItemLayout={{ wrapperCol: { span: 24 } }}
              >
                {allocationMap.map(a => (
                  <RadioButton value={a.name} key={a.name}>

                            {intl.get('allocation.cpuRequest')}

                          {a.value['requests.cpu']} Core

                            {intl.get('allocation.cpuLimit')}

                          {a.value['limits.cpu']} Core

                            {intl.get('allocation.memoryRequest')}

                            {parseFloat(a.value['requests.memory'])} GiB

                            {intl.get('allocation.memoryLimit')}

                            {parseFloat(a.value['limits.memory'])} GiB

                        {intl.get(`allocation.${a.name}`)}

                  </RadioButton>
                ))}
              </Field>
            ) : (

                <Row gutter={16}>
                  <Col span={12}>
                    <Field
                      name="custom.requests.cpu"
                      render={props => (
                        <InputWithUnit
                          label={intl.get('allocation.cpuRequest')}
                          className="cpu"
                          type="cpu"
                          {...props}
                          onChange={this.handleInputChange}
                          onBlur={this.handleBlur}
                        />
                      )}
                    />
                  </Col>
                  <Col span={12}>
                    <Field
                      name="custom.requests.memory"
                      render={props => (
                        <InputWithUnit
                          className="memory"
                          label={intl.get('allocation.memoryRequest')}
                          type="memory"
                          {...props}
                          onChange={this.handleInputChange}
                          onBlur={this.handleBlur}
                        />
                      )}
                    />
                  </Col>
                </Row>
                <Row gutter={16}>
                  <Col span={12}>
                    <Field
                      name="custom.limits.cpu"
                      render={props => (
                        <InputWithUnit
                          label={intl.get('allocation.cpuLimit')}
                          type="cpu"
                          className="cpu"
                          {...props}
                          onChange={this.handleInputChange}
                          onBlur={this.handleBlur}
                        />
                      )}
                    />
                  </Col>
                  <Col span={12}>
                    <Field
                      name="custom.limits.memory"
                      render={props => (
                        <InputWithUnit
                          label={intl.get('allocation.memoryLimit')}
                          className="memory"
                          type="memory"
                          {...props}
                          onChange={this.handleInputChange}
                          onBlur={this.handleBlur}
                        />
                      )}
                    />
                  </Col>
                </Row>

            )}

      </FormItem>
    );
  }
}

export default withFormik({
  mapPropsToValues: props => {
    const initValue = { type: 'recommend' };
    if (props.update) {
      const quotaValue = props.field.value;
      const configItem = _.find(allocationMap, n =>
        _.isEqual(n.value, quotaValue)
      );
      if (configItem) {
        initValue.config = configItem.name;
      } else {
        initValue.custom = {
          limits: {
            cpu: _.get(quotaValue, 'limits.cpu'),
            memory: _.get(quotaValue, 'limits.memory'),
          },
          requests: {
            cpu: _.get(quotaValue, 'requests.cpu'),
            memory: _.get(quotaValue, 'requests.memory'),
          },
        };
        initValue.type = 'custom';
      }
    }
    return initValue;
  },
  validate: values => {
    const errors = {};
    if (values.type === 'recommend' && _.isEmpty(values.config)) {
      errors.config = intl.get('validate.quota.selectConfig');
    }
    if (values.type === 'custom') {
      errors.custom = resourceValidate(values.custom);
    }
    return errors;
  },
  displayName: 'allocation', // a unique identifier for this form
})(Quota);

redpajama_set_name: RedPajamaGithub


text:
72-year-old Brookfield man killed in crash on Moorland Road
By: CBS 58 Newsroom
Posted: Jan 16, 2020 3:29 PM CST | Updated: Jan 17, 2020 1:58 PM CST
Updated: 1:58 p.m. on Jan. 17, 2020
NEW BERLIN, Wis. (CBS 58) -- Authorities have identified the victim in a fatal crash on Moorland Road in New Berlin, as 72-year-old Thomas Major of Brookfield.
NEW BERLIN, Wis. (CBS 58) -- A 72-year-old Brookfield man was killed in a car accident Thursday, Jan. 16.
New Berlin police and fire departments responded to the single-vehicle crash in the 1900 block of Moorland Road around 9 a.m.
Authorities say the man was driving southbound on Moorland Road from Greenfield Avenue when the vehicle left the road and drove onto the median, striking a pole and a tree.
The man was taken to a local hospital, where he was later pronounced dead.
Police are investigating to determine whether or not the man suffered from a medical issue before the accident occurred.
Posted: 11:29 a.m. on Jan. 16, 2020
NEW BERLIN, Wis. (CBS 58) -- Police and fire crews are responding to a serious crash in New Berlin on Thursday, Jan. 16.
It happened along Moorland Road. Southbound traffic is only able to use the shoulder and northbound is down to one lane.
Authorities ask people to avoid the area, saying the investigation may take several hours.
This is a developing story. Stick with CBS 58 on air and online for updates.


text:
En/football/international-football
Official: Paris Saint-Germain sign Sarabia
Fichajes Sevilla FC Leaves Sevilla for 20 million euros
Alberto Fdez.
Adapted by Conor Clancy
02/07/2019 10:56 CEST
Pablo Sarabia has joined Paris Saint-Germain from Sevilla for a fee of 20 million euros, which is two million euros more than his release clause.
Signing a five-year deal at the Parc des Princes, PSG can be happy to have picked up something of a bargain with a player who had attracted the interest of Real Madrid after a fantastic 2018/19 season.
Pablo Machin is the man responsible for getting the best out of Sarabia. Last year in he totalled 23 goals and 17 assists in all competitions and was alongside Lionel Messi as LaLiga Santander's best assist maker with 13.
Monchi had tried to renew his deal right up until the last day, but he wasn't able to get anything finalised, with Oscar Arias and Joaquin Caparros previously having tried to do the same.
It was Monchi who signed the playmaker in 2016 for a bargain price of 400,000 euros from Getafe. Arriving at Sevilla as a winger, it was Machin who moved him infield to play behind the strikers.
Sarabia had offers for the past couple of years but with PSG's interest he was able to make the move to a top European side with ambitions of winning not only domestic trophies, but the Champions League as well.
Marca English
© Julio 2019 Unidad Editorial Información Deportiva, S.L.U. Todos los derechos reservados.


text:
Site Map :: Contact us :: Accessibility :: Search :: Cookies
You are here: JAGU Home > SYPCP > PCC
Any Questions/FOI
Panel Allowances
Spending & Performance
Budget & Accounts
Payments over £500
Consultation & Engagement
Home Office/LGA
The Police and Crime Commissioner is Dr Alan Billings.
Dr Alan Billings has been a Board member of the Youth Justice Board for England and Wales, which oversees the work of the criminal justice system for the under-18s. He is also a former member of the England Committee of the Big Lottery Fund and Director of the Centre for Ethics and Religion at Lancaster University.
In the 1980's Dr Billings was Deputy Leader of Sheffield City Council and a Councillor for the Walkley Ward.
He served as a Church of England Parish Priest in four parishes, including spells in inner-city Sheffield and in the mining community of Beighton. He has also trained clergy at two theological colleges - Ripon College, Cuddesdon, Oxford (Anglican) and The Queen's College, Birmingham (Ecumenical).
Many will know him as a former contributor to 'Thought for the Day' on BBC Radio 4's 'Today' programme.
Dr Billings has written several books, the latest being : The Dove, the Fig Leaf and Sword : Why Christianity changes its mind about war (SPCK 2014).
You can contact the Police and Crime Commissioner at:
E-mail: thepcc@southyorkshire-pcc.gov.uk


text:
La chicha de jora est une boisson fermentée apparentée à la bière, obtenue par la fermentation du maïs de jora avec d'autres variétés de maïs, avec des épices, de l'eau et du sucre. Cette boisson, d'origine précolombienne, est propre de la gastronomie péruvienne.

Notes et références

Annexes

Bibliographie
.
.
.

Articles connexes
 Chicha

Boisson péruvienne
Spécialité à base de maïs
Bière traditionnelle
Boisson fermentée

redpajama_set_name: RedPajamaWikipedia


text:
OUT OF MIND » BREAKING NEWS & HOT TOPICS » THE RESISTANCE, PETITIONS, PROTESTS & RIOTS » Stop the Shots — Cape Cod Against Medical Mandates
Stop the Shots — Cape Cod Against Medical Mandates
1 Stop the Shots — Cape Cod Against Medical Mandates Sun Aug 15, 2021 10:57 am
by Richard Hugus, End Massachusetts Medical Mandates
WHEN: Saturday August 28, 2021, 12 noon to 2 PM, rain or shine
WHERE: Hyannis, MA, 300 block of Main Street near village green and statue of Iyanough (parking on North St. behind Main St. stores).
July 24, Hyannis
It is time to recognize that mandates for quarantine, "social distancing", face covering, and the engineered gene injections being called "vaccines" are not about protecting public health. Public health is actually being harmed by these measures. So what is really going on? One view is that our government has been so corrupted by the pharmaceutical industry that government itself is pushing people to take pharmaceutical products even when these products have proven to be unsafe. There are precedents for this with the MMR, DPT, HPV, flu and other vaccines. Overall, vaccines have harmed, not helped, the human immune system. They have degraded the health of our society to such an extent that almost half of the children in the US today have some form of chronic illness — all for the sake of pharmaceutical company profits.
But a wider agenda is also apparent. That agenda is totalitarian social control implemented through the invention of a worldwide pandemic "emergency" which would inspire enough fear in people to make them give up their rights, separate them from others, separate them from their own instincts, and even from their spirituality. This war of the globalists against all of humanity has been cynically named "the great reset."
Klaus Schwab,, founder of the World Economic Forum and author of The Great Reset. (Does it look like Mr. Schwab has a happy future in mind for us?)
Wars are fought for economic, not moral, reasons. This war is no different. Huge amounts of money have been transferred to the wealthy as a result of attacks on small business and the middle class and the further impoverishment of the poor. The wealthy want money and control of resources, as always. They don't care if people are dying. In fact, for eugenicists like Bill Gates and other globalists who think they know best what is good for the world, depopulation is a desired goal. This may be why the authorities don't seem to care about long-term effects of the covid injections, or about harm to reproductive organs and miscarriages that are already happening. Against all reason, pregnant women are being encouraged to get the shot. So are children. In the face of such criminality, there is nothing left for us to do but protect ourselves from our government. Whether it is working for big pharma or the globalists, we know for sure government isn't working for us.
According to the latest data from the Center for Disease Control and Prevention's Vaccine Adverse Events Reporting System (VAERS), "between Dec. 14, 2020 and July 30, 2021, a total of 545,338 total adverse events were reported to VAERS, including 12,366 deaths. There were 70,105 reports of serious injuries, including deaths, during the same time period." VAERS is known to capture only a small percentage of adverse events, as they are greatly under-reported. And the CDC, representing the pharmaceutical industry (not us), has no interest in finding out or publicizing accurate numbers, or in following up on reports. So we can assume there have been many more deaths and injuries than cited above. There is already enough evidence that the CDC is committing a crime just allowing covid injections to continue, much less promoting them.
The purpose of standing out August 28 will be to do what we can to save more people from being harmed. The mass injection program needs to be stopped now. We must also stand up for children who may be forced to wear masks in the upcoming school year. Masks don't protect anyone; their purpose is to condition us to accept medical tyranny and perhaps an eventual social credit score system, starting with "vaccine passports." Using children as pawns to achieve this goal is frankly evil. We need to expose the perpetrators of this crime against humanity and see to it that they are prosecuted. If we don't, the oppression will only continue.
This call is for a peaceful, non-partisan protest following up on our many previous demonstrations. Bring large-letter signs or banners with your message.
We stand for:
— the right to remain human — i.e., not to be genetically modified or made "transhuman." The openly declared transhumanist agenda of the Great Reset and its plan for "a fusion of our physical, digital and biological identity" is absolutely insane.
— the right to live. These injections are killing people. We obviously have the right to reject them for ourselves and our children
— the right to the pursuit of happiness. Happiness will not be achievable if we have lost our health to medically induced chronic disease.
— our right to refuse medical interventions. No to the de facto vaccine mandate by which the state of Massachusetts and the federal government encourages employers, colleges, and businesses to require vaccination. certificates (or torture us with testing). No to explicit vaccine mandates likely to follow the corrupt FDA's approval of the spike protein clot shots.
— ending mask requirements on public transportation, in healthcare facilities, and especially in schools. Forcing children to wear masks is child abuse.
— the right to bodily autonomy. No one should be forced to take a vaccine, wear a mask, be swabbed, tested, or scanned
— the Nuremberg code and the right to informed consent. No substance should be injected into anyone's body without their full understanding of all possible harmful effects (which are as yet unknown with experimental mRNA injections). There should be no negative consequences should we refuse a medical intervention.
— parental rights. The state has no right to bypass parents' authority on whether their minor child should wear a mask, be tested, or be given any pharmaceutical product.
— the right to education. Education at K-12 schools, universities, and colleges should not be withheld as leverage to enforce government medical decrees.
— the right to freedom of movement. This right is violated when any kind of travel requires masking, testing, or proof of vaccination.
— "the right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures" (4th Amendment). This is our right to privacy . Our vaccine status and medical history is no one's business.
— the right to due process: Open meeting laws continue to be illegally suspended in Massachusetts "due to coronavirus" and our elected officials seem to like it that way. Virtual meetings undermine democracy. Government-sponsored medical procedures without informed consent, and government edicts bypassing the legislative process are also a violation of the due process clauses of the 5th and 14th Amendments.
— the 1st Amendment freedom of speech and press. End the blatant Soviet-style government-media censorship of people with dissenting views about the covid narrative
— the right to equal protection of our civil and Constitutional rights. Refusal of service by any transport company, public venue, ticket vendor, grocery store, or other business on the basis of arbitrary "vaccine passports" is a form of discrimination which we should be protected from under the law. Loss of this right amounts to coercion through medical tyranny and will lay the groundwork for a "social credit score" system in which all citizens do not have equal rights.
Connect with Richard Hugus
https://truthcomestolight.com/stop-the-shots-cape-cod-against-medical-mandates/?utm_source=mailpoet&utm_medium=email&utm_campaign=new-posts-are-available-at-truth-comes-to-light_16
Thanks to: https://truthcomestolight.com
Free forum | © PunBB | Free forum support | Contact | Report an abuse | Forumotion.com


beverages at your house or possibly a industrial booze producer that just desires the ideal for your shoppers you are able to surely make better and much better booze with turbo yeast. This turbo-charged yeast is fortified with necessary nutrients and might carry on fermenting in large booze focus as well as in substantial temperatures.
Instead of utilizing everyday yeast which can result in weak alcohol energy, caught fermentation or lowly yields you ought to decide for just a hardy kind of yeast which will improve your yields while giving you with stronger and more secure alcohol as well. This move will help you save you a large number of time, exertion and funds, particularly if you are a business booze or ethanol producer that just can't afford to pay for to get saddled with higher costs or trapped fermentation in the center of a batch. You can find greater quality bio ethanol far too when you use yeast that can create better ethanol rapidly that can lead to better combustion from the preferred engines.
Although most strains of yeast perish the moment booze power reaches close to 12%, turbo yeast can carry on fermenting approximately 17% along with ferment in temperature ranges as large as 38 levels Celsius. This yeast has also been fortified with critical micro vitamins through amino acids, minerals and enzymes that results in healthy yeast cells, that is so significant in offering it with superb booze tolerance and temperature resistant properties. You may also get better alcohol from weak mashes together with recover excellent of alcohol due to the fact this yeast isn't going to include any wild yeast or bacteria that may pose well being problems suitable for you, your family members, or your shoppers.
You can effortlessly purchase for this productive yeast that is definitely bought as dried yeast in little sachets for avid home-brewers, or in sacks for business breweries and distilleries. You would like not move out of your dwelling or workplace to gather this rough yeast because you can now area an internet buy and also have the yeast delivered correct at your doorstep. There are various varieties of turbo yeasts available for precise alcohols and their variants these as black tag, pot distillers eighteen p.c, turbo pure 24 hours, and turbo pure 48 hours, amongst some others. You could pick the sort of yeast that you demand and may even consider a sample batch by to begin with purchasing for smaller sachets ahead of you choose for bulk quantities when you are engaged in commercial creation of your alcoholic beverages.
If you would like to get ready much better alcohols and spirits these as vodka, whiskey, champagne, etc that might require secondary fermentation you then require yeast that returns you with a best base throughout the preliminary and secondary ethanol fermentation processes in order that your end products is derived with perfect alcohol power, flavor and character. This really is doable only after you use yeast that is pure and robust, and has substantial tolerance amounts.
Booze production at household or industrial levels calls for important monitoring of all processes, specially the fermentation method in which many problems can crop up to boost your expenditures, delay or stop your production, or result in weak yields. Whatever you call for is extremely sturdy and wholesome yeast that generates better alcohol even from weak mixtures along with retains on fermenting as a result of adverse situations. It is possible to surely make superior and stronger booze with turbo yeast although elevating your spirits and earnings margins at the same time.


Show where your house loyalties lie with this officially licensed Harry Potter Glass featuring the Slytherin house crest on the front and the Hogwarts crest on the back.
Glass. Measures 14cm high x 8.5cm in diameter. Comes in Harry Potter themed packaging. Dishwasher safe.
To see the rest of our Harry Potter glasses visit the Homeware section of The Shop That Must Not Be Named website, which specialises in official Harry Potter merchandise and gifts.