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Home / Opinions / An optimist's preview of Chelsea's Premier League 2013-14 season
An optimist's preview of Chelsea's Premier League 2013-14 season
in Opinions, Premier League August 13, 2013	3 Comments
Last season's position: 3rd
Difference between Chelsea and the champions last season: 14 points
Prediction for the 2013-14 season: 1st
Chelsea's important transfers in 2013:
Players In
Players Out
Players returning from loan spells
Andre Schurrle (£18 million from Bayern Leverkusen), Marco van Ginkel (£8 million from Vitesse Arnhem), Mark Schwarzer (free)
Jeffrey Bruma (£2.5 million to Hamburg), Florent Malouda (free to Trabzonspor), Ross Turnbull (free to Doncaster United), Yossi Benayoun (released), Paulo Ferreira (retired), Oriol Romeu (loan to Valencia), Marko Marin (loan to Sevilla)
Michael Essien (Real Madrid), Romelu Lukaku (West Brom), Kevin De Bruyne (Werder Bremen)
The new Premier League 2013-14 season kicks off in a few days, and there are plenty of expectations surrounding Chelsea. The return of the 'Special One' has made Chelsea as one of the favourites for the title. It has been four years since Chelsea last won the league title and it is about time. Of course, Chelsea have been enormously successful during this period, but winning the league is the bread-and-butter.
Mourinho has an incredible record when it comes to winning the league titles. In the last 11 seasons, he has won the league seven times in four different countries.
The conditions are pretty much similar to what he had when he first came in 2004. The squad back then had a good mixture of youth and experience, and it is a similar case at present. There is the youthful energy provided by the likes of Eden Hazard and Romelu Lukaku, while there are also experienced heads like Frank Lampard and John Terry.
Chelsea's squad is probably one of the strongest in the league alongside Manchester City.
Goals from the three strikers – Fernando Torres, Romelu Lukaku, and Demba Ba – could be the deciding factor in the title race. Torres scored just eight league goals last season, while Lukaku is still very young and raw. It is not surprising that Chelsea are linked with Wayne Rooney. Torres, though, has been looking a little sharper than before in pre-season.
Midfield:
The midfield has been performing exceptionally in the last two years. Juan Mata in particular has been brilliant, but a series of injury problems during pre-season casts a doubt over his season. Last year, there was a heavy reliance on MAZACAR (Mata, Hazard, and Oscar). Now, the additions of Andre Schurrle, Kevin De Bruyne, and Marco van Ginkel provide substantial backup and strength.
Despite his age, Frank Lampard still remains a pillar of strength to Chelsea's midfield.
Defence:
This is an area where Chelsea have not made any additions so far, and the club will probably enter into the market depending upon the David Luiz outcome. The Brazilian continues to be linked with Barcelona. If he leaves, it is unlikely that Mourinho will trust youngster Nathan Ake over the full course of a Premier League season.
None of the central defenders have been convincing and that includes John Terry as well. During the days of Ricardo Carvalho and Terry (at his peak), we were rock solid. It is time to get back to those levels if we are to win the League.
Petr Cech has been a rock, and new signing Mark Schwarzer provides a decent backup for him. Hilario has also been given a new contract after being released last season.
Manchester United may be without Sir Alex Ferguson, but they still remain as one of the main challengers for the title. City have an extremely good squad, but they also have a new manager who has no Premier League experience. The threat from Arsenal, Tottenham, and Liverpool should not be ruled out, but they do not seem to have the squad strength or the consistency to win the league.
Where do you think Chelsea will finish?
Andre Schurrle Arsenal David Luiz Eden Hazard Fernando Torres John Terry Jose Mourinho Juan Mata Kevin De Bruyne Liverpool Manchester City Manchester United Marco Van Ginkel Mark Schwarzer Oscar Petr Cech Romelu Lukaku Tottenham	2013-08-13
Tagged with: Andre Schurrle Arsenal David Luiz Eden Hazard Fernando Torres John Terry Jose Mourinho Juan Mata Kevin De Bruyne Liverpool Manchester City Manchester United Marco Van Ginkel Mark Schwarzer Oscar Petr Cech Romelu Lukaku Tottenham
rottmatt
Chelsea will definatly finishe at d top table,and collect to trophy.
Campus Abdulsamad
With God I think they will finish first
abam david
Up Blues for life, with God all things are possible i know mourinho can lead Chelsea to glory again up bluesssssssssss


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Expiry of NPPR Liability and Charge on Property:
The NPPR charge and late payment fee relating to 2009 and the associated charge on a property is due to expire after 31 July 2021.
Each charge which became a charge on property is applied for its own 12 year period, measureable from the liablity date. The liability and charge on property in respect of the 2009 NPPR charge, therefore, expires after 31 July 2021.
From 1 August 2021, the amount of NPPR fees and penalties a vendor is required to pay in order to sell a property which was an nppr reduces every year until the liability and charge on the property expires completely on 1 April, 2025.
Non Principal Private Residence (NPPR)
Due to the large volume of enquiries, NPPR requests will be dealt with in order of receipt, and unfortunately there is a waiting period in place at present – Currently 2 Weeks approx.
What is the NPPR (Non Principal Private Residence) Charge?
The Non Principal Private Residence (NPPR) charge was an annual charge applied from 2009 to 2013 in respect of a residential property that was not the owner's only or main residence in those years. This NPPR Charge was introduced by the Local Government (Charges) Act 2009 (as amended Local Government (Household Charge) Act 2011 – Section 19).
The fact that a residential property was not occupied during this period does not constitute an exemption from this charge. The charge is levied on the ownership of the property and not on occupancy.
While the liability period for the charge was between 2009-2013, the charge including late payment fees still applies to liable properties which were not registered and paid during that period, and also to accounts with arrears that were not discharged.
Expiry of NPPR Liability and charge on property after 12 years.
Section 7(2) of the Local government (Charges) Act 2009, as amended, states as follows:-
7(2) The said property shall not, as against a bona fide purchaser for full consideration in money or money's worth or a mortgagee, remain charged with or liable to the payment of such unpaid charge or late payment fee after the expiration of 12 years from the date upon which the amount concerned fell due.
Accordingly, NPPR charges including late payment fees and the charge on the property expires for all property owners after 12 years from the date of liability. This means that for NPPR liabilities incurred form 2009-2013 and remaining unpaid, the portion of the liability and charge on a property which relates to 2009 will expire in 2021 and so on until the liability and charge on a property relating to the final year of NPPR in 2013, expires after 31 March 2025. The expiry corresponds with the repeal of the whole Act, also on 31 March 2021.
The charge and late payment fee relating to 2009 and the associated charge on a property expires after 31 July 2021.
The NPPR charge is separate from both The Household Charge (€100 for 2012 only), and The Local Property Tax (valuation based, from 2013 onwards), the collection of which is the responsibility of The Revenue Commissioners.
What types of properties are liable for the NPPR charge?
The main types of residential properties that are liable for the charge are private rented properties, vacant properties and holiday homes, unless newly built but unsold, and that form part of the trading stock of a business.
Details for Timeframe for expiry of charge & NPPR liability are here.
Details of the NPPR Late Charges are here.
Details of the NPPR Exemptions and required documentation are available here.
Only evidence as outlined in the Exemption document will be accepted, and to avoid potential delays you must submit all relevant documentation.
What are certificates required for?
Certificates of Exemption or Discharge are required when selling/transferring ownership of a property in respect of the year(s) concerned or can be required if someone is re-mortgaging a property. A property owner needs to prove that this charge was paid for the period 2010 - 2013 in which case you will require a Certificate of Discharge or if the property was the owners Principal Private Residence from 2010 - 2013 an application must be made for a Certificate of Exemption.
What is a Certificate of Exemption?
A Certificate of Exemption is issued if your property is exempt from the NPPR charge in respect of the year(s) concerned, and therefore the property owner was not liable for the NPPR charge.
The main exemption from the charge is for a property which is the sole or main residence of the person who owns it, commonly referred to as a principal private residence (PPR) – See Application Below
Original hard copy certificates can only be issued once so please ensure the address is correct. An email copy will also issue if email address provided.
What is a Certificate of Discharge?
A Certificate of Discharge is evidence of payment and will confirm that the NPPR Charge in respect of the year(s) concerned has been paid.
If you owe the full liability and wish to pay in full directly to the Bureau, you can pay online at www.nppr.ie
If you have paid all outstanding charges and require a Certificate of Discharge, please contact nppr@kildarecoco.ie with your NPPR Account Reference Code, the address of the property you require the certificate for and the contact address you wish the certificate to be posted to. Original hard copy certificates can only be issued once so please ensure the address is correct. An email copy will also issue if email address provided.
Kildare County Council can still accept NPPR instalment payments for payment plans previously set up for the charge and active. The charge can be paid by cheque, postal order, bank draft, credit, or debit card. Please note cash cannot be accepted.
Further details are available www.nppr.ie
All applications should be emailed to nppr@kildarecoco.ie or posted to Kildare County Council, Athy Municipal District Office, NPPR Section, Rathstewart, Athy, Co Kildare – Contact 045-980657
Application for Certificate of Exemption (as of 1 August 2021)
File Size: 72KB - Document Type: MS Word, Acrobat pdf
Privacy Statement - Certificate of Exemption
Application - Declaration that a property was uninhabitable
File Size: 108KB - Document Type: MS Word, Acrobat pdf
Privacy Statement - Uninhabitable
NPPR Abroad Waiver – Application Form for Mitigation of Late Payment Fees
Privacy Statement - Mitigation of Late Payment Fees

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Which two permissions are required to migrate a virtual machine with Storage vMotion?
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Washington D.C.'s Landscape Legacy
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Meridian Hill Park
Established in 1790 on 100 square miles at the confluence of the Potomac and Anacostia Rivers, the location of the District of Columbia was selected by George Washington in 1791. Two major plans guided the City's development – the first was developed by French engineer Pierre Charles L'Enfant in 1791, and laid out the overall grid of streets and diagonal boulevards; the second, named for James McMillan who led a planning commission, was developed in 1901. The two plans continue to be the most consequential and evident design imprints on the nation's capital.
FROM ITS BEGINNINGS TO 1901
L'Enfant Plan, 1791 - Image © Library of Congress
Carved from land donated by Maryland and Virginia and incorporating Georgetown and Alexandria, the boundaries of the District were marked by 40 stones set by surveyor Andrew Ellicott and freed African American astronomer Benjamin Banneker. Inspired by planning principles borrowed from Milan, Paris, and Amsterdam, in 1791 L'Enfant developed a Baroque work of art that would symbolize the ideals of democracy and the nation's emerging status in the world—one of only two largely intact Colonial-era city plans in America today (Savannah, GA being the other).
Radiating from the Capitol and the White House, L'Enfant's plan created a monumental core overlaid by a grid of streets and transected by wide diagonal avenues lined with trees, ornamented with sculpture, and visually connecting significant vistas. Where the orthogonal grid intersected the diagonal avenues, L'Enfant indicated fifteen parcels called reservations that would ensure the preservation of open space for public use, limit development, and serve as platforms for the display of monumental sculpture. A picturesque greensward extending from the Capitol to the White House was to be lined by federal buildings. Though L'Enfant was eventually dismissed from the project, Ellicott, the surveyor, redrew his plan from memory, revised it, and developed a plan for subsequent development, performing at both practical and ceremonial levels. Ellicott expanded L'Enfant's designated open spaces and suggested the appropriation of seventeen reservations totaling 541 acres for federal use.
View of Georgetown D.C., Washington, D.C. - Published and sold by E. Sachse & Co., ca 1855
Piecemeal development of the District occurred through the next several decades with much of the planning of parks and streets dictated by the U.S. Army Corps of Engineers and the Board of Public Works. The Potomac Flats that would become the Mall were malarial tidal swamps, Georgetown was used as dumping grounds, and the picturesque Rock Creek valley was an open sewer. In 1846, instigated by disagreements over slavery, the portion of D.C. granted by Virginia was returned to the Commonwealth, thus leaving the capital city solely on land contributed by Maryland. In 1851 landscape gardener Andrew Jackson Downing was commissioned to prepare designs for the National Mall, the Capitol grounds, and the White House. His treatment for the Mall, twenty years later criticized by Frederick Law Olmsted, Sr. as disorderly and confusing, included four distinct parks (only one was actually constructed) interconnected by curvilinear walks and drives. In 1874 Olmsted developed a densely wooded terrace to frame views of the Capitol from Union Square at the east end of the Mall, unifying the transition from the monumental statehouse to its park-like setting. Dredging of the Potomac to improve navigation resulted in the slow reclamation of more than 700 acres of land that would eventually form the western section of the Mall.
Washington, D.C. April 1865 - Photo by Matthew Brady, courtesy of the Library of Congress
In 1867 the U.S. Army Corps of Engineers proposed the development of the 1,000-acre Rock Creek Park, which was created by the Washington Board of Trade in 1890 and encompassed the 170-acre National Zoological Park, established a year previous. Later, the Board of Trade would battle with the Georgetown Citizen's Association, which wanted to culvert Rock Creek and fill the valley to increase real estate. The argument was part of a larger conflict regarding administration of Georgetown, which had resulted in the renaming of its streets in 1895 to adhere to L'Enfant's organization of the District.
Meanwhile, more than 700 miles away, the 1893 World's Columbian Exposition was taking place in Chicago, designed primarily by Olmsted and architect Daniel Burnham. The event popularized the City Beautiful movement and the development of French-inspired Beaux Arts principles including axial organization, symmetrical and balanced design, and a sense of grandeur. Seven years after the Exposition and in commemoration of the District's centennial, the American Institute of Architects held their annual convention in D.C. with an address by Olmsted who called for the employment of landscape architects in the planning of the District. Recognizing that L'Enfant's plan was slowly being diminished, the convention resulted in a call for a resolution that would install a design commission to guide future growth of the District.
Sketch of proposed National Mall design, circa 1906 - Image © Library of Congress
THE MCMILLAN PLAN AND THE DISTRICT'S FUTURE
In 1901 the Senate Park Commission was assembled by James McMillan, comprised of Daniel Burnham, Frederick Law Olmsted, Jr., architect Charles McKim, and sculptor Augustus Saint-Gaudens, all of whom had been involved with the Exposition in Chicago. These men (save Saint-Gaudens) spent seven weeks traveling throughout Virginia and Europe, visiting cities that would have been influential in the development of L'Enfant's plan including Rome, London, Paris, Frankfurt, and Vienna. Le Nôtre's designs at Versailles and Vaux-le-Vicomte were particularly influential for the Senate Park Commission's designs for the Mall, which would provide a cruciform park-like setting flanked by carriage drives and punctuated with reflecting pools and memorials. Serving as the monumental core, the plan for the Mall called for the removal of a railroad terminal, the development of cultural and governmental buildings, and the razing of nearby slums.
Beyond the Mall and influenced by Olmsted Sr.'s design for his picturesque Emerald Necklace in Boston, the Commission developed designs for an interconnected system of parks where the city's residents could enjoy the natural environment within the urban setting. The establishment of parkways along the Potomac River and Rock Creek as well as the creation of roads and bridges served to link landscaped parks, swimming facilities, and the District's myriad neighborhoods.
View of Lafayette Square from the roof of the Veteran's Administration building - Photo © Library of Congress
In 1910 President Taft formed the Commission of Fine Arts (CFA), which would be responsible for developing the District's City Beautiful plan. Comprised of many of the same individuals who had worked on the Senate Park Commission, the CFA would advise on the District-wide character and placement of monuments, buildings, fountains, sculpture, and their accompanying landscape treatment. The Commission's influence was broad: they warned against the bisecting of D.C.'s circular parks with roads, commented on the design of lampposts and the selection of trees, and recommended the development of large open spaces including the transformation of Civil War forts into public parks. In 1916 land on 16th Street was set aside for the creation of Meridian Hill Park, designed by George Burnap, Horace Peaslee, and Ferruccio Vitale. In the 1920s Olmsted, Jr. and the American Society of Landscape Architects campaigned for the acquisition of a hilly site near the Anacostia River, providing the setting for the National Arboretum. In 1926 the National Capital Park and Planning Commission was formed and the Public Buildings Act passed the same year providing funds for the construction of the Federal Triangle on the south side of Pennsylvania Avenue between the White House and the Capitol. The pinnacle of Beaux Arts classicism in the District, the 70-acre Triangle was completed in 1937.
The Shipstead-Luce Act of 1930 extended the CFA's regulatory influence into the private realm by advising on the design and construction of areas bordering property managed by the federal government including Rock Creek Park, land reserves, and the borderline of D.C. The 1930s witnessed funding by the Works Progress Administration for work on the Capitol walls and the eastern terminus of the Mall at Union Square, among many other projects. Led by Olmsted, Jr. who was advising on projects across the District at a salary that barely covered his living expenses, the Olmsted Brothers firm was instrumental in the design of the District's most significant and iconic landscapes. Their designs for the Thomas Jefferson Memorial at the edge of the Tidal Basin and the Theodore Roosevelt Memorial on Analostan Island were inspired by work Olmsted, Sr. had completed for the Columbian Exposition's Wooded Isle.
Frederick Law Olmsted, Jr. - Photo courtesy of OlmstedMD.org
Reflective of trends across the country at this time, Modernist ideas began to drive development of the District's landscape: Suburban expansion, decentralization of government buildings, the proliferation of automobile infrastructure, and federal art programs contributed to an evolving landscape for the nation's capital. Accommodating the need for wartime infrastructure, wood and stucco "tempos" were erected along the Mall and a massive campus was proposed to be constructed at the base of the Memorial Bridge at Arlington National Cemetery. Under strong urging from the CFA, this construction—dubbed the Pentagon—was relocated to its present location, retaining the configuration it had been given in response to the shape and topography of its formerly recommended setting. The post-War years saw the birth of the historic preservation movement and the designation of the Old Georgetown Historic District. At the same time, significant components of Southwest D.C. were razed for urban renewal projects, largely designed by Chloethiel Woodard Smith and Dan Kiley. In the 1960s CFA members Hideo Sasaki and John Carl Warnecke worked with First Lady Jacqueline Kennedy on the development around Lafayette Square, which faces the White House, one that melded historic preservation and new construction. In 1959 Chairman of the National Capital Planning Commission Harland Bartholomew, addressing the growing need for public transportation, proposed a 33-mile rapid transit system. In 1968 a plan was approved to construct a 97-mile system (38 miles in D.C. with the remainder connecting to Maryland and Virginia locales), adopting Brutalism for the subterranean stations.
National World War II Memorial, Washington, DC - Photo by Barrett Doherty, 2016
Under the leadership of the Pennsylvania Avenue Redevelopment Corporation, the 1970s witnessed the revitalization of Pennsylvania Avenue for parade viewing with the establishment of raised terraces, a shared cornice line for buildings, and the planting of clipped lindens. In addition to the Avenue, a diversity of ancillary spaces were developed at this time: Pershing Park designed in 1979 by M. Paul Friedberg; Freedom Plaza designed by Robert Venturi, Denise Scott Brown, and George Patton; and the terraced John Marshall Park designed by Carol Johnson to front Old City Hall. Noteworthy projects by the firm Oehme, van Sweden include the planting redesign at Pershing Park, the design of the Federal Reserve Board in 1977, and the National World War II Memorial in 2004. Throughout this period, cultural institutions including many of the Smithsonian museums were constructed along the Mall and the John F. Kennedy Center for the Performing Arts was built overlooking the Potomac.
Through the latter part of the 20th century and into the new millennium, the District has continued to develop along the plans set forth by L'Enfant and the Senate Park Commission. Evolving philosophies of memorialization and increased security concerns have challenged the continued design of its landscape, yet these two plans have miraculously created a foundation from which all work happens within a common, symphonic design framework. With almost 7,500 acres of parkland and nearly 10,000 acres of National Park Service-managed property, the District is both a city for the American people and an international destination. We hope you will be inspired to explore the unique and unrivaled landscape legacy that is showcased in What's Out There Washington, D.C.
"Washington, once known as the City of Magnificent Distances, may now be termed the City of Magnificent Possibilities. In spite of its century and a quarter of years, it is still a City of Beginnings. Nothing is completed. Everything is begun. It is a city of transitions." – Charles Moore, 1922
D.C.'s Landscape Legacy
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More Culture:
The Art Museum's new Mexican Modernism show revives a revolution
New exhibition features painting, sculpture and more by badass hombres (and mujeres) Rivera, Orozco, Kahlo and more
By Shaun Brady
Philadelphia Museum of Art/for PhillyVoice
Our Lady of Sorrows, 1943, by María Izquierdo (Private Collection, USA) (detail)
When the Philadelphia Museum of Art began planning its new Mexican Modernism exhibition more than four years ago, the organizers had no way of knowing it would open at the nadir of an election season marked by blustery talk of border walls and "bad hombres."
That context couldn't have been far from museum director and CEO Timothy Rub's mind, though, when he called the landmark exhibition "timely for many different reasons: political, social and artistic."
"Today, it is particularly significant to reinforce the bond of friendship and respect that connects our countries," agreed Maria Cristina Garcia Cepeda, general director of Mexico's Instituto Nacional de Bellas Artes (INBA). Speaking in the Great Stair Hall at a preview of the show last week, Garcia Cepeda said, "This exhibit has strengthened the ties of friendship, exchange and collaboration between our institutions and our countries. We celebrate that Mexico and the United States might become even closer through culture and art."
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Whatever strides a single museum exhibition can make in healing the wounds created on this season's debate stages, "Paint the Revolution: Mexican Modernism, 1910-1950" — organized by the PMA in conjunction with Mexico City's Museo del Palacio de Bellas Artes — stands as a significant overview of Mexican modern art in the first half of the 20th century and its dialogue with the contemporary art worlds of the U.S. and Europe.
Featuring more than 250 works by around 70 artists, including painting, sculpture, prints, drawings, photography, broadsheets and digitally recreated murals, the show traces the innovations of artists like Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros, Frida Kahlo and their compatriots from the outbreak of the Mexican Revolution in 1910 through the dispirited reflections of the 1940s as exiled Europeans arrived, fleeing the spreading Fascism in Europe.
"What emerges," according to curator Matthew Affron, "is an exciting chapter in the world history of modern art — a chapter that puts the big social, political and aesthetic questions of the early 20th-century front and center."
Jose Clemente Orozco/Artists Rights Society (ARS), New York/SOMAAP, Mexico City/for PhillyVoice
'The Epic of American Civilization' (wall mural detail), 1932–34, by José Clemente Orozco (Hood Museum of Art, Dartmouth College: Commissioned by the Trustees of Dartmouth College)
Somewhere around the midpoint of the exhibition are the two panels of Diego Rivera's "Liberation of the Peon" and "Sugar Mill," which might look familiar to regular visitors to the museum. These two frescoes have straddled the institution's central staircase since 1943 when they appeared as part of "Mexican Art Today" – the last time such a comprehensive survey of the country's modern art was undertaken in this country.
In their usual places, however, the frescoes are sequestered behind glass and shrouded in shadows, giving their placement in "Paint the Revolution," removed from their cases, the allure of fresh revelation. The images positively shimmer from the glints of mica in the stone on which they're painted. But a more figurative new light is shone on them from their placement in the show, where they can be seen in the context of an evolving aesthetic, fusing the artistic and political upheavals of the day into a distinctive national style.
Especially in the earliest works in the exhibition, Mexican modernism's relation to the prevailing trends in the art of the early 1900s is obvious — paintings by Ángel Zárraga, the pseudonymous Dr. Atl, and the young Diego Rivera, then living in Paris, all evidence the strong influence of Picasso and the Cubists. But even at this nascent stage, the work is simultaneously rooted in Mexican folk art traditions. That influence only grows stronger in the ensuing decades, as the armed conflict ends and the artists become part of the discussion on how to rebuild the war-torn nation.
Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York/for PhillyVoice
'Liberation of the Peon,' 1931, by Diego Rivera (Philadelphia Museum of Art: Gift of Mr. and Mrs. Herbert Cameron Morris, 1943-46-1)
The politicization of Mexican modernism is displayed in myriad forms throughout the show, from Orozco's satirical newspaper cartoons and Goya-inspired grotesques to an entire wall of blaring propaganda prints created by left-wing groups in opposition to Fascism. But the key component of that story is also the most challenging to translate into a traveling exhibition — the mural movement, whose best-known proponents are Rivera, Orozco and Siqueiros.
The curators' innovative approach to that problem is to devote three massive digital screens to a mural apiece by these masters, examining the works at near life size and providing interactive screens for visitors to get a closer look. By surrounding these replicas with the less grandiose art of these looming figures' less familiar contemporaries, the show vividly conjures the full-blooded, passionate, obviously often conflicting arguments that must have been ringing in the streets of Mexico at the time, immortalized in vibrant visual forms.
Ultimately the show, like most idealistic revolutions, concludes on a note of disillusionment. A new generation has arisen, influenced by the surrealists and often critical of their predecessors' intimate ties with the post-revolutionary elite.
Meanwhile, these now elder statesmen are creating work of striking violence and despair — Frida Kahlo's work in this period dwells on sadness and suicide, Siqueiros shows a monstrous demon infiltrating the church, while Orozco depicts sacrifice and martyrdom. The final impression is of the friction between impassioned vision and harsh reality, of an artistic revolution fought with more enduring success than a political one.
Paint the Revolution:
Mexican Modernism, 1910-1950
Oct. 25-Jan. 8
2600 Benjamin Franklin Pkwy.
'Self-Portrait on the Border Line Between Mexico and the United States,' 1932, by Frida Kahlo (Colección Maria y Manuel Reyero, New York)
Shaun Brady
Read more Art Exhibitions Philadelphia Mexico Philadelphia Museum of Art Frida Kahlo Art Arts The Arts
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FOR SALE! The Philadelphian: Rarely available 2 bedroom (combination of a studio and 1 bedroom) penthouse showcasing Art Museum and city skyline views, 57' balcony, floor-to-ceiling windows, high ceilings, and wood floors. 1,918 sf. $699,000.
FOR SALE! Parc Rittenhouse: Bright 1 bedroom, 1 bathroom on a high floor with oversized windows offering Billy Penn views atop City Hall and an open kitchen. 509 sf. $289,900.


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Merlin Becomes Fifth Biggest Music Rights Holder
By Sean P. Aune 2008-05-05 19:48:52 UTC
Merlin, the non-profit company setup to handle the rights of independent music labels, has succeeded in becoming the equivalent of the fifth largest record company with the success of just their first month of operation.
You may remember that we first discussed Merlin all the way back in January 2007, so this success has been a long time in the making for the international rights holder. For those who may not remember what exactly it is the company aims to do, it's a fairly easy idea: Merlin sees a strength in a centralized, concentrated voice for independent record labels when it comes to negotiating for rights.
In just the first month of operation, Merlin has made agreements with over 12,000 independent music labels to represent them to distribution situations like YouTube. Instead of thousands of labels all jumping through the same hoops as each other, Merlin will handle all of the rights issues as one entity, simplifying things for everyone in the process. With that many rights now under their umbrella,this makes Merlin the equivalent of the fifth biggest record company, though they are not looking to turn a profit and simply negotiate en masse for the smaller companies, giving them one unified voice as opposed to many.
Topics: Media, Music


A gruelling two weeks has seen Lightning face arguably the toughest teams in the league all in a matter of days, with a whopping four matches in ten days.
LOUGHBOROUGH Lightning went back to their winning ways on Monday night, after a nail biting encounter with Surrey Storm, securing a 53–51 victory in the final seconds of the game.
A gruelling two weeks has seen Lightning face arguably the toughest teams in the league all in a matter of days, with a whopping four matches in ten days. Starting the second double header on Saturday with a loss to last year's champions Wasps, Lightning were keen to secure a win ahead of next weekend's break. Visiting side Surrey Storm also arrived at Loughborough University with a fierce determination after recording three defeats on the trot.
A slow start to the opening quarter for Lightning saw Storm quickly pull ahead to lead 4 – 9 within the first five minutes. Shocked at the acceleration from the visiting side, a tired Lightning quickly regained composure and with an outstanding flying interception from Sterling they were given the chance to turn things around. The quarter continued with both sides levelling at each centre pass before Lightning finally pulled ahead to finish one point ahead.
Heading back onto court a weary Lightning needed to find all that was left to maintain their lead. Storm meanwhile boasted their fresh legs after a weekend's break due and continued to apply pressure to Lightning's attacking circle. Changes mid-way through the quarter saw Oyesola on at GD who quickly found her rhythm alongside the sensational Sterling who was off to a flyer once more, giving Lightning those crucial turnovers needed to increase their lead to three.
Picking up where they left off, Oyesola soon spotted an opening, taking advantage of a loose pass, quickly feeding it back up the court to a waiting Proscovia. Changes in the quarter became a momentous occasion as fan favourite Lauren Nicholls stepped onto court for the first time in over a year after suffering from a season ending ACL injury in 2017. Leaving no time to savour the moment, Storm were hot on the tails of a readjusting Lighting side, closing the gap to just one point. Sterling however had other ideas, continuing to edge out the Storm shooters to provide Lightning with yet another lifeline.
Just 15 minutes remained on the clock and with Storm eager to secure their first win of the season, Lightning increased their intensity. Taking a well-earned break, Joseph and Clark retired to the bench to allow a fresh and hungry Grierson and Coleman to take to the court. However with just minutes left on the clock and a level score, their break was short lived. The final five minutes saw each side taking point for point, neither side letting up. Lighting trailed by just one point going into the final 60 seconds of the game however two terrific turnovers and a centre pass saw them score the three vital goals needed to secure the win, leaving the audience gripped to the edge of their seats until the buzzer sounded.


Thomas Merton was once the most well-liked proponent of the Christian contemplative culture within the 20th century. Now, for the 1st time, a few of his so much lyrical and prayerful writings were prepared into A booklet of Hours, a wealthy source for day-by-day prayer and contemplation that imitates the more and more renowned historical monastic perform of "praying the hours."
Editor Kathleen Deignan mined Merton's voluminous writings, arranging prayers for sunrise, Day, nightfall, and darkish for every of the times of the week. A booklet of Hours makes it possible for a slice of monastic contemplation in the course of annoying glossy existence, with psalms, prayers, readings, and reflections.
Worship renewal is now at the time table of many Reformed church buildings, because the desire for version and new methods is acutely felt in every single place. How can the church faithfully worship God in the middle of speedily altering occasions? How can it constructively relate to largely differing cultural contexts? what's its position within the wider ecumenical scene?
A vintage query in reports of formality is how ritual performances achieve-or fail to achieve-their results. during this pathbreaking e-book, Matt Tomlinson argues that contributors situation their very own expectancies of formality good fortune via interactively developing specific textual styles of series, conjunction, distinction, and substitution.
L'immediatezza e l. a. semplicità di papa Francesco hanno raggiunto e parlato al cuore dei fedeli fin dal giorno della sua elezione: le preghiere e le riflessioni più significative sono raccolte in step with l. a. prima volta in un prezioso breviario che illuminerà il cammino di fede dei suoi lettori. Oggi più che mai è necessario fermarsi un momento, anche solo consistent with pochi minuti al giorno, e incontrare uno spazio according to il silenzio e los angeles preghiera: attraverso semplici spunti di riflessione, pensieri e brevi racconti nati dai suoi interventi, papa Francesco accompagna giorno dopo giorno los angeles nostra meditazione spirituale aiutandoci a riflettere, pensare e agire alla luce della parola di Dio.


The Excel Reclining Sectional Sofa with 5 Seats by Southern Motion at Wayside Furniture in the Akron, Cleveland, Canton, Medina, Youngstown, Ohio area. Product availability may vary. Contact us for the most current availability on this product.


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Getting together and fundraising with friends, family and workmates is a great way to support Thames Valley Air Ambulance and support our life-saving service. Have a look below for our suggestions and ideas for more inspiration.
The only limit on your fundraising is your imagination. You could take part in one of our organised events such as a run, walk or swim. Or why not organise your own event; from holding a charity fun day, to having a bake sale or setting yourself a personal challenge – the options are limitless.
We love hearing from you about your fundraising ideas and plans so please register with us so as we can help you every step of the way to ensure your fundraising is a real success.
If you're not sure what you want to do, just get in touch and we can chat through it and find the perfect fundraising challenge for you!
Why should you fundraise for Thames Valley Air Ambulance?
If you're still not sure why you should fundraise for Thames Valley Air Ambulance then watch Craig's incredible survival story.


The Council of Fashion Designers of America announced on Wednesday the five finalists for this year's CFDA + Lexus Fashion Initiative, a yearly program that chooses five fashion brands focusing on sustainability and places them in a nine-month residency to improve their sustainable efforts.
The finalists – Public School, Tracy Reese, Jonathan Cohen, Abasi Rosborough and Araks – are diverse not only in the categories they cover but also in their thinking on sustainability. Some of the brands have had sustainability as a core part of their strategy from the beginning while others have only just begun to update their strategies to make it a focus.
There is one feeling that is unanimous among the finalists: There is no trade-off between sustainability and creativity or aesthetics. Instead, designing sustainably can often be even more creatively fulfilling due to the limitations it imposes.
The market for sustainable fashion has grown considerably. In the 17 years since Stella McCartney first launched and proved that brands could be completely sustainable while holding legitimate fashion credibility, the number of consumers that place sustainability as a major factor in their fashion choices has risen to nearly 60 percent, a marked change from previous decades. Fashion brands like Mara Hoffman and Eileen Fisher (who recently collaborated on a sustainable collection with Public School) have made more environmentally friendly practices a priority. Younger DTC fashion brands have gone down a similar route, with Everlane pledging to eliminate all virgin plastics by 2021.
These changes are not just driven by fashion designers' guilty consciences. There is a clear desire for sustainable clothing from consumers and the brands that offer sustainable products will be tapping into that desire. A survey from Element Three showed that 87 percent of U.S. millennials would be willing to pay more for clothing that was sustainably produced. Additionally, brands that do not offer sustainable options risk being seen as out of touch and careless toward the environment.
According to CFDA president Steven Kolb, previous years have seen sustainable fashion brands marketed separately from the rest of fashion. These brands would be set apart from those that were not explicitly focused on sustainability and marketed toward a customer specifically seeking that out. But now the market has shifted.


Still life elements: (your choice – vases, fruit, baseball glove, ball, and bat, basketball).
Examples of similar drawings, done on tinted paper and heightened with chalk by masters such as Rembrandt, Degas, etc.
Talk about the depth that shows in many drawings, and how they are not merely outlines, but also have shading added. Explain that this describes two kinds of drawing: contour, and shaded. Show examples of drawings done on tinted paper, from Da Vinci, Michelangelo, Degas, and others. Point out the delicate shading-soft close parallel lines. Practice this type of line work on the scratch paper. Make sure that the students are working with a light touch. Display the still life, and talk about how it can be drawn, showing the areas such as circles and curved lines that can be picked up on. Have students begin with an outline drawing, working on the objects in the front first, and then adding shading as they see it. Allow students to add highlights with the white chalk.
Hold up drawings, noting the similarities with the master drawings looked at earlier. Talk about working from other artists' drawings, noting that this is a time-honored practice. Encourage students to continue to work in this vein at home, as well.


WASHINGTON, July 21 : The Pentagon will not make the remaining military reimbursements to Pakistan for fiscal year 2016 after US Defence Secretary Jim Mattis told Congress Islamabad had not taken sufficient action against the Haqqani network, a US official said on Friday.
"The funds could not be released to the Government of Pakistan at this time because the secretary could not certify that Pakistan has taken sufficient action against the Haqqani Network per the requirement in the FY 2016 National Defense Authorization Act," Adam Stump, a Pentagon spokesman, told Reuters.
The decision comes as President Donald Trump's administration is exploring potentially hardening its approach toward Pakistan to crack down on terrorists launching strikes in neighbouring Afghanistan.
"This decision does not prejudge the conclusions of the White House review of South Asia strategy, which is still ongoing," Stump said.
Relations between the two countries have been frayed over the past decade, with US officials frustrated by what they term Islamabad's unwillingness to act against Islamist groups such as the Afghan Taliban and the Haqqani network.
Out of remainder, $300 million had already been reprogrammed for other purposes, but had not been previously reported. Mattis' latest decision affects the remaining $50 million.


Photographers are free to post images taken at National Trust properties on social networking sites such as Flickr, unless they are for commercial use, a Trust official has said.
The clarification comes after many photographers expressed concern about the wording of rules posted on the website of the National Trust Photo Library (NTPL), which state: ?The National Trust does not permit photography or filming at its properties for commercial use or for reproduction in any form.?
The rules add that images should not be provided to photo libraries, agencies or ?online providers? ? further raising fears that this is a catch-all clause covering all websites.
Among those angry at the possible implications of the National Trust?s rules was AP reader Andy McInroy, who wrote to the magazine fearing the policy would hit ?photographers? rights to give away their images into the public domain for free'.
After Amateur Photographer (AP) contacted NTPL for clarification, a spokesman said: ?We want to encourage people to take pictures? The trust is more than happy for people to take photographs on their days out for their own personal use, which includes posting them on photo sharing websites such as Flickr??
However, he added: ?Anyone wishing to sell their images needs to contact our film and broadcast liaison office to make sure the necessary contractual arrangements are in place.?
The Trust spokesman denied that it has changed its stance following complaints from photographers.
?It has always been the case,? he told AP.
The Trust added that, following concerns raised, it will consider changing the wording of its photographic policy.
The spokesman added: ?We ask people to contact the property in advance if they wish to take photography indoors as we do not allow indoor photography when other visitors are there, and there may also be special conservation requirements for photography in that property.?
Last month we reported the National Trust's demand for photographers to investigate thousands of images submitted to the Alamy picture library.