text:
Law Web Search Engine
Privacy Policy - Law Web
Reserve Bank of India has now become sole regulator of borrowing and lending in the country.
The Reserve Bank of India has now become the sole regulator of borrowing and lending in the country.
The Gujarat High Court in a ruling on Thursday took away powers to determine whether asset is NPA or not and the period of non-payment that would make an asset NPA from all regulators except the RBI.
A division bench headed by Chief Justice Bhaskar Bhattacharya has ruled that a 2005 amendment to in the Securitisation and Reconstruction of Financial Assets and Enforcement of Security Interests (Sarfaesi) Act, 2002 was illegal, unconstitutional and contrary to the object of the Act.
The amendment which defines NPA under section 2(1)(O) classified different institutions (60 in total) under two groups – those under the purview of the RBI and those regulated by other agencies. A petition moved by a borrower through advocate Vishwas Shah and Masoom Shah had challenged the amendment.
The court observed that for the purpose of enforcing a statute like the Securitisation Act, which deviates from the ordinary laws of the land relating to attachment, sale and recovery of possession of the secured asset, the fate of a borrower cannot be left in the hands of the regulators of those financiers.
With the judgment, RBI can determine classification of NPAs by banks and various types of financial institutions – NBFCs, LIC, state finance companies among others.
At present, banks classify a borrower's (consumer or corporate) account as NPA after continuous non-payment of principal and interest for 90 days and make necessary provision for the same.
However, NBFC, state finance companies (SFCs promoted by state governments) and other companies get a different period to determine whether the asset is NPA or not.
Certain housing finance companies, SFCs and companies like Power Finance Corporation are not under the regulation of RBI for NPA classification, they are governed by respective laws and regulators.
Meanwhile, the High Court in the same judgment has rejected the argument of the petitioner that para 2.1 of the guidelines of the RBI that classify various number of days for various types of banks and financial institutions.
The petitioner has prayed that all borrowers should be treated equally and one should not get less number of days compared with other borrower of NBFC. The court has ruled that the guidelines were dealt with in the 2004 judgment of the apex court.
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Whether court should accept vakalatnama filed by new advocate without no objection of previous advocate?
Whether vakalatnama filed by a new advocate is to be accepted in the absence of 'no objection' of the advocate already on ...
Whether agreement of sale signed by one party is valid?
Before I go to discuss this aspect of the matter, let us take up the second point as urged by Mr. Chakraborty, learned counsel for the ...
Whether Sumptuary allowance granted to judicial officer is exempt from payment of Income Tax?
Sumptuary allowance:- The learned counsel for the assessee has submitted that the sumptuary allowance paid to the judicial Officer is exc...
Whether it is necessary to seek cancellation of sale deed if it was executed during pendency of suit?
In our opinion, when the sale deed had been executed during the pendency of suit the purchaser pendente lite is bound by the outcome of ...
Whether decree for specific performance can be granted when agreement of sale is not executed by all co-owners?
It is an undisputed fact that the suit schedule property is self acquired property by late Pemmada Venkateswara Rao as he had purchased ...


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Q: titanium mobile date picker from text field I want to do the following:
when people click on a text field they see a date picker.
they click "done" button at the top and the date picker disappears
and they are back on the form.
How can I accomplish this using titanium mobile for iphone ios?

A: You can use Textbox AddeventListener and Animation function. like
var donebtn = Ti.UI.createButton({
title : "Done",

});

var toolbar_pick    = Ti.UI.iOS.createToolbar({
      backgroundColor : "#f00",
      bottom        : -50,
      items       :[donebtn],
      barColor      :'#000',

});

var _date = Ti.UI.createPicker({
    type:Ti.UI.PICKER_TYPE_DATE,
    minDate : new Date,
    bottom :-320 ,
});
donebtn.addEventListener('focus',function(){
     _date.animate({bottom:-270, duration: 500});
     toolbar_pick.animate({bottom:-50, duration: 500});

});
textbox.addEventListener('click',function(){
    _date.animate({bottom:0, duration: 500});
    toolbar_pick.animate({bottom:266, duration: 500});

});
win.add(_date);
win.add(toolbar_pick);

just for example can use own your requirement.
MRT

redpajama_set_name: RedPajamaStackExchange


This heavily textured bowl will add an artistic accent to a dining table or kitchen island. Its slightly distressed, high gloss glaze is versatile in light blue. Beautiful empty or filled with decorative orbs or objects.


Accelerate your career at Calcey!
Are you smart, dedicated and passionate about your work? If so, we want you to be a part of our team.
Calcey has one of the best and most committed teams delivering innovative solutions and services to many satisfied clients. Each person has the opportunity to directly impact the success of the company. Every single role and contribution is vital to the success of our positioning in the marketplace.
It was great working at Calcey. First of all I would like to thank management for giving me the opportunity to work here with unique open and straight management style. The project team was great, from the beginning we worked as a team and there was good team spirit going on, Thanks. And special thanks to Andy and Mike for providing the necessary support and guidance to go forward with the project.
Calcey practices Scrum, the most successful agile project management methodology that I know of, and I'm proud to have adjusted to an agile mindset. I also had to learn Objective-C and iOS development in double-quick time. It's easy to switch between programming languages here, as there are experts in the domain that you can learn from.


After finding bugs in the code they were testing, Ethereum's core developers have decided to postpone the network's scheduled hard fork, which was supposed to happen next month, until 2019. The delay of the software upgrade, called Constantinople, will give the group more time to stew over a controversial proposed change to the network's monetary system.
The contentious proposal is related to something called the "difficulty bomb," a piece of Ethereum's code that steadily increases the difficulty of mining new blocks. The bomb was originally conceived as part of a larger plan to transition the Ethereum network from the energy-intensive process it uses to agree on its ledger, called proof of work, to a more energy-efficient one called proof of stake. It's supposed to deter miners from continuing to mine the old chain once the network switches.
But developing a proof-of-stake system is taking longer than expected, so the difficulty bomb must be delayed. And since that will make mining easier, Ethereum's core developers have decided they must reduce the reward to counterbalance this effect. How to do this is a matter of some dispute. Unlike Bitcoin, which has a capped supply, Ethereum's currency is uncapped and has no formal monetary policy. There are a range of opinions in the community about how best to adjust the issuance rate to account for delaying the bomb. Ultimately, the core developers had landed on changing the block reward from three ether to two, but now the upgrade is delayed until at least January. Decentralized decision-making is hard.


Although Becky, Lakes Single Mum, has her internet back, we have decided to keep the blog hop with me for the rest of July. It just keeps things clean and tidy.
So if you are a blogger, the badge is on my sidebar. If you're not a blogger, don't forget to share what's making you smile on other social forums.
2. Test Passing. I've already mentioned it, on My Sunday Photo, but the teen has passed his Theory test! Now we have to get ready for the biggy, so the L plates are on, wish me luck.
He was happy with it anyway.
So enjoy this last few days of peace school, ready for the summer holidays, and share away!
I am massively jealous of both your hair and your cake!
I was trying to explain your hair to the lady who did our hair yesterday and she was just going, "what? What do you mean? How did she do that?!"
Your hair looks fab and that cake looks amazing. Or is it the other way round?
Gorgeous hair missus! I absolutely love it!
And that cake...yum, I should have hopped on a train!
Good luck to your teen with his driving.


"Flag of Spain" PERSONALIZED handbag, purse or Clutch, made with canvas fabric in Spain. Zip closure and handle to carry it by the hand. Zip back pocket and inside lining. Great capacity.
Because it´s a customized product, it will take three days to o be able to be sent from the reception of the order.
Dimensions 26 cm x 16 cm y asa larga de 22 cm.


It started with a wrong turn, a recipe, and a dream.
The husband-wife team who founded CideRoad had first discovered switchel while motoring down a side road (get it?) on vacation in Vermont. They didn't even have a name when they started working with Mint to launch their cider-vinegar based concoction, but we helped them develop their brand from the ground up: Name, logo, look, package design, voice, website, collateral, point-of-sale, etc. Now they are a national brand in stores such as Whole Foods and Kroger. The bottle design (with its signature tire track "grips") was honored with inclusion in Lurzer's Archive magazine as well as Brand Packaging's 2015 eDesign Gallery.


Lizzie was extremely prompt in answering my request for information. Even though I did not view the apartment (Im overseas currently), I appreciated her thoughtfulness and thoroughness in answering my questions. I believe you will enjoy talking with her.
Lizzie is a great communicator. She found my profile, contacted me through email and phone. I responded via email. It didnt work out on my end, the property looks great.


text:
<?php
namespace ProcureTest\GR;

use Doctrine\ORM\EntityManager;
use Procure\Domain\Exception\InvalidArgumentException;
use Procure\Domain\GoodsReceipt\GRRow;
use PHPUnit_Framework_TestCase;

class GrSnapshotAssemblerTest extends PHPUnit_Framework_TestCase
{

    protected $serviceManager;

    /**
     *
     * @var EntityManager $em;
     */
    protected $em;

    public function setUp()
    {
        $root = realpath(dirname(dirname(dirname(__FILE__))));
        // echo $root;
        require ($root . '/Bootstrap.php');
    }

    public function testOther()
    {
        try {

            // $result = GRRowSnapshotAssembler::findMissingPropertiesOfEntity();
            // $result = GRRowSnapshotAssembler::findMissingPropertiesOfSnapshot();
            $result = GRRow::createSnapshotProps();
            // var_dump($result);
            // var_dump($result);
        } catch (InvalidArgumentException $e) {
            echo $e->getMessage();
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Microsoft office 2019 professional plus latest version free download.Microsoft Office 2019 Professional Free Download (Full Version)
Was this information helpful?.Download and install or reinstall Office , Office , or Office
Sep 29, · Free Download Microsoft Office Professional Plus Retail-VL Version (bit/bit) Multilingual for Windows PC [Direct + Torrent Magnet]. Languages: Arabic, English, German, Greek, French, Spanish, Italian, Portuguese-Portuguese, Portuguese-Brazil, Turkish. It is the latest version of Microsoft's productivity software/5. Sep 06, · Microsoft Download Manager is free and available for download now. Back Next This download is needed for administrators to set up activation for volume license editions of Office , Project , or Visio by using either the Key Management Service (KMS) or Active Directory. Apr 02, · Well, Microsoft Office is the latest version of Microsoft's productivity suite. Microsoft Office has been made available for Windows 10 and macOS on September 24, Compared to its predecessors, Microsoft Office offers lots of new 's check out some of the new features of Office Reviews: 2.
Microsoft office 2019 professional plus latest version free download.Microsoft Office Professional Free Download (Full Version)
Sep 06, · Microsoft Download Manager is free and available for download now. Back Next This download is needed for administrators to set up activation for volume license editions of Office , Project , or Visio by using either the Key Management Service (KMS) or Active Directory. Note: The steps to install the , , or versions of Office Professional Plus, Office Standard, or a stand-alone app such as Word or Project might be different if you got Office through one of the following: Microsoft HUP: If you bought Office for personal use through your company, see Install Office through HUP. Volume license versions: If you work in an . Apr 02, · Well, Microsoft Office is the latest version of Microsoft's productivity suite. Microsoft Office has been made available for Windows 10 and macOS on September 24, Compared to its predecessors, Microsoft Office offers lots of new 's check out some of the new features of Office Reviews: 2.
Microsoft Office is one of the original document editing suites that were available for the PC and Mac operating systems. The latest edition of Microsoft Office, the Office Professional Plus is so far the best edition of Office which is centered towards enterprises. Many people and businesses are opting for subscriptions to Office nowadays.
However, if you need professional features of Microsoft Word, Powerpoint as well as Microsoft Outlook on a per computer basis without paying a monthly fee and opting out of the cloud features of Office , Microsoft Office Professional Plus is the best option for you. Microsoft Office Professional Plus contains all of the features that an Office suite should have along with the best softwares in the Office suite by Microsoft. The suite contains Microsoft Office, Excel, and Powerpoint and has features that can help you to have control about even the most minute things in your documents.
These features are unmatched by any other free office suite like Google Docs and others. Microsoft Word is a word processor which can perform a wide array of word processing tasks.
You can compose letters, write essays as well as print out newsletters easily using Word. Microsoft Word is a word processor that has remained at the top of the game for thirty years. Microsoft Excel is a spreadsheet utility which comes with a bundle of functions which are useful for tracking and recording data and creating tables and charts out of them. It has been updated over the years and new features have been added to Excel in the Office Professional Plus package.
You can use Microsoft Excel for maintaining budgets, keeping track of your taxes, making a report for your businesses and other works that require number crunching.
Powerpoint is a presentation software which is used to make audio-visual presentations and are used widely in enterprises. The new Microsoft Powerpoint has been equipped with some useful presenting features in the version. Now, you can use a Bluetooth enabled pointer to change slides and present the slides during presentations.
It has an all-new magnifying feature which is efficient while changing slides and has new transitions as well. Microsoft Powerpoint is by no means a lightweight suite like other presentation softwares like Slides by Google, however, it is has a load of features which other suites do not provide. Microsoft Outlook is an email client which can be installed in your computer for offline viewing of emails. It also functions as a calendar, contacts as well as to-do application along with being a powerful email client.
It has not been updated as frequently as Word and Powerpoint has been updated, still, it is far better than any other offline email client in the market.
If you want to have most of your enterprise driven tools in one spot and want features like running more than one account at a time, then Microsoft Outlook is a great email client for you. The new update brings features like focused inbox which clears out unwanted emails like spams and promotions to make space for more useful messages in your inbox automatically.
Microsoft Access is a Database Management suite which is, like Outlook and Powerpoint made for enterprise use. It is used to make databases with multiple tables that can share information between them and provide useful information upon querying. The demand for Microsoft Access has fallen over the years but it is still as dependable as the first version.
The latest version of Microsoft Access contains support for more data types which has made the app more flexible towards third party software. It also contains better charts and other updates related to the usability of the software. Microsoft One Note is a note making software made for individuals. Microsoft is promoting the new app forward. However, if you are of old tastes then you can install the One Note software from this package too.
This is the reason why many of the features which can be seen in Microsoft Office are kept exclusive to the subscription-based payment model. You should know what features that are omitted from the Office suite in the one time purchase of Office Professional Plus before getting it.
One of the main differences between Office and Office is that Office is a one time purchase so it will not come with any future updates that can change the functionality of the program or add new features while Microsoft will receive constant updates with new features. However, security patches and bug fixes which are critical to the software will be provided in Office This is similar to before Microsoft started where users need to buy a new version of Office for newer features.
Office contains all the features available in Office and has more built on top of it. Office is known for its cloud support and collaborative sharing. This is the reason why Office has OneDrive support which Office does not have. This feature can be important if you are working with teams or working from more than one machine of different form factors i.
It comes with applications on all of the major mobile operating systems. It comes will all the softwares that make the core of Microsoft Office just excluding the cloud services at a much lower cost which is not recurring.
If you want to get office download iso, you can download office from our website. They can however supply the software legally, if you have the product or activation codes for the software that you are looking for — as I already said.
I love this site they have pulled my but out of a fire a couple of times when it comes to this. I have the activation code just no media as the original discs got destroyed or lost. License Free Trial File Size 3. Share this: Twitter Facebook. This article has 4 comments. Please Send me product key for activation purpose. Please submit a request on our forums.
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redpajama_set_name: RedPajamaCommonCrawl


Rats & Mice Around your Home?
Are Rats & Mice spreading disease around your home?
Creating foul smells from their droppings?
Gnawing through electrical wires & timber?
We know all about rats & mice at Pestpac, the three common varieties is the Norway Rat, Roof Rat and House Mouse. Identifying these is important in implementing the correct treatment & proofing method. Our treatments are not only environmentally friendly but they are effective.


The Women's Fund of Winston-Salem has a grant program through which organizations may apply for funding. The grant program provides organizations of all sizes with grants of up to $15,000.
Our grantmaking focus emanates from our 2015 research report Through a Gender Lens: The Economic Security of Women and Girls in Forsyth County. This report highlights that poverty and economic security encompass and are impacted by these four areas in our grant making: financial stability; jobs/career development; education and family impact.
The Forsyth County Poverty Study released by Forsyth Futures also indicate disparities within the community. Therefore, we will give priority to applications that address concentrated poverty and poverty in African-American and Hispanic/Latino communities. We welcome pilot projects or programs that exlore innovative approaches to dealing with these issues.


"The Ghost Dimension," the sixth installment of the "Paranormal Activity" horror franchise, will now open on Oct. 23, 2015, pushed from its original March 13, 2015 date.
Gregory Plotkin directed the latest chapter in the supernatural franchise, which is produced by Jason Blum and original "Paranormal" director Oren Peli. Jason Pagan and Andrew Stark wrote the script.
The studio's "Friday the 13th" reboot, originally set for Nov. 13, 2015, will now open on May 13, 2016.
This is the second time "Friday the 13th" has been delayed. It had previously occupied the March 13, 2015, before being pushed back for Paramount's "Scouts vs Zombies" actioner.
Italian actress Matilda Lutz has been cast as the female lead in the next chapter of the popular horror franchise, to be directed by F. Javier Gutierrez. The film will once again feature Samara and a deadly videotape, though "Rings" will feature a new cast; Naomi Watts, who starred in the original, will not appear.
When you look up creepy and murderous movie dolls in the dictionary, you get Chucky from 1988's "Child Play."
Jigsaw didn't actually do any killing in "Saw" (2004), but he sure was creepy.
Annabelle made her first appearance in 2013's "The Conjuring."
An American family moves to Mexico and horror-filled hilarity ensues in "Dolls" (1987).
The award for the most evil dolls in one movie probably goes to one of the "Puppetmaster" films, which kicked off in 1989.
The creepy doll wasn't the scariest part of Tobe Hooper's "Poltergeist," but it was still grade-A nightmare fuel.
Anthony Hopkins stars with Burgess Meredith in the 1987 ventrioquist horror flick, "Magic."
"Dolly Dearest" (1991) was a straight-to-video release starring Rip Torn and Denise Crosby.
Karen Black starred alongside this Zuni fetish doll in a vignette called "Amelia" in "Trilogy of Terror" (1975).


I found an problem with FCKEditor. Anytime I make any change on text color, after I save, the changes are gone.
Please, provide detailed steps to reproduce. This could be just a problem in your CSS.
It works for me with both IE6 and Firefox 2.0. We need more information to be able to reproduce it. Also, some info about your configuration would help.
what problem are you suspecting in css?
The preview windows renders the same thing that is posted by FCKeditor. So, you are supposed to have the coloring tag there.
Can you show us what you have in your database (or somewhere else) after you save it? I strongly believe this is something in your system.
The CSS discretions where proposed by "anonymous" :), not me.
Note: it didn't appear in the expired bugs report, maybe because it has two keywords?


To combat life as a pacifist, Sameena Zehra imagines a cull of the human race. Anyone who fails her specially designed questionnaire will be offered three years to "fix themselves". I'm sure it's nothing personal; she just can't stand idiots, and who can blame her? That said, the explanation of how she plans her husband's funeral in detail each time they argue was a little concerning. Cynicism takes a back seat towards the end of Zehra's show, however, with a heart-warming story of the triumph of a peaceful protest, and the revelation that she's donating half of her festival proceeds to charity. She's a cynic, certainly, but she's also very intelligent and determined to maintain hope in humanity.
The Stand Comedy Club III & IV, until 24 Aug.


The horse show is an annual fundraising event we host in the fall.
We have fun events, for example face painting, boucy, and cake walk, to keep the kids entertain.
For the adults we have silent auction of various gifts.
The golf tournament is an annual fundraising event we host in the spring.
Prizes to the 1st, 2nd, and 3rd team prizes for the team who gets closes to the pin and longest drive.
There is also silent auction, raffle, lunch, and dinner at the golf tournament. Also sponsorships are available.


Recently, a brave pet dog saved his owners' lives by squaring off against two tigers in a forest area of Mandla district in Madhya Pradesh. The couple named Kunjiram Yadav and his wife Phoolwati were attacked by a tiger, but their brave dog came in between and saved the couple from the tigers. The best thing is that the dog made it out alive as well.
According to sources, the couple entered the buffer zone of Kanha with their pet dog in order to find their missing cow. By the time they were in Jhangul beat, the daylight was waning off. They were around 100mts in, when they saw their cow being guarded by two tigers as their kill. They told foresters that the tigers kept snarling at them for some time. Then, seeing that the couple was not backing down, the tigers leapt at them.
Yadav took the brunt of the initial flurry of claws, but then his pet dog jumped in. It stood between the couple and the tigers, barking furiously. The tigers were taken aback by the dog's ferociousness. The dog charged the tigers and they stepped back. This gave time to the couple to run back. The dog soon joined the couple after a few minutes.
"Seeing a dog for the first time, tigers got confused. The dog apparently forced the two tigers to retreat," forest officials told media after hospitalising Yadav and his wife.
A forest officer said the tigers were confused probably because they were seeing a dog for the first time.
"Wild dogs in the jungle don't bark. So, they may have been surprised," he said.
Yadav received several stitches for his injuries.


Learn a sound versioning workflow that minimizes disruption to editors, ensures the integrity of your organization's GIS data, and integrates well with existing business workflows.
This course explores the techniques and functionalities available to optimize the use of LiDAR data with ArcGIS software.
Master essential geodatabase concepts and acquire the skills you need to create a geodatabase, add data to it and model the real-world spatial relationships inherent to your data.
This course teaches how to streamline data validation to quickly identify features that do not meet your organization's quality requirements.


It's time to hit the road.
Road trips are the backbone of adventure, the epitome of spontaneity and one of the best ways to explore a destination at your own pace.
But with all your belongings confined to a vehicle, there isn't often much space for creature comforts or unnecessary items.
There are ways to make your trip that little bit easier should you run into trouble or just want to be prepared, so we have found the absolute musts to pack in the trunk!
Whatever elements you are battling, a good quality waterproof camera will ensure you don't miss any of your holiday moments.
In the event that disaster strikes, you will be very grateful that you bought a torch.
Whether it's an overheated car or to quench your own thirst, water is always a must.
Road trips are all about going with the flow, but if you find yourself a bit too far off the beaten track, a GPS is always a good thing to have at the ready.
Did you just lock your car keys in the car and you're in the middle of nowhere? Lucky there is a spare set of keys in your bag!
Music makes the world go around, so be sure to have a packed playlist of entertainment that everyone will enjoy.
Phone batteries always seem to die when you need them most, so don't forget your car phone charger.
Sometimes unfortunate things happen, so if you find yourself with a lost wallet, a declining card or no ATM, having some cash stashed in the car can get you out of trouble.


text:
Keylor Navas, how long will it last?
What's next after this ad
When Mauricio Pochettino coached Paris Saint-Germain, the Argentinian was often criticized for not having decided from the start between Keylor Navas and Gianluigi Donnarumma, two goalkeepers with the profile of "number one" that Leonardo stuck to him in the paws well in spite of himself. And when he did, it was at the worst time. Established in the knockout stages of the Champions League against Real Madrid, Donnarumma was branded by his catastrophic performance in the return match in Madrid. Nothing to change the situation. Quite the contrary.
The months passed, Christophe Galtier succeeded Pochettino and the new strong man of PSG immediately put his cards on the table by confirming the Italian in the rank of number 1. "Regarding the hierarchy, it is like that currently. I'm happy with Gigio's performance, I know Keylor is working hard, he's really competitive and ready to be available for the team if there's a need, but I'm happy with what Gigio is doing, what he brings and his presence. There will be no turnover in this position, I have never been in favor of it.he said last September.
PSG: Keylor Navas's wife's response to the controversy
Galtier was clear from the start…
A hard decision to hear for Navas, but which had the merit of being clear from the start of the Galtier era. Courted by Napoli last summer, but ultimately stayed in Paris because he failed to get paid for his remaining years of contract with the Rouge et Bleu, the Costa Rican did not want to give PSG gifts . Consequence: he still receives his comfortable salary (7 M€ annually), but he must now take his troubles patiently. A difficult position to hold in the long term, even for a certain Gianluigi Buffon. "He must be in pain. I am really sorry to see him systematically on the bench", explained the emblematic Italian goalkeeper last November. The same month, while he was preparing to play the 2022 World Cup with Costa Rica, Navas ended up publicly expressing his bitterness vis-à-vis Galtier's choices in the columns ofEl País.
" "I haven't played, but I feel good, I feel calm. But I'm not going to hide the reality: it's always better to play, even if it all depends on how everyone concentrates to compete in a World Cup. I trained very well. If I don't play in my team (PSG, editor's note), it's not because of a lack of physical condition, a drop in level, it's because someone doesn't want me play and that's it ». Meanwhile, Donnarumma gave food for thought by displaying a face that was far from resplendent. The Transalpine has certainly released some big matches (against Brest or Benfica), but it remains perfectible and its aerial game still gives cold sweats to his people. This was the case at the Parc against Juventus or even more recently during the reception of Strasbourg. And yesterday, against Lens, his performance did not work in his favor.
… but Donnarumma is not imperial
Involved in the opening of the northern score, uninspired on the second goal from Lens, Donnarumma also almost cost his team a third goal with a hazardous kicking game. In short, so many elements that must reinforce the frustration of a Navas dragging his spleen on social networks. Two days before the PSG-Strasbourg match, the goalkeeper commented on a training video posted by PSG on his Instagram account. A video in which we see the Ile-de-France players leaving the locker room. "I thought I was wrong and watched the video like five times to see if I was showing up and then realized I wasn't. » On the same day, his wife also posted a photo of her and her husband to quell rumors that the former Merengue had gained weight over the holidays.
Finally, the player did not fail to recall his situation when sending his wishes for the transition to the new year. "Today ends a difficult year, but one that has also given us unforgettable moments both personally and professionally. We will start 2023 with a lot of hope and looking for new challenges!! God bless you and have a happy new year everyone!! God-Family-Football» Linked to PSG until 2024, will the 36-year-old goalkeeper eventually come out of his gloom? In Paris, it's hard to imagine Galtier dislodging Donnarumma from his cage, unless there is a disaster. It is also difficult to think that PSG will seek to part with it this winter, in the heart of the season, when the knockout stages of the Champions League against Bayern Munich looms on the horizon. Unless the situation changes, Keylor Navas seems condemned to serve his sentence until the summer of 2023.
Pub. the 02/01/2023 14:15
Keylor Navas, how long will it last? 24hfootnews.
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Desmond Ridder touches on 2022 season, improving in 2023


10) Harley - The longer she stays around, the more she marries. And we're running out of men in Springfield.
9) Frank - The writers need to make him interesting (read - give him a storyline) or send him packing.
8) Olivia - She has become a one dimensional character. Send her away until the writers can bring back the Olivia that we all know and love.
7) Jeffery 0 I'm not at all interested in his past, or his relationship with Reva. Here's a thought - pair him up with Olivia, and send them away together.
6) Leah - The writers clearly aren't doing anything with her, and there�s no one else in town her age. Send her back to boarding school until she can come back at age when she can relate to other folks in town.
5) Ava - You are not like your mother. Perhaps you should go away with her until you gain a personality.
4) Cyrus - Jenna was great, but Cyrus is no Jenna Bradshaw. The comparisons are not warranted. Now if Cyrus died an early death, the comparisons might not be so contrived.
2) Josh - Ever since he became a man of God all he does is whisper his lines. You can barely understand him. And the lovable, charismatic Josh is gone. We might as well just write him off at this point.
1) Reva - Fans will argue that she stirs things up. They'll also mention what a good actress Kim Zimmer is. Personally, I'm sick of her as a character. She's brash, arrogant, and selfish. And it�s hard to do something new with a character that has driven off a bridge, had a clone, suffered both amnesia & cancer as well as traveled through time. What else is there left for her to do?


text:
Go here for booking info.
Meet the Musicians
Daniel Chong
J Freivogel
Meg Freivogel
Nicolas Kendall
Nelson Lee
Tai Murray
Ayano Ninomiya
Susie Park
Annaliesa Place
Harumi Rhodes
Michi Wiancko
Hailed as "prodigiously talented" (Washington Post) and praised for her "freedom, mastery and fantasy" (La Libre, Belgium), Susie Park is gaining worldwide recognition for her emotive range and dynamic stage presence. Concertizing around the world she has appeared as soloist with the Orchestra of St. Lukes, San Francisco Symphony, the Indianapolis Symphony, Memphis Symphony, all of the major Australian orchestras, Korea's KBS orchestra, the Lille National Orchestra under the direction of Yehudi Menuhin and the Wellington Sinfonia, New Zealand. Her collaborations include the Guarneri, Juilliard, Emerson and Cleveland quartets, Kim Kashkashian and Jaime Laredo with the Orchestra of St. Luke's in Alice Tully Hall, New York. She has given recitals in Jordan Hall and the Gardner Museum in Boston, a live radio recital for WGBH Boston and has appeared in venues including Carnegie Hall, the Metropolitan Museum of Art and the 92nd St. Y in New York, Philadelphia's Kimmel Centre and the Smithsonian Institute in Washington D.C. A native of Sydney, Australia, she began playing violin at age three, giving her first performance at five. She has won top prizes in the International Violin Competition of Indianapolis, Menuhin International Competition and Wieniawski International Competition. An avid chamber musician, she was the violinist of the Grammy-nominated Eroica Trio who released an all-American album with EMI Classics in 2008. She held a professional residency at the Chamber Music Society of Lincoln Center Two.
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(c) East Coast Chamber Orchestra 2013


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avatera system
Single Use Concept
Why avatera
The avatera group, with its locations in Jena and Ilmenau, employs more than 130 people. In addition, we work closely with a consortium of German and European partners who support us in the development and manufacture of all system components.
All our development activities are carried out in Germany.
The company's head office is in Jena, a hub of science and medical technology.
This is also where the state-of-the-art avatera training center with its training operating room is located.
avateramedical GmbH boasts a comprehensive quality management system that is certified according to DIN EN ISO 13485:2016. The use of German servers and the application of German and European data protection standards ensure maximum security when it comes to protecting sensitive data, including clinic and patient data.
Our "Mechatronics Competence Center" is located in Ilmenau/Thuringia and operates under the name of avateramedical Mechatronics GmbH. Already since 1991 at this location,components and high-precision sensor, robotic and automation systems have been developed and manufactured. Thanks to the employees in Ilmenau, in partnership with biologists, biomechatronics engineers, computer scientists and mathematics, the company was one of the first in Germany to develop bionically inspired, ultra-light robot arms.
avateramedical Mechatronics GmbH successfully uses the advantages of the technology and science location of Ilmenau as well as the tightly-knit local network built up over many years. The company was certified to DIN standard ISO 9001:2015, developed to the requirements of the DIN EN 60601, DIN EN 62304 and DIN EN 62366 series of standards.
In 2019, we reached one of the most important milestones in the history of our young company. The avatera system successfully passed the conformity-assessment procedure. We are thus entitled to use the CE label, which documents the conformity of the avatera system with all applicable statutory and normative requirements. We have thus provided proof of the comprehensive safety and performance of our system.
avatera is a trademark of avateramedical GmbH.
The avatera system for robotic-assisted surgery is approved as a medical device for use in European Economic Area.
© 2020 avateramedical GmbH. All rights reserved. VN 201912W01


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BREAKING NEWS: Lakers trade Lonzo, Ingram, Hart, picks to NOLA for Anthony Davis | CBS Sports HQ
The Anthony Davis saga is over. On Saturday, the New Orleans Pelicans reportedly agreed to a deal to send Davis to the Los Angeles Lakers in exchange for Lonzo Ball, Brandon Ingram, Josh Hart and three first-round picks, including the No. 4 overall pick in this year's draft. Adrian Wojnarowski of ESPN was the first to report.
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Black student says he was carded, cuffed at University of Ottawa, prompting review
A judge in New York state dies after having a heart attack on the bench. Putnam County Court Judge James Reitz was 57. https://cnn.it/2XbEez5 pic.twitter.com/hIbeH0FNWC


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Tony McKenna
Tony McKenna is a writer, his latest book is 'Angels and Demons: A Radical Anthology of Political Lives' (Zero Books).
Published in TV, internet and other media
Tony McKenna reviews After Life, the new black comedy-drama written by Ricky Gervais for Netflix
Ricky Gervais has two seminal qualities which make him a wonderful writer. One, he has a capacity for cruelty, a hangover from his background as comedian, for good comedy is often cruel. Gervais does not suffer fools lightly and often raises up the stupidities of others in terms of the most lacerating satire and critique. The other is a great capacity for humanism; to see how, at their depths, even people who appear on the surface to be arrogant and toxic, are often just bumbling along, ineptly, hopefully and without any real malice. These two moments – a lacerating cruelty and a more fallible humanity – reached a perfect comic fusion with Gervais' most iconic creation, the office manager David Brent.
Brent was, for all intents and purposes, a complete arsehole. He was the type of man who was capable of saying things like 'What is the single most important thing for a company? Is it the building? Is it the stock? Is it the turnover? It's the people, investment in people' – with a straight face. He was this horrific whirlwind of mangled motivational soundbite along with the type of cod philosophy haphazardly snatched from the most ghastly and saccharine self-help manual. He would subject the people under him to his god-awful comedy routines, labouring under the delusion that he was witty and charismatic, and bolstered by a sense that, as their boss, the subordinates in the office were compelled to listen to him – quite literally a captive audience.
And yet, the most remarkable thing about Brent was that you, the viewer, could never really despise him. You winced, as he embarrassed himself, as his often rather sleazy attempts to ingratiate himself with others crashed and burned, and you squirmed as he lurched between platitude and prejudice – but you could never really hate him because there was nothing of cruelty in what he was. Just the opposite in fact. Underneath all the twattish management twaddle, there lurked a confused but fundamentally well-intentioned personality desperately seeking some kind of connection with others.
Creating a character so finally finessed between the ghastly and the generous exhibited the scalpel-like fineness of Gervais' writing and was one of the reasons why I was looking forward to his new Netflix series After Life. But here, however, Gervais is unable to walk that same fine line; for his protagonist is much more ghastly but far less generous. Tony is a middle-aged man who has just lost his wife to cancer. In the aftermath of that event, he is plunged into abject hopelessness and this takes the form of a comic nihilism whereby he abandons any politeness or pretence and says to others – both close friends and strangers – exactly what he thinks all of the time.
The idea is that although Tony is impossibly cruel, sarcastic and hurtful to virtually everyone who comes into his orbit, this is because he is because he is so grief-stricken and devastated – that behind the irate anger at the world lives a fundamentally kind and generous soul. It's a good premise, but it doesn't work because Gervais is never able to evoke any genuine sense of kindness or generosity on Tony's part. He assures us that Tony does have these qualities, over and over in fact. Tony spends some of his time watching videos his wife recorded for him before she passed away. Every now and then she will describe him with a stoical chuckle as a 'fat twat' thus allowing the writer to state in very bald terms that these scenes are earthy and real rather than trite and sentimental. But once that is got out the way, she harps on ad infinitum about what a truly remarkable, special, good person he is and how she knew it from the very first moment she laid eyes on him, how much he has to offer the world, and so on. She is quite literally on her deathbed, so you wouldn't reasonably expect her to start ragging maliciously on her beloved, but what you get from these snippets is almost nothing about her character, who she was, and very little about the actual details and events of the relationship between them. Rather she simply reveres him. She becomes little more than a prop for his grief, a device to throw into relief just how worthy he is and how much he is suffering.
Edgy or unkind?
And the same is true with every other character. They all, every single one of them, spend time riffing on how great, how kind, how funny and how good the Gervais lead is while remaining largely indifferent to the sheer cruelty of what he says and does. He treats his co-worker, the photographer Lenny, with visceral contempt, harping on about how physically repulsive he is, encouraging others to ridicule the disgusting image of him consuming food, pinching the fat at the back of his neck, publically interrogating Lenny's partner as to what she could possibly see in someone so ridiculous, lacking and ugly. This kind of stuff is, I guess, supposed to be edgy, but really it just comes across as unkind. Lenny does not just absorb the insults Tony heaps upon him with muted bemusement, he also looks at Tony with wide-eyed and gormless adoration for he too understands how privileged he is to be in the same space as this remarkable yet damaged human being.
Tony's elderly father is perhaps the most depressing of all the props. He is suffering from dementia and is living in a care home. Tony comes to visit him. The comedy is derived from the fact that Tony's ailing dad, being old and demented, is extremely 'politically incorrect'. So he will suddenly say something racist or inappropriately sexual, and a good laugh will be had by all. Tony's father's entire raison d'être seems to consist in this alone. And the fact that he provides the prop by which the crotchety Gervais is able to get to know the hardworking, stoical but warm-hearted Emma, a carer at the home.
Here the stage is set for the Gervais character to emerge from his winter hibernation of despair and disillusion, warmed by the benevolent and giving nature of Emma, the inevitable romantic foil, for she too senses the almost infinite hidden depths which lie behind the brusque exterior. Despite all the loss and suffering she has come into contact with in her job, Tony himself is the 'saddest man' she has ever seen.
Part of the problem with Tony's character, I think, is that he is a product of Gervais' own wish-fulfilment. Tony is a bitter rebuke to the world, a rebuke addressed to all the asinine morons out there wandering about in their fog of stupidity having not yet arrived at Gervais' astute political and cultural values. So, for instance, yet another one-dimensional character is another of Tony's colleagues, Kath. She is particularly gormless, empty-headed and spaced out, given to mull aimlessly and endlessly over the most trivial and vapid of subjects.
And she also happens to be religious. Which sets the stage for the Gervais character to provide a contemptuous and 'incisive' critique of her beliefs, which essentially comes down to Tony squealing, 'yeah, well if God made everything right, then who made him, eh?' A practical and commonsensical retort for sure, and one which perfectly expresses the crude literalism of the kind of 'New Atheism' which Gervais has so relentlessly campaigned for – a critique which remains oblivious to the profound philosophical and cosmological themes which infuse great religions and which make them resonate with so many millions of people. And while the whole 'well who made him' charge provides a significant and perhaps insurmountable obstacle to the theorisation of any deity, those of us who are atheist proponents of the Big Bang theory (the current writer included) are ourselves subject to a similar and no less thorny dilemma (if the Big Bang created the universe what caused it?)
Character or caricature?
Kath is yet another foil, an empty and asinine caricature which exists only to be pounded by Gervais' rather vulgar anti-religious fervour. Yet more secondary characters are called into being to perform the same banal function. Tony is walking down the street, only to be accosted by a couple of would-be muggers. The two teenage boys are leery, belligerent and aggressive, their accents are almost a caricature of the sneering, mindless and hate-filled 'chav'. Cue the Gervais character, to take action. He does not cower before them, and with fearless abandonment he strikes one and berates the other in a soft, calm voice which leads them to understand that here is a man who is little concerned for his own safety and will not be intimidated.
Disorientated and ashamed, they shrink from him. In another lifetime perhaps Gervais might have been tempted to derive some humour from the scene, but apart from the idea of the skanky 'chavs' getting their just deserts, the exchange is humourless. It's rather odd too, because the whole tone has more in common with something like Death Wish, the humane and humanistic middle-aged, middle-class individual with his back to the wall, finally pushed into action by the dark protean forces stirring in the impoverished mob – the chaos and menace of the streets offering up a deadly threat to the civilised and respectable nostrums of law and order.
The scene Gervais has created here verges on the ridiculous, but it also provides us a glimpse into what Tony really represents, i.e. he becomes the means by which Gervais is able to exorcise his frustrations. Tony provides an almost Nietzschean-like riposte to the social ills of the modern world, very much from the elevated perspective of a middle-class man who is now unfettered by the niceties of bourgeois respectability, and can unleash the full force of his superiority and contempt against the trudging imbeciles, non-entities and miscreants of the herd.
The only character who is impoverished and at the bottom, who is painted sympathetically rather than with derision – a character who doesn't feel the full force of Tony's loathing and disdain – is the figure of Daphne (aka Roxy), a sex-worker. She is intriguing, witty, damaged, brash and thoughtful. It is a shame she doesn't have a little more screen time. Alas, like all the women in the piece she is afflicted by a severe condition of 'Tony worship,' understanding just how remarkable he is and how much he has to give. So as he goes off to take his first tentative steps into the dating world, she pines away wistfully on just what a lucky woman his prospective date is.
After Life is not unwatchable, the dialogue is often lively and the scenes are occasionally funny. A writer of Gervais' calibre is incapable of producing something utterly boring or utterly bad. But in After Life he has created a fundamentally synthetic world – a rather flimsy, clichéd set of secondary characters who remain underdeveloped, and who float around the protagonist like rubber balloons, drawn by the gravity of his egoism. They are empty props which exist only to validate Tony's wit, virtue and travails, lacking any real character or content in their own right. When the time comes, as it inevitably must, for Tony to realise that his hatred at the world is misplaced and it is really rather a jolly place after all, the shift occurs not as result of a genuine engagement with the people around him on equal terms but rather from a hastily contrived moral epiphany, a saccharine speech on the joys and wonders of the colleagues and 'friends' whom he has spent all the other episodes pitilessly humiliating. The tone of the piece thus shifts, moving from sour and unpleasant to gushing and sentimental in its conclusion. Given the character dynamic Gervais has created, this has the feel of inevitability.
Ricky Gervais Netflix
Solidarity against everyday exploitation: Stephen King's IT
Published in Fiction
Tony McKenna looks back at Stephen King's IT
Some years ago, a study was carried out into the fears of young children in the night. Just before the lights were turned off and the children were ready for sleep they were each asked where they thought the monster was. The majority of little boys said they believed it was hiding in the cupboard. The majority of little girls thought it was lurking under the bed. From this, the scientists derived a particularly provocative and exciting conclusion. At the very dawn of our own pre-history, the females would have tended to be in the trees with the children; ergo they would expect any attack to come from below (underneath the bed). The males who were hunting on the ground would expect the danger to come from the side (the cupboard). The fears that very young children have at night, therefore, are the echoes of the distant primordial darkness of our most ancient origins somehow embedded in the shadowy recesses and deepest depths of our psyches.
This was, perhaps, more supposition than science. It certainly doesn't stand up as a coherent pre-historical or sociological depiction of the lives of early hominids, but at the same time it has a poetic and allegorical resonance which does register a certain type of truth. The truth being that young children are in some way closer to the type of elemental fears and instincts which, over time, we shed, as we move into adulthood, and the rules and norms of a more structured social existence take over. The fear of the monster under the bed, or the creature in the cupboard, is replaced by the rather more prosaic fears of things like unemployment, illness, poverty and old age.
One of the strongest themes in Stephen King's IT is the recognition of this. The recognition that pre-pubescent children are in some way alive to a strange and topsy-turvy world of figures, spectres, rituals and terrors which remains invisible to adults and takes place largely under their radar. So in IT, it is 'the Losers' – the collective name for the gaggle of misfits and geeks bonded by the fact that they are all outsiders – who are able to detect that a supernatural evil is at work in their small rural town in a way in which their parents can't. It is the late 1950s and the town of Derry has seen a horrific series of deaths of young children; the adult population are bemused and benumbed by the shocking events but are unable to come to terms with what is really going on.
The Losers, however, are able to see through the eyes of children, to gradually apprehend the supernatural reality of the threat which is confronting them. They are able to figure out the modus operandi of the sinister and murderous clown Pennywise, surely one of Kings most fantastical and terrifying creations. They come to understand that the entity which manifests as a creepy clown – or IT – exists in a subterranean realm, deep underground, lurking in the vents and the sewers, appearing to them on the periphery, in the forest, in an abandoned decaying house, on the edges of their known world.
Like this, King is able to call into being a dualistic reality; the world of the adults over and against the world of the children: the world of the sun-drenched town centre and the library and the shops, the world of the ordinary – and then that other world, the word of the underground, of shadows and death, ancientness and decay. This is set against a rather finely wrought depiction of childhood and the way in which the Losers come together through their friendship. At first the evil shapeshifting entity appears to them individually in the guise of their worst childhood fears: for the germophobe and hypochondriac Eddie, IT appears as a leper, for Bill Desborough, the bright stuttering leader of the group, IT appears in the form of his murdered brother Georgie, and so on. These are kids who are particularly vulnerable, bullied and alienated by their peers, often ignored or mistreated by their parents – and so their connection with each other becomes quite literally a life-saving one; it becomes the way they can graduate the understanding of their own subjective fears and isolation into a broader and shared understanding of the evil which does exist, the spectre of Pennywise, and the realisation that they are the only ones who are capable of resisting it. IT is a horror story, for sure, but it is also that thing which King does so well, a coming of age tale in which the tentative friendships and puppy loves of a group of children on the cusp of adolescence bloom against a darker background of supernatural threat.
But IT is more than a simple bogeyman. Like the very greatest horror creations, IT in some way becomes a cipher for the ills of the historical past, a conduit through which very human evils are channelled. At the start of the novel King describes a festival which took place in Derry, a fun, frolicking, light-hearted occasion. A gay couple are depicted holding hands. Later, as night falls, they are attacked, and one of them is murdered. The way King describes the political and spiritual psychologies of the homophobes who carry out this attack throws into relief his attention to the little, gentle details which underpin the affection and love of the two men. It is an acute, tragic and highly modern description of the way in which prejudice operates and the bleak anomie and hatred which lies behind it.
And, of course, when the homophobes toss the victim over the bridge, having very nearly beaten him to death, the spectre of the clown is waiting in the shadows underneath, like an awful troll in some medieval fairy tale. King's point, here and elsewhere, is that the adults in the town remain oblivious not only to the supernatural atrocities which IT carries out, but they are also capable of turning a blind eye to the run of the mill oppressions endured by those who somehow fall outside the political and cultural mainstream – the disempowered, the marginalised, the undesirables. IT draws fuel for its supernatural sadism from the everyday forms of cruelty which take place in and through very human relationships of power and exploitation. It is fitting, therefore, that the challenge to Pennywise's dark dominion over the town comes from the solidarity which forms through a group of children who are themselves exiles from the mainstream – misfits and oddballs, the objects of extreme bullying.
King's wonderful novel pans several decades, flitting back and forth in time from the children the Losers were, to the adults approaching middle-age they are destined to become. And this, I think, allows for the novel's central conceit; as we become adults, we leave our most elemental and primitive fears behind – adulthood consists, in part, of precisely this. In IT, the Losers experience a form of collective amnesia; as they grow up and their battle with Pennywise is consigned to the past – they forget all about IT, they settle into their adult lives and they even forgo the memories of each other.
What is truly provocative and terrifying is the moment when, from within the certainty and normality of adulthood, IT's malevolent evil begins to stir again, and the Losers are left with the harrowing realisation that their primitive childhood fears and superstitions were all too real. The monster never really left the cupboard, rather it remained, wreathed in darkness, waiting for its time to come.
End of Thrones
Tony McKenna argues that the historical necessity embedded in the story and characters of Game of Thrones means that there is only one way it can end.
Winter is coming, for Game of Thrones is now approaching its denouement with the penultimate series scheduled for next year and the final one arriving the year after that. Remarkable not only for its writing, depth of character, feudal brutality, blood-soaked magicking and otherworldly pathos, the novels and the show have bled into the fabric of the twenty-first century imagination, creating an independent industry of cosplay, fan-fiction and comic-book convention, and providing a whole literary genre with a new lease of life.
A building discussion revolves around how the series/books will be concluded. In the case of Game of Thrones this is a particularly interesting question. One of author George RR Martin's great strengths is the vastness and complexity of the fantasy world he has brought into being; not only in terms of its topography – the various kingdoms, the two continents, the myriad of hamlets and keeps and ports and temples – but also the sheer number of plotlines which operate coextensively at any given point. And this is what makes bringing the books/series to a coherent resolution such a challenging task from the perspective of the writer. How does one integrate Arya's revenge plotline, with Daenerys' tale of slave liberation coupled with dragons of mass destruction? How can one blend the civil war which is taking place between the Lannisters, the Starks, the Tyrells, the Baratheons et al. – with the White Walkers whose undead legions are threatening to overwhelm the defences of the Nights Watch and storm the wall once and for all? This article attempts to answer these questions.
Weaker literary endeavours – from much of Modernist literature to a soap opera like EastEnders – are characterised by an abiding fact: they suffer, more broadly, from a lack of historical necessity. What I mean by this becomes clear when we consider something like EastEnders. Every so often, the writers of the soap bring a storyline to fruition by posing a cliff hanger. So, for example, in 2001 they brought us the 'Who shot Phil Mitchell?' storyline which saw the brooding cockney villain almost dispatched by a mystery assailant on his doorstep. Because the soap had been bedevilled by leaks, the press would often get the revelation - the solution to the 'Whodunit?' - before the episode itself had gone to air, thus depriving it of much of its dramatic impact. At this point, the producers changed tack. They realised they could film six or seven endings, in which a different character was revealed as the attempted murderer in each case, and then one character in particular would be selected, the episode aired, and the spoiler-press thwarted in its endeavours.
But the fact that they began to resort to such an ingenious tactic, on a regular basis, also revealed the paper thin level of characterisation the writers were employing. There was no real underlying necessity by which an action a character took was grown out of a particular set of conditions and circumstances unique to that character. Rather the murderer or the arsonist or the adulterer could be anyone and everyone. The plot 'twist' could fall at random on any head. And this is a sign of poor literature. If one is keenly following a murder mystery, and the murderer is eventually unmasked by the detective as the postman who appeared fleetingly in a scene many pages before, then the reader feels thwarted and cheated, for the raison d'être of the character has by no means been developed and the necessity which underpins his or her action (the murder) has been by no means adduced. In contrast the true plot twist, the finest form of dramatic revelation, is not simply one which comes out of the blue. It comes as a surprise, yes – its power relies on the fact that it is unexpected. But, as soon as the writer/viewer begins to think about it, he or she can see that the clues and signs were there all along – that the necessity and reason for the plot-twist/conclusion had been cultivated throughout the development of the plot, albeit invisibly and from behind the scenes. Think of something like The Sixth Sense or The Usual Suspects. Both films provide two of the greatest twists in history – and without going into the details and risking the possibility of spoilers – one is aware that both use the same technique: once the revelation has been announced the viewer is treated to a quick flashback of past scenes – scenes which at the time appeared entirely incidental – but which reveal their full meaning in light of the plot twist. In other words, an ending with genuine aesthetic integrity has to already be present, latently, in the beginnings; the oak, to paraphrase Hegel, must be immanent in the acorn.
I say this by way of consideration of Game of Thrones. If one believes that Game of Thrones is great art (as I do) then it follows that the ending which has yet to be written, nevertheless still exists as a latent necessity, as a ghostly outline, in the characters and plot which have been unfurled thus far. On the same note, when Michelangelo suggests that the statue is already inside the bloc of marble, the sculptor's job is merely to carve away the residue material – it is to this type of aesthetic necessity that the great renaissance artist alludes. In order to discover the ending of Game of Thrones we must peel away all the paraphernalia of the plot and locate the latent necessities which underpin it. We must reference the fundamental nature of the fantasy world which Game of Thrones calls into being.
In essence it is a world that involves a predominantly feudal centre with various slave economies and nomadic societies at work on the periphery. Some of the feudal polities are decadent and corrupt – the Lannisters for instance, who come to control the Iron Throne – are ruthless, acquisitive and power-hungry; a clear nod toward the feudal absolutism of the Tudor age in which one dynasty was eventually able to submit a series of vassal lords to itself in and through the tax impositions of an increasingly unified state – but a state which was achieved at the price of civil war, mendaciousness, and increasing ties with the financial priests of a developing commercial bourgeoisie. The Starks, on the other hand, represent a more benevolent vision of an earlier medievalism in which more parochial forms of kingship operated largely unmolested by the external stresses of an encroaching market economy and a centralized absolutism.
The Lannisters, though they are of the high aristocracy, are nevertheless aware that much of their power is buttressed on a burgeoning market economy. Witness Tywin's (the head of the House) warning to his daughter Cersei: 'And that's what the Iron Bank is- a temple. We all live in its shadow, and almost none of us know it. You can't run from them, you can't cheat them, you can't sway them with excuses. If you owe them money, and you don't want to crumble yourself... you pay it back.' ("First of His Name") Although the Lannisters are profligate spenders and feast and revel in the debauched manner of the aristocrats of yore, although they are prey to the same religious superstitions, and privy to the same honours system of knightly ideals, nevertheless this veneer of ideology provides little more than the decaying facade of a once glittering exterior, for the Lannisters - and Tywin in particular - have understood that such values are being eroded inevitably by the logic and intrusions of a market economy. For this reason despite all their aristocratic glamour and finery, the unofficial motto of House Lannister is rather more prosaic – 'A Lannister always pays his debts.'
The essence of the Starks, on the other hand, is sundered in an earlier feudal archetype which precedes feudal absolutism and eventually discovers itself in contradiction to it. Winterfell, the Starks' kingdom, is contrasted with the seat of the Lannisters, Kings Landing. Winterfell is grey and provincial but homely; lanterns burn at night revealing the thick, dark forests beyond, and in the day, the main square is alive bustling with peasants and artisans, and it is here where the little lords and ladies of the Stark clan mix freely with the denizens of the castle keep. In Kings landing, however, in the baking streets of the sun-soaked metropolis, the Lannisters and their consorts are rarely ever glimpsed, and when they do appear, they are surrounded by the circle of their lethal pretorian guard. The Starks represent a more embryonic social form whereby the state has not yet fully abstracted itself from the community; the Lannisters, on the other hand, feel themselves to be a distinct and elevated social power, a qualitatively superior species from those they oppress. Ned Stark believes fully in the religious and chivalric values of the knightly ideal for he is still bound to his community immanently and experiences an organic sense of duty and responsibility toward those he leads. The Lannister's pay lip-service to such values but in reality their ties to high finance and the commitment to the shoring up of a supra-state which has raised itself above a multitude of individual kingships and communities mean that the medieval values of honour and duty have ceased to correspond to the realities of their social position as rulers who are verging on some form of post-feudal absolutism.
And it is this historical contrast which holds the key to the tragedy of the Starks and is evinced in the conflict between Ned Stark and Cersei Lannister. When Ned Stark discovers that Cersei Lannister's children are the product of incest and therefore not the legitimate future kings according to the sacred tenets of bloodline, he is appalled and realises it is his duty to reveal the truth; but at the same time he acts generously, forewarning his antagonist, giving Cersei Lannister time to evacuate her children, for Ned Stark feels that their slaughter would be a blemish on his honour and conscience. In the moment when he displays such munificence, Cersei's response comes as a soft, sibilant rebuke, for the ruthless Queen discerns the weakness which is latent in such generosity – 'When you play the game of thrones, you win or you die.' ("You Win or You Die") As a result, because of the fact that Cersei is given this window, she has time to manoeuvre, assassinate her husband, and ensure Ned's downfall. A similar development is played out in the case of Rob Stark, the young wolf, who wins battle after battle fighting with honour and humanity. It is no coincidence, therefore, that when his demise finally comes, it takes place at a wedding feast where Rob Stark and his entourage are slaughtered in direct violation of the chivalric code by a pre-orchestrated plot which has seen the Lannisters use the power of the royal purse to buy off one of the Stark's allies in the North.
But even though we, the audience, are desperate for the gruff, steadfast Starks to rout the slippery, corrupt, power-hungry Lannisters, the historical contradiction which drives the logic of the plot means that such a result simply can't transpire. The defeat of the Starks by the Lannisters is in some sense pre-ordained; it marks in a fantasy form the erosion of a more communal based form of kingship by the logic and the prerogatives of an encroaching moneyed economy. The civil war of the five kings is still far from over; at the end of series six Cersei is herself ensconced in the Iron Throne, while it seems as though John Snow, although a 'bastard', is a likely candidate to carry on the Stark's struggle. Jon Snow is presented as the illegitimate son of Ned Stark; he is, therefore, an aristocratic outcast – but although he is ostracized by way of his lack of name - spiritually speaking, he is very much the inheritor of the Stark legacy and the set of familial values which go with it. Snow is gruff but thoughtful, determined but compassionate, and feels a great sense of duty to those he is given to command. He is a courageous warrior who leads his troops into battle, eats with them in the mess, and shares many of their experiences, remaining attuned to their thoughts and feelings, and often heeding their advice.
At the end of series six, having been betrayed, stabbed and then brought back from the dead by the dark magic of a priestess representing a cult of fire – Snow ousts the evil Ramsay Bolton and looks on course to take control of the North. An ending which sees Snow vanquish the Lannisters would be highly satisfying but again would violate the underlying historical logic of the piece which exhibits in its tragic arc the way in which the values of an honour, clan based system which grows out of a more organic community are destined to perish. If one begins with Ned Stark as Lord of Winterfell and one concludes with a similar feudal archetype – Jon Snow winning the North (and later the whole of Westeros) – then the motif which really gives the series/novels their power; the sense that winter is coming, that an epoch is in the process of passing from the scene of necessity - that the shadows of a new reality are drawing close; if one returns to a sense of unmediated feudal harmony, then the underlying thrust and direction of the aesthetic is artificially spun into reverse.
Of course, it is at the end of the sixth series when it is revealed how Ned Stark has taken Jon Snow under his wing as a 'bastard' in order to cover up the child's true identity as a Targaryen and thus keep him safe. The Targaryen twist is important because as Jon Snow cements his power as the King of the North, to the Mystical East, the mother of dragons, Daenerys Targaryen, is also on the move. Like Jon Snow, Daenerys Targaryen is a driven, powerful leader with a strong sense of compassion and the need to act honourably. During her campaign she has allied herself with the Dothraki, a group of nomadic warriors who are again bound together in a more cohesive community which places critical emphasis on honour, bloodline and conquest. Though it is a profoundly patriarchal society, Daenerys is able to overcome her innate disadvantage as a woman with the courage she displays, the force of her will, and also her compassion. She fashions her own army made of Dothraki loyalists and the rebel slaves she has freed on the way. Everything at this point suggests that Daenerys will link with her brother once she crosses the great sea, that she and Snow together will bring justice to the battle weary, war-riven Westeros and perhaps inaugurate a new epoch.
But the idea of Daenerys pacifying Westeros would mean absolving the plot of the same social contradictions. Daenerys, like Jon, is once again redolent of an older archetype – both are bound to their armies by their noble lineage but also by the fact and force of their personalities and their sense of a moral imperative grounded in tradition, duty and the wider community. What becomes clear in the trajectory of the Khaleesi plotline is how difficult it is to impose these values from above on societies which have fundamentally different social structures. When Daenerys liberates colonies which are predicated on slavery, she finds that the old mode of production begins to assert itself once more; her armies can subdue the former slave masters but are incapable of replacing them with a blueprint for a new social order. Once her troops are forced to move on, the old social form reasserts itself, even if there are now a new set of masters at the top. One should note, in passing, just how historically astute this is. When slave rebellions did take place in the Ancient world, they were sometimes capable of inflicting great defeats on the old order, as was the case with Spartacus, but they were incapable of replacing it with a fundamentally new model of social organization.
And this brings us to the crux of the matter. Daenerys' ambition is to sit on the Iron Throne – to place herself in the seat of feudal absolutism - is entirely at odds with the nature of her own historical role. As a liberator, freedom fighter and rebel queen who stands at the head of a nomadic army which attains a certain democratic character precisely because of a highly undifferentiated social structure and primitive division of labour, Daenerys is bound to her troops for she moves among them and experiences them as the outcrops of a vast extended family with herself at the centre. Such a paradigm of leadership could only have grown out of a nomadic society welded together by bloodlines into a series of relatively homogeneous blocs or clans. But such a model of leadership would be out of sync with the historical demands of the Iron Throne and the social structures which underpin it. If Daenerys Targaryen were to defeat the Lannisters bringing the civil war which has inflicted Westeros to a close - she would not then be able to govern in and through a direct mediation with the vastly differentiated, highly stratified peoples whose towns and villages were scattered across a vast terrain of competing, often highly antagonistic fiefdoms.
To power the centralized state would increasingly require the force of a professional standing army – a move which starts to take place in British history during the 100 Year War – in order to stabilize and facilitate a much wider and integrated system of bureaucracy by which tax could be syphoned from the peripheries to the centre. In adopting the mantle of feudal absolutism, Daenerys Targaryen would be forced to shed the nomadic values which compel her to challenge the corruption and injustice of the Westerorosi political state; she would, of necessity, become abstracted from the populous by way of the absolutist machine; she would require the funding of the nascent bourgeoisie represented by the Iron Bank. To all intents and purposes then, she would be compelled to rule in Lannister-like fashion.
So for a set of similar reasons, an ending which sees either Daenerys Targaryen or Jon Snow come to power in order to provide a more benevolent template of absolutist rule works against the grain of the historical process which is condensed into the logic of the plot. And yet, it is clear that by the end of the sixth series, and by way of the Targaryen connection, the space has been created for Jon and Daenerys to be brought into alignment. If they cannot consolidate some form of final victory, because they are both archetypes of a more primitive historical epoch, then what is the author's purpose in bringing them together? In my view, like many fantasy epics, the conclusion of Game of Thrones has to culminate with a great and mighty battle.
This is particularly necessary for Game of Thrones because such a battle would provide a means of totalisation by which the various desperate plot threads could be woven into a higher resolution. The Tyrells could conceivably ally with the Dornish who might well make a pact with Jon and Daenerys in order to finally settle accounts with the Lannisters and their forces. But the backdrop to this would be the broader conflict posited between the forces of the living and the army of the dead. And it is the implications of this broader battle which interest me. My guess is that the Lannisters will be defeated by the Daenerys Targaryen-Jon Snow alliance because the latter have such superior forces, but my instinct is that they will be fighting a war on two fronts – that it will be in the last two series when the White Walkers begin to manifest their awesome power.
The original set of novels is called The Song of Fire and Ice and this quite possibly hints at the way in which the two elements, of necessity, cancel one another out. I think that beyond resolving the specific complex of storylines Game of Thrones has thrown up, the final battle with serve a more fundamental purpose. That is, such a battle will see Daenerys' dragon boosted army alongside Jon Snow and the forces he has marshalled thrown into collision with the White Walkers, the zombies from the frozen wastelands - and the cataclysmic impact will see both sides annihilated; both elements, fire and ice, to perish in their antipodes. Such an ending might seem futile, even nihilistic, but again it is entirely in keeping with the aesthetic necessity which drives the piece. Beyond everything Game of Thrones' tragedy is one of Weberian 'disenchantment'; it is about the way in which feudal values of honour, chivalry, tradition and familial code must inevitably disappear before the more impersonal calculations of a modern economy in which individuals are bound together solely by their position in the market and the vast cash nexus.
An epoch replete with dragons, sorcerers, necromancers, tree sprites, giants, zombies, gods and demons must, quite literally, give up the ghost before a reality in which the more prosaic, grinding interminable forces of bureaucracy and the cold, rational calculations of the profit margin become the prime mover, the raison d'être, the moving spirit of the world. The tragedy of Game of Thrones is nothing other than the death of magic. And that is why both Jon and Daenerys must die, evincing the heroic qualities and aspects of the feudal age, which are nevertheless in interminable decline and about to pass from the scene. Both Jon and Daenerys are imbued with magic; the mother of dragons able to command fire, the gallant nights watchman himself a revenant, returned from the shadowlands of the dead. The great, apocalyptic final battle then is one in which magic is driven from the world once and for all.
But what pertains in the aftermath? Throughout the series the elements of a new bourgeois age are alluded to. The dour, severe directors of the Iron Bank who scribble their accounts from within grey spartan rooms are clearly the gloomy auguries of the epoch of investment and accumulation. The puritanical and self-abasing religious sect of the Sparrows is a nod toward the Protestantism of the sixteenth and seventeenth centuries out of whose strict, ascetic code of abstemious discipline 'the spirit of capitalism' was evolved. But although the Iron Bank itself casts a shadow across the aesthetic realm of Game of Thrones, its central actors are rarely glimpsed, and the Sparrows are wiped out as the sixth series reaches a conclusion. Nether element could plausibly fill the void which is to be opened up by the death of magic and the demise of the heroic epoch. There is one character, however, who represents the logic of the new age, and has been central and fully present throughout. This is, of course, Lord Peter Baelish – commonly known as 'Littlefinger'.
Baelish's 'House' is of meagre origins and has no distinguished bloodlines; his great grandfather was a mercenary prepared to sell his sword to the highest bidder, and though ostensibly noble, Baelish's journey is much more that of the self-made man, the aspirant plebeian who has little fortune, no connections, nothing to fall back on except his guile, resourcefulness and determination. Baelish represents a new breed of men and with it a new breed of politicking; one in which the familial loyalties, personal enmities, blood feuds, arranged marriages and honorific titles are to be superseded by the cold, rational calculations of the economic individualist before whose egotistic ambition all other considerations are evaporated. A new form of ambition which encompasses the ghostly never-ending circuit of exchange value and capital expansion: 'Many who try to climb it fail and never get to try again. The fall breaks them. And some, who are given the chance to climb, they refuse. They cling to the realm. Or the gods. Or love. Illusions. Only the ladder is real. The climb is all there is.' ("The Climb")
Baelish is a man of the future and as such he dreams its dreams. In the final episode of season six, he reveals to Sansa Stark the true extent and depth of the ambition which moves him: 'Every time I'm faced with a decision, I close my eyes and see the same picture. Whenever I consider an action, I ask myself will this action help to make this picture a reality? Pull it out of my mind and into the world? And I only act if the answer is yes. A picture of me on the Iron Throne… and you by my side.' ("The Winds of Winter") The fevered, fervent way in which he imparts to Sansa his vision has something of a mystical intensity, but its power is not one of prophecy in the supernatural sense. When we consider the role that magical divination play in Game of Thrones it is often problematic and highly deceptive. Consider Stannis Baratheon, for instance. The Red Witch Melisandre, who is blessed with a formidable array of supernatural talents including reviving the dead, comes to predict Stannis inevitable ascension to the Iron Throne using her mystical powers. Convinced that the sorceress is correct, Stannis prostrates himself before the Lord of Light – the deity whose power she claims to harness. As part of this, he sacrifices human lives, even that of his own daughter, in order to pay homage to the god and ensure its favour.
But eventually, and despite the fact of her magical power, Melisandre's prophecy proves to be a false flag. Stannis endures his corruption; he is compelled to murder his own daughter and his brother, but all to no avail. In the event he is routed in two key battles, and finally slain; in the moments before his death, he is utterly despondent, bereft of any real emotion except a draining sense of disillusionment, for he finally realises that the magic he has put his faith in is nothing more than a chimera. Again, the motif abides: magic, although a potent presence in this world, already contains within itself the germ of its own dissolution. What makes Baelish's vision of the future so much more potent is that it discerns a different type of preternatural power; the ghostly objectivity of a market economy which increasingly insinuates itself into the pores and pockets of all human life, warping and restructuring them from behind the scenes in accordance with its own iron like prerogatives. What is the power of a wizard or a dragon compared with the invisible, inexorable objectivities of capital reproduction?
As the early harbinger of the new epoch Baelish's prediction resonates with a historical power which puts the supernatural back into the box. For this reason, once that final battle is being fought, once the old epoch and all its magical forces are teetering on the edge of extinction – it is Littlefinger, the self-made man, who will be able to manipulate the situation, to use his Machiavellian wiles in order to raise himself up onto the Iron Throne and take power in the aftermath. And yet, this may not be the end of the story. Revisiting Baelish's prediction, we can see it involves two parties – himself and Sansa Stark. This is critical. For in a somewhat different fashion, Sansa Stark is as much a person of the new epoch as Peter Baelish himself. Perhaps even more so. In Sansa, the tragic trajectory of the series as a whole – the death of the feudal epoch and the prefiguration of a generalised market economy; in Sansa Stark this transition is exhibited at the level of individual destiny. When we first meet Sansa, she is contrasted with her mischievous tomboy of a younger sister Aria. While Aria is bold, inventive, courageous and high-spirited – from the very start cut from a heroic cloth – her older sister is naive, wet, superior and condescending. While Aria despises the kind of life the feudal system has in store for a young noblewoman, Sansa gushingly embraces it, wanting nothing more than to drape herself in the flowing silks of an elegant princess, to enrapture her prince, and devote herself to raising highborn children.
At this point, Sansa's character is unsympathetic, and yet, when one sees what she has to then go through, how these rather guileless ideals are dashed on the rocks of her changing reality, the writer is able to elicit from the audience the most profound sense of pity. For Sansa traverses the same 'disenchantment' which Westeros must past through as a whole; she finally meets her prince - the sadistic Joffrey - who executes her father and delights in tormenting her, before she is later palmed off on the equally horrific Ramsay Bolton who subjects her to a series of rapes. The values of 'romance' and 'magic' in which the feudal epoch is cloaked are for Sansa the most devastating of illusions to be ripped away in the most brutal of fashions. From her trauma, she emerges as a survivor; a quiet, melancholy but increasingly powerful presence shorn of all illusions; ever more calculating and pragmatic, she now begins to demonstrate the most steely sense of ruthlessness. There is now something of iron in those soft, dove like eyes which sends a chill down the spine, as we watch, hypnotized, as she very patiently feeds her tormentor Ramsay Bolton to a group of starving hounds.
This kind of archetype is in many ways a very modern one. Think Sarah Connor from The Terminator who is a gentle, unassuming waitress until the murderous realties of existence close in on her, and in the aftermath is created a lethal revolutionary fighter who lives off the grid in order to protect her son at all costs. Or Grace Mulligan in the excellent and powerful Dogville, who takes refuge in a small town and winsomely tries to win the bonhomie of the locals only to have those narrow minded citizens exploit and abuse her, to the point at which her kindness dies - and she treats them to a very different display of behaviour. This way in which, to quote Yeats, a terrible beauty is born - from the most profound forms of oppression - gains a particular aesthetic resonance in what might loosely be termed the 'proto-feminist' hero of modernity, and despite all her aristocratic trappings, it is this remorseless, ruthless, revolutionary beauty which Sansa more and more comes to bear. If one were to talk about the most powerful female character in Game of Thrones – or even the most powerful character per-se – one would certainly alight on the figure of Daenerys Targaryen, and yet, at a more profound level, the Dragon Queen might well prove to be something of a red herring in this regard, for it is the power of the future and the outline of modernity which Sansa Stark increasingly comes to posit, and no magic, no sorcery can stand against the tides of historical time.
The final issue on which to mull regarding the subject of the terrifying resonance of Sansa's burgeoning power – is toward whom it will be directed? There is already an early indication that Jon Snow, who has now been crowned King of the North – will be displaced by his onetime sibling; and this makes sense, for as we have seen, both Sansa and Snow represent archetypes of two conflicting historical periods. But one should also take into account that one of Sansa's central abusers, albeit largely unknown to her, has been Littlefinger himself. It was Peter Baelish who betrayed her father, and thus precipitated his execution. It was Baelish too who delivered her into the hands of Ramsay Bolton. My prediction is that Baelish will succeed in his manipulations, once again he will be able to play off both sides and at the end of it all he will be perched atop the Iron Throne. But having manipulated the trusting, naive and guileless Sansa so frequently and so easily, the true nature of her becoming - her ruthlessness, will and determination, the person she is morphing into – this is something Littlefinger will remain oblivious to, will overlook, until, at last, it is too late.
And then it is possible that in the game of thrones, Baelish will win the most gruesome, colourful death of all. So the ultimate prophecy from this red wizard is as follows: when the dragon fire is extinguished, and the zombies have once again returned to the ground, it will be Sansa Stark, who is still standing.
Game of Thrones George RR Martin


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SEE YOUR NAME IN LIGHTS
Times Square viewing schedule: January 28 to January 31 at 9 AM, 12 PM, 1 PM, 5 PM and 7 PM.
Let's Keep Pushing the Frontiers of Cancer Research and Care
2019 was a year full of ground-breaking discoveries and leaps forward in cancer care for patients around the world. Donors who gave online in December 2019 will see their name in lights in Times Square.
Starting on Tuesday, January 28, the names of all See Your Name In Lights donors will shine on American Eagle's Time Square billboard located at the corner of Broadway and West 46th Street.
The Circle of Lights names will be illuminated on Disney's Store billboard located at the corner of 7th Avenue and 45th Street.
Viewings for both billboards will be 9 AM, 12 PM, 1 PM, 5 PM and 7 PM. The first showing of the Circle of Lights billboard on January 31 will be between 9 AM and 10 AM.
Watch Last Year's "See Your Name in Lights" video
These Transformative Advances Were Made Possible by the MSK Giving Community
The Mind-Blowing Power of MSK Mind
The new MSK Mind project will harness A.I. to pull actionable insights from MSK's unprecedented data and potentially discover a new generation of treatments.
The Big Machines Saving MSK's Littlest Patients
MSK doctors try not to use radiation on kids because of side effects later in life. Our leading-edge proton beam machines are able to target kids' tumors with an ultra-precise, "pencil beam" of subatomic particles – sparing healthy tissue.
Deconstructing Metastasis
Metastasis causes 90 percent of cancer deaths, yet its mechanisms have remained stubbornly mysterious – until now. Dr. Joan Massagué's team is identifying conditions necessary for cancer to spread, with the goal of stopping metastasis and saving lives.
See last year's See Your Name in Lights Video
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© Memorial Sloan Kettering Cancer Center


Fleetwood Mac - Creem (September 1987) — Buckingham Nicks Info.
Although not quite missing from Tango In the Night, Stevie Nicks isn't exactly all over the thing. To be precise, she contributed two songs of her own ("Welcome to the Room…Sara" and "When I See You Again") and a third song by her friend and collaborator, Sandy Stewart ("Seven Wonders").
"In the beginning part (of making Tango) she was touring," Lindsey explains. "She was having her own problems. Without being judgmental about her reasons, she made herself very hard to get ahold of. When her own tour was done she went off to Australia for some reason - felt she had to do that. So it was hard to pin her down.
"Once she settled down" - a small laugh here - "she was fine. She came in towards the end-it really was towards the end of the project that she made herself available, constructively. And so we had to work with a limited amount from her."
Christine McVie, who contributed quite a bit to the album ("My favorite group of her songs on any album," says Lindsey), offers this: "The studio junkies, if you like, are pretty much me and Lindsey and Mick. John spends a lesser amount of time in the studio; he doesn't like to hang around doing nothing. Neither does Stevie, because she doesn't actually play any instruments in the band - that drives her crazy when there's nothing for her to actually do."
"I was there at the very beginning," she says, "but you plan an album on a cycle kind of thing. What happened is everything took a little longer, so I ended up being on the second single from my album and getting ready to go on the road when Fleetwood Mac really got started on it.
"Lindsey was doing another solo album, too. If he hadn't been Lindsey - if he'd have been me - then he could've gone ahead and done his at the same time Fleetwood Mac was doing theirs. But Lindsey, having to be the boss - and pretty much the head of this particular tribe at this particular moment - he couldn't do both. I could, because there wasn't all that much for me to do, in the technical sense, at the beginning of the record. I didn't feel weird about it because I didn't have any choice."
Stevie: "How do you like my slow song with Lindsey singing at the end ('When I See You Again')? That's one of my favorite things…I made him sing with me; I said, 'Lindsey, you're gonna sing on all my songs whether you like it or not-you have to sing this with me.' So we went out and sang 'If I see you again, will it be over?' - we sang it in unison, then I snuck in and took my voice off. Otherwise, I'd have never gotten him to do it - see, Lindsey's pretty shy and he's singing differently there than he is on anything else on the record. He wouldn't think to do that: to sing on my song at the end. He would think to sing with me, but he wouldn't want to end it. But that's what I wanted, to leave people feeling they are really talking to each other."
Let's hear from Stevie: "I love to go on tour, whether it's Fleetwood Mac or me or anything. Tom Petty, Heart, anybody'd who'll ask me to go, I'm duffle bag packed and on the bus the next day. But it's up to Lindsey."
Lindsey says he'd also like to work with Laurie Anderson, and mentions that Stevie was recently asking him on the phone if he'd like to do another Buckingham/Nicks album.
His voice becomes more pensive than usual, which is getting pretty pensive. "You just don't usually have to do that sort of thing-to break up with someone and then see them for the next 12 years. That's just not normal…it's not even very well. It's sort of an ill thing to have to do, but what the hell.


Vaccines are an important part of a healthy childhood. Vaccines help protect both your child – as well as others who may not be able to receive vaccinations – from potentially deadly diseases.
Here at Cherry Creek Pediatrics, we strongly recommend vaccinating your child according to the immunization schedule recommended by the American Academy of Pediatrics and the CDC. Learn more at: https://www.cdc.gov/vaccines/schedules/easy-to-read/child.html.
Why do babies need so many shots?
In their first year, babies get vaccinated against 14 diseases. That is a lot, but that's a good thing! The reason we immunize so early is because babies are much more likely to have severe complications (and even die) from vaccine-preventable diseases than older children. The sooner we vaccinate your baby, the sooner you can feel comfortable taking him or her places. It's important to remember that while we often don't see diseases like rubella, measles or polio in our daily lives, those diseases are just a plane ride away. And more common vaccine-preventable diseases, like influenza or whooping cough, can be a grocery-store run away. It's all about protecting your sweet baby from whomever or whatever they may encounter as early as possible.
Should I spread out the vaccines my child needs?
We strongly recommend vaccinating your child according to the CDC schedule. Why? Choosing to delay one or more vaccines will leave your child at risk for disease for longer than necessary and during critical times. For example, like when they begin interacting with more family members, start daycare or go to kindergarten. Learn more at: http://immunizeforgood.com/fact-or-fiction/delayed-schedule.


I have added some new work to my graphic design page and I am rather pleased with the results. Thought I'd share and see what others thought! Here is a couple of teasers!
This entry was posted in Business and Entrepreneurship, Digital Art and tagged Adobe Creative Suite, Adobe Illustrator, art, branding, business, Graphic Arts, Graphic Design, KWHammes Photography, media, Vector Art.