Colorectal cancer screening is key to early detection and thus to early treatment, but uptake is often sub-optimal, particularly amongst lower income groups. It is proposed that the imminent introduction of the single-sample Faecal Immunochemical Test (FIT) in Scotland may lead to increased uptake as compared to the current Faecal Occult Blood Test (FOBT), but underlying reasons are yet to be determined. The aim was to evaluate attitudes and intentions towards completing the FIT compared to the current FOBT for colorectal cancer screening.
A convenience sample of 200 adults (mean age 56.5, range 40–89; 59 % female) living in Scotland rated both the FOBT and the FIT with regard to ease of completion, perceived disgust and intention to complete and return (all measured on Likert-type 1–7 scale). Participants were randomised to be presented (via a face-to-face contact) with either the FIT or FOBT first.
Participants reported higher intention to complete and return the FIT versus the FOBT (mean difference 0.62, 95 % CI (0.44, 0.79)). Overall, 85.0 % (n = 170) of participants agreed or strongly agreed that they would intend to complete and return the FIT compared to 65.5 % (n = 131) for the FOBT (χ2 = 20.4, p < .001). The FIT was also perceived to be easier to complete (mean difference 0.85, 95 % CI (0.70, 1.01) and much less disgusting (mean difference 1.11, 95 % CI (0.94, 1.27)). Lower perceived disgust, higher socio-economic status and previous participation in any cancer screening were significant predictors of intention to complete the FOBT, whilst only higher perceived ease of completion predicted intention to complete the FIT.
People reported higher intentions to complete and return a FIT than a FOBT test for colorectal cancer screening, largely due to a perception that it is easier and less disgusting to complete. The findings suggest that the introduction of the FIT as standard in the UK could result in a notable increase in screening uptake.
Around 1 in 20 people in the UK will develop colorectal cancer during their lifetime. Colorectal cancer is the third most common cancer in the UK, and is the second leading cause of UK cancer deaths, killing 16,000 people each year . Screening aims to detect colorectal cancer at an early stage, in people with no symptoms, and can also detect non-cancerous polyps and adenomas which could develop into cancer over time, which can then be easily removed and reduce the risk of cancer developing. Thus, regular colorectal cancer screening can significantly reduce the risk of mortality.
In Scotland, all men and women aged 50 to 74 are offered screening every two years. At present, the Faecal Occult Blood Test (FOBT) is sent out by post for individuals to complete at home and post back to the National Bowel Screening Centre. The current FOBT kit involves collecting two pea-sized samples of faeces from each of three separate bowel movements within a period of 10 days and placing them under a flap (window) on a card. Once all 6 windows are completed, cards are posted back to the screening centre where they are tested for hidden traces of blood.
Of the 1.7 million people in Scotland that were invited for screening between November 2011 and October 2013, just over 960,000 (56.1 %) completed and returned their test . In February 2012, the Scottish Government launched the Detect Cancer Early Programme (DCE) which aimed to increase early detection of the cancer by 25 % by the end of 2015. As part of this initiative, a new home screening kit (the Faecal Immunochemical Test or FIT), which involves taking and returning just one sample, will be introduced in Scotland over the next two years. As well as being apparently simpler to use, the FIT has greater diagnostic accuracy and has the potential to provide additional advantages in terms of a personalised risk (along with age/gender) of harbouring advanced neoplasia (colorectal cancer or high risk adenoma).
Between 2009 and 2011, the new FIT was piloted to around 66,000 people across two National Health Service (NHS) health boards in Scotland and return rates were compared to FOBT return rates in two different health boards . The pilot study showed that FIT return rates were significantly higher within the two pilot health boards compared to the pre-FIT test period (i.e. 58-61 % versus 52-56 %) and significantly higher than FOBT return rates in the same period than the comparative health boards (i.e. 58-61 % versus 51-53 %). Although this suggests that rolling out the new test across Scotland may lead to an increase in screening uptake, no data was collected to determine the reasons for increased uptake.
One of the main differences between the current and the new screening test is that the new FIT involves taking just one sample on one occasion, compared to the FOBT which requires two samples to be taken on three separate occasions. Thus the process appears much simpler and it has been suggested that ease of completion plays a major role in the increased rate of return associated with the new FIT . However, this study compared data from two separate periods when the FOBT (15 months) or FIT (9 months) was used as the standard kit during routine testing, and therefore did not provide a direct comparison between the two tests .
Liles et al. also reported that the increase in uptake for the FIT compared to FOBT was due to it being less unpleasant . Disgust is a negative emotional reaction to unpleasant situations which appears to promote psychological and behavioural avoidance. Perceived or anticipated disgust has been determined as an important factor in colorectal cancer screening uptake [5, 6]. Individuals vary in their tendency to feel disgust with some experiencing it more often or more significantly than others. This suggests that individuals with greater trait disgust may be more impacted by state disgust than those who are less sensitive to disgust and therefore become more avoidant [7, 8]. In a study by Jones and colleagues , participants were asked to rate a list of barriers associated with different bowel cancer screening tests, including the FOBT. The top five barriers rated by participants in relation to the FOBT included the idea of 'not wanting to handle their own stool' and 'not wanting to keep stool samples on a card in the house' during the period of completing the test. Other studies have shown that reluctance to complete the FOBT is related to both disgust at the idea of handling stools, and concerns about posting samples in the mail [10, 11]. In comparison to the FOBT which involves putting stool samples on a piece of cardboard and retaining it in the house until all three samples have been taken, the FIT comes with a plastic test tube which conceals one sample that can be posted immediately after. This could lead to the new FIT being both easier to complete and perceived as less disgusting.
The present study provides a direct comparison of attitudes towards completing the FOBT and the FIT test with regard to ease of completion and perceived disgust. We used intention to complete and return the kit as a proxy measure of screening uptake. This was a within-subjects design controlled for presentation order. We hypothesised that participants would a) rate the FIT as easier to complete than the FOBT, b) rate the FIT as less disgusting to complete than the FOBT and c) report greater intentions to complete and return the FIT versus the FOBT.
Ethical approval for the study was granted by the University of Stirling Psychology Ethics Committee, and all procedures were conducted in accordance with the Helsinki declaration (1975, revised 2000).
Recruitment was via convenience sampling, including people known to the researchers and opportunistic recruitment from a local community health agency. Written informed consent was obtained from potential participants. All consenting participants completed all of the questionnaires.
Adults aged 40 years or more, living in Scotland, able to comprehend and complete self-report questionnaires written in English. We included adults aged under the age of 50 years (i.e. the age at which routine screening invitations are issued), as we wanted to explore the views of people who had never been invited to routine FOBT screening, and compare them to those of people who were likely to have received and/or completed a FOBT kit. There were no exclusion criteria.
A within-subjects randomised trial, with each participant rating both the FOBT and FIT screening kits. Order of presentation was randomised (prior to consent) via a computer generated random number table (https://www.randomizer.org/), to control for any priming effects on subject responses.
Data collection was carried out on a face-to-face basis with one of two researchers (AC and RG), either in the participant's home or in a University room set aside for the research. Participants first completed a short demographics self-report questionnaire, which included age (also categorised into age band (1 = < 50 years old; 2 = > = 50 years), gender, postcode (to calculate Scottish Index of Multiple Deprivation (SIMD), which assesses deprivation based on geographic area via domains including income, employment, health, crime; we used SIMD quintiles where higher scores = lower deprivation, so 1 = most deprived and 5 = least deprived area), first-hand experience of major illness (Yes/No for: 1) self and 2) immediate family), whether they had previously participated in any cancer screening (Yes/No i.e. breast, cervical, colorectal, prostate), and whether they had previously completed an FOBT test.1 The latter was relevant for the over 50s group only, and thus was coded as 'No' for all under 50s. They were then presented with a blank version of one of the two screening kits (i.e. FOBT or FIT depending on randomisation) and the standard instructional information which would be posted out with the kit. Participants were requested to take as much time as they needed to read the instructions and familiarise themselves with the kit. They then completed a short questionnaire measuring attitudes (including ease of completion and test specific anticipated disgust items) towards completing the kit. The process was then repeated with the other test kit. Finally, participants completed a trait measure of disgust.
All items were scored on a seven-point Likert-type scale ranging from 1 (strongly disagree) to 7 (strongly agree). The 9-item questionnaire consisted of two items (Reliability found for FOBT: Cronbach's α = 0.73; FIT: α = 0.591) measuring intention to complete and return the kit (e.g. "If I was sent this test I would complete and return it"); three items (FOBT: α = 0.72; FIT: α = 0.542) measuring ease of completion (e.g. "I would find it easy to complete this test"); and four items (FOBT: α = 0.80; FIT: α = 0.79) measuring perceived disgust (the 'ICK-C' e.g. "Completing this test would be an unpleasant task"). The measure was adapted from a questionnaire developed in a recent study .
The Disgust Propensity and Sensitivity Scale – Revised (DPSS-R)  was used to assess two separate constructs that are thought to contribute to disgust reactions (i.e. trait disgust): disgust propensity (an individual's tendency to experience disgust) and disgust sensitivity (how unpleasant an individual considers experiencing disgust). Items were rated on a 5-point Likert-type scale (1 (never) to 5 (always)) (α = .80 for 6-item disgust propensity, α = .77 for 6-item disgust sensitivity). Mean scores were calculated for disgust propensity and sensitivity separately.
It was estimated that 200 participants would be able to detect a small effect size in a repeated measures ANOVA (i.e. difference between FIT versus FOBT test: Cohen's f = .13) with 80 % power (α = 0.05, two-tailed) .
Data were coded and analysed using SPSS version 21, 2012. Primary analysis was a repeated measures ANOVA to test for differences in intention to complete and return, ease of completion and perceived disgust between the FOBT versus FIT screening kits, controlling for presentation order and age band (<50 years, > = 50 years). Correlation analyses were carried out to test for a relationship between the trait disgust measure and perceived disgust at completing the kit. Chi-squared tests were used to compare participants by categories of intention to complete the FOBT and/or the FIT kit. Two logistic regression analyses were carried out to test for factors predicting intention (agree/strongly agree vs other response) to complete and return: 1) the FOBT and 2) the FIT.
There were 200 participants, 117 (58.5 %) female, 83 (41.5 %) males; mean age 56.5 years (SD = 11.28. range 40–89). Of the 200 participants, 99 were randomised to be shown the FOBT kit first and 101 to FIT kit first. There were no differences between randomised groups with regard to gender, SIMD quintile, previous or family illness, or screening history (Table 1). Participants shown the FOBT first were significantly older than those shown the FIT first (mean difference = 3.2, 95 % CI (0.1, 6.4)).
We conducted a repeated measures ANOVA comparing intention, perceived ease of completion and disgust for the FOBT versus FIT kits (within-subjects) controlling for presentation order, age band and gender (between-subjects). There was an overall main within-subjects effect for type of kit (F(3, 190) = 62.8, p < .001, partial η2 = .50), but there were no between-subject effects for presentation order of kit (F(3, 190) = 0.8, p = .513, partial η2 = .01), age band (F(3, 190) = 0.9, p = .462, partial η2 = .01), or gender (F(3, 190) = 2.4, p = .069, partial η2 = .04). There were also individual effects for the FIT versus FOBT (See Table 2), with FIT having significantly higher intention and ease of completion scores and lower disgust than the FOBT. There were also individual significant effects of gender on ease of completion and disgust, with males perceiving the tests as easier to complete and less disgusting than females but there was no differences in intention (see Table 2). There were no other individual between-subject effects, nor any main or individual interaction effects between any of the variables.
The mean score on the DPSS-R propensity subscale was 2.65 (SD 0.6) and on the sensitivity subscale was 1.94 (SD 0.6). Both subscales were significantly correlated with perceived disgust at completing the FOBT (propensity r = .35, p < .001; sensitivity r = .23, p = .001) and the FIT (propensity r = .29, p < .001; sensitivity r = .19, p = .007).
Logistic regression was conducted separately for intention to complete the FOBT and the FIT test. Predictors included age, gender (female/male) and SIMD quintile (1–5, entered as categorical variable), perceived ease of completion, perceived disgust of completion, trait disgust propensity and sensitivity, previous major illness (yes/no), family illness (yes/no), previous participation in any cancer screening (yes/no), and having previously participated in FOBT screening (yes/no).
The unadjusted and adjusted (for all other variables in the model) odds ratios are shown in Table 3. In the unadjusted model for FOBT, SIMD (the two least deprived quintiles versus the most deprived), higher perceived ease of completion, lower disgust at completion, higher trait disgust propensity and sensitivity, having previously taken part in any cancer screening and having previously participated in FOBT screening were all significant predictors of intention to complete and return the kit. However, in the adjusted model only SIMD (least vs most deprived), lower perceived disgust, and having taken part in any previous cancer screening (Yes versus No) remained significant, with disgust being the strongest predictor. The adjusted model was significant (Cox & Snell R2 = 0.268, p < .001). For the FIT (see Table 3), significant unadjusted predictors were SIMD (the least versus the most deprived quintile), higher perceived ease of completion, lower disgust at completion, and higher trait disgust sensitivity (but not propensity). The adjusted model was significant (Cox & Snell R2 = 0.191, p < .001), with ease of completion being the only significant predictor of intention to complete the FIT (Table 3). The results of the logistic regression indicate that perceived ease of completion (FIT), perceived disgust at completing (FOBT) and any previous cancer screening participation (FOBT) appear to be more important predictors of intention to complete the kit than age, gender, SIMD (FIT only), experience of serious illness and trait disgust.
A recent pilot of the Faecal Immunochemical Test (FIT) indicated that introduction of this as the first line screening test is likely to increase colorectal screening uptake compared to the guaiac Faecal Occult Blood Test (FOBT) which is currently used in the Scottish National Screening Programme . The current study supported this in that participants reported much higher intentions to complete and return the new Faecal Immunochemical Test (FIT) versus the current guaiac Faecal Occult Blood Test (FOBT). It was hypothesised that the FIT would be perceived as less disgusting and easier to complete than the FOBT due to the new method and materials provided in the screening kit (i.e. test tube rather than cardboard sample card), and the elimination of the need to keep samples in the house over the testing period of up to ten days. In a direct comparison between tests, our findings confirmed that the FIT was perceived as being significantly easier and less disgusting to complete than the FOBT, adding to earlier findings by Liles et al. . Importantly, this held both for adults who were not currently in the routine screening programme (under 50 years) and for those who were likely to have already received an invitation (50 years or greater).
The 4-item disgust scale (the 'ICK-C') had good internal reliability for both FIT and FOBT and was moderately correlated with trait disgust propensity and sensitivity, supporting its use as a measure of perceived disgust in colorectal cancer screening . In the unadjusted logistic regression, perceived disgust and trait disgust sensitivity were significant predictors of intention to complete both the FOBT and the FIT, supporting the importance of disgust as a predictor of behavioural avoidance in contamination fear , and indicating that more disgust sensitive individuals may be disinclined to complete any test involving collection of faeces. When adjusting for all other variables (including trait disgust), perceived disgust at completing the kit, SIMD, and having attended any previous cancer screening were significant predictors of intention to complete and return the FOBT. In contrast, for the FIT, ease of completion was the only significant predictor, with neither perceived nor trait disgust being significant predictors of intention. This suggests that disgust may be a lesser barrier to uptake of the FIT and, providing it is viewed as easy to complete, factors associated with non-completion of the FOBT, including higher perceived disgust and lower socio-economic status may be less important in determining FIT uptake. The figure of 65.5 % who agreed or strongly agreed they would complete the FOBT is much higher than current actual rates of completion of the FOBT (i.e. 56.1 %), which is illustrative of the intention-behaviour gap, where changes in people's intentions do not always translate into changes in actual behaviour . It is, therefore, unlikely that the percentage actually completing the FIT would approach anything like the 85 % found to agree or strongly agree that they would complete and return the kit. Nonetheless, this represents a moderately large difference in intention to complete the FIT compared to the FOBT (i.e. 29.8 % more people), and even if, as suggested by Webb and Sheeran , it results in only a small to medium increase in behavioural change, it could have a major health impact at a national level. A 5 % increase in FOBT uptake is estimated to translate into approximately 11 additional cancers diagnosed per 100,000 of the target population . Thus, the observed increase in intentions, coupled with the marked preferences for the FIT over FOBT, in terms of being less disgusting and easier to complete, suggests that the introduction of the FIT will translate into meaningful increases in screening uptake and resultant health benefits at a population level.
Limitations include the use of a convenience sample, which had a bias towards higher socioeconomic groups and female participants; and the fact that our outcome measures related to a hypothetical test (i.e. intention to complete and return and perceived disgust and ease of completion) and not actual return rate of completed kits. In addition, those randomised to view the FIT first were younger than the FOBT first group; however, neither age nor presentation order was associated with intention, ease or disgust, so this is unlikely to have affected our findings. We included participants aged 40–50 who would not have had a previous invitation to complete the FOBT as part of the Bowel Screening Programme. However, neither previous FOBT completion nor age predicted intention in the adjusted regression analysis for either test; in addition, the FIT was perceived as easier to complete and less disgusting than the FOBT by both under and over 50s. Thus, our findings apply to both those who may have received a previous FOBT kit as well as to those with no previous exposure.
Our findings showed that almost 30 % more people said they would complete and return a FIT test compared to the current FOBT, which appeared to be due to it being perceived as easier and less disgusting to complete. Thus the present study indicates that the introduction of the FIT is likely to result in a notable increase colorectal cancer screening uptake.
None of the sample had previously completed a FIT test.
Cronbach's α was relatively low for the FIT intention and ease scales, which may be due to the limited number of items. Despite this it is still considered preferable to use multi-item measures for Likert-type scales, rather than single-item measures, which have very poor reliability . We also conducted further examination of these scales which showed that removing the FIT ease item: 'The instructions for this test are hard to follow' actually increased Cronbach α to .58 for this scale. We repeated the analyses using the resulting 2-item scale for FIT ease, but all results remained significant as reported. Therefore for consistency of measures between the two tests, we report findings using the original 3-item FIT ease scale.
This project was conducted wholly within the University of Stirling, where all authors are affiliated. No-one else was involved in any aspect of the study including preparation of this manuscript and there was no other source of funding.
RO'C conceived of the study, participated in its design and coordination and critically revised the manuscript. JAC conceived of the study, participated in its design, carried out statistical analysis and wrote the final manuscript. AC and RG participated in the design of the study, ran the study, collected the data, carried out statistical analysis and helped to draft the manuscript. All authors read and approved the final manuscript.
Cancer Research UK. The 10 Most Common Causes of Cancer Death in Persons, UK, 1990, 2010 and 2030. 2015. http://www.cancerresearchuk.org/health-professional/cancer-statistics/mortality/projections#heading-Four Accessed 20 Oct 2015.
ISD (Information Services Division), NHS Scotland. Scottish Bowel Screening Programme Key Performance Indicators report: invitations between 1 November 2011 and 31 October 2013. 2014. http://www.isdscotland.org/Health-topics/Cancer/Bowel-Screening Accessed 2 Feb 2015.
Gliem J, Gliem R. Calculating, interpreting, and reporting Cronbach's Alpha Reliability Coefficient for Likert-type scales. Midwest Research-to-Practice Conference in Adult, Continuing, and Community Education. 2003. http://www.ssnpstudents.com/wp/wp-content/uploads/2015/02/Gliem-Gliem.pdf. Accessed 16 Dec 2015.


For the first 9 months of Camille's life, I listened with sympathy to friends whose babies were struggling with ear infections, all the while grateful we'd been spared the problem. I'd heard that babies often either get chronic ear infections, or hardly get them ever, and I felt we were qualifying for the latter, fortunate category.
We got our prescription for antibiotic, her first ever, and I waited for her to get better. She improved some, but never really seemed completely comfortable. We took her back, and she still had lots of fluid in her ears. A couple of weeks later, they were infected again. More, different antibiotic.
We finished that antibiotic Monday, but Tuesday she just didn't seem like herself. So I took her back to the doctor, and sure enough, they were still infected. The antibiotics hadn't worked, so they had to bring out the big guns in the form of an antibiotic shot.
I hate shots. I loathe shots. I am terrified of shots and especially don't like it when she has to get one. So it didn't help that everyone we encountered said, "Oh, poor thing. This shot really hurts." And it wasn't just one, she had to have three shots – one a day for three days in a row.
It was terrible having to get up every morning, knowing I was about to take her back there to hold her down while they injected the medicine. But she is such a great little trooper. She cried during the shot (which can't be done very quickly because the medicine is thick), but as soon as I picked her up she quited. She even let the nurse hold her afterward. I think Camille took the whole thing better than I did.
The good news is that the doctor looked in her ears yesterday just before the third shot and said she already saw marked improvement. I hope this does the trick, because otherwise we may be in for a visit with a specialist to talk about more invasive solutions. Thinking back over the last 2 months, I feel very fortunate to have such a good-natured little girl who is still happy and fun despite lingering ear infections. Sure, she had her moments, but a majority of the time she has been charming and sweet. Lucky mama.


text:
Interview with Bill Watterson director of Dave Made a Maze
By James Whittington, Sunday 4th November 2018
At Grimmfest 2017 we had the chance to view one of the most original pieces of cinema we'd seen in a long time, Dave Made a Maze. Directed by Bill Watterson it's an intelligent, thought-provoking film that deserves to reach a global audience and will be released here early 2019. We chatted to Bill about this incredible movie.
HC: Where did this concept come from?
WW: Three places: Steven was underway on a script called 'Operation: Death Maze,' or something cool like that. Portions of it were re-purposed after he jibed with a story I told about my mom coming home and seeing an incredible fort that I'd build in my bedroom, and concluding that I'd gotten lost within it when I didn't answer her calls (I was at a neighbour's house; I'd left a note!). He really dug that concept of being in your own room but somehow being lost at the same time. Thirdly, it was fueled by the frustrations that so many of us face when it comes to trying to be creative and not starve in the process. It gets more and more challenging to remain playfully inventive as the struggles of adulthood take hold. The more the script developed, the more the story became a metaphor for the creative life itself.
HC: Its surely one of the most original movies ever made, how long did it take to write?
WW: Thank you! Hard to say; Steven had a good 60+ pages before I ever came on board, and we spent so many years fundraising and trying to attach talent that in the downtime we kept revisiting and revising, tightening and solidifying. Then as we approached the actual production days, budget and personnel meant that certain ideas had to be left behind (the pit of deadly stop motion spiders!) while others came about very late in the game (the zoetrope!). From those first 60 pages to us shooting the movie was about 5 years, but obviously that wasn't all time spent writing.
HC: Was it written with a cast in mind?
WW: No, all of the early drafts were written with Steven's friends in mind. All of the characters were originally named after people we knew. Write what you know, write WHO you know! We drifted away from some of the specifics as we doubled down on and exaggerated what was unique about each character, as we changed genders of others, combined or cut others. And then the cast brought each one of them to life in ways we never could have anticipated. Lines that I heard as high energy in my head came out quiet and were a hundred times more effective for it, and vice versa. That cast really committed and brought it off the page.
HC: The set design is incredible, did you have a vision of how it would look, or did your set designer come to you with the concepts?
WW: A combo of both, mostly the latter. We pulled a lot of visual references as we started having pre-production meetings, and we hired artists who worked within and appreciated the medium of cardboard. They brought that experience, plus a willingness to experiment. A lot of looks were also based on what materials were available to us on the day, between what we could get from the dumpster next door, and what we had left from our original haul of donated cardboard. Sometimes it was just well, we've got THIS, and we've got to make THAT, let's see what happens! It was in the writing that it was a handmade cardboard world, and the art department went above and beyond to bring that world to life, and to give each room its own personality.
HC: As a first-time director, what did you learn about the craft whilst making this movie?
WW: I mean... everything! If I had known how much I didn't know going in, I probably wouldn't have had the guts to do it. I certainly learned how important it is to have trustworthy, engaged collaborators. How important it is to set your people up to succeed by giving them enough guidance but also enough freedom to stay creatively inspired. Listen to your people and let them have fun, too. That you can't be over-prepared, but you have to stay flexible to the realities that present themselves on the day. That everything matters: you can drive all your decisions through your theme, what it is you're trying to say, so that the frame can always be packed with information. I got that from Sidney Lumet's 'Making Movies,' but seeing it actually pan out was an eye-opener. That making a movie is easily 100 times harder than you think it is. That we got lucky because we had no weak links. That scheduling is everything. That you have to pick your battles; some things will just not work out, so you have to let them go, but others you have to really fight for, or the movie will suffer. That there's always a solution, so stay calm and stay open, and let some things come to you.
HC: It has a lot to say about awareness of people's state of mind and mental illness, is that what you set out to do?
WW: Not explicitly in regards to mental illness, although the relevance of it, and other things like addiction, were certainly discussed as bigger picture themes, particularly when breaking the movie down for the actors. It was expressly a metaphor for the creative process: exaggerating and bringing to life the pitfalls and dangers and traps, some of the dark, destructive side that tends to come hand in hand with the burning desire to make. But that didn't keep it from being relevant to other experiences. The Maze was Dave's mind-once you're in it, who knows what you'll find!
HC: Its been on the festival circuit, did each city/country react differently to it?
WW: Hard to say... I was lucky enough to attend many of the festivals, but by no means have I been able to gauge every audience. Some of the humour in the wordplay obviously didn't always translate, and the producer just informed me that absolutely no one laughed at any point during a screening in Japan. But it's not necessarily a laugh-out-loud kind of comedy. I was thrilled that people in France, Mexico City, Brazil, Spain, Austria, seemed to connect to the relationship at the heart of the film, as well as its metaphors. Creative types knew it was a movie for them, no matter the country.
HC: You're a man of many talents; do you have a favourite job?
WW: Nothing beats playing bass. If any one of the many bands I was in had taken off back in the day, I'd never be doing what I'm doing now. It just can't be topped.
HC: So, what are you up to at the moment?
WW: Writing scripts and breaking ideas for film and TV, trying to get that next thing made. I directed a couple music videos and a teaser for a TV pilot. Chasing every lead and trying not to become Dave at the beginning of the movie... trying to be more like Dave at the end of the movie.
HC: Bill Watterson, thank you very much.
WW: Any time!
Related show tags: GRIMMFEST
New Black Label titles from 101 Films
Posted in News, Wednesday 17th July 2019
The next two titles on the 101 Films Black Label will be released in August and September. A pair of gruesome cult horrors; one a David Cronenberg classic, and the other a lost gem from the early '90s. Both titles are presented in Limited Edition versions with slipcase and booklet, limited to 3000 units.
On 26th August get set for Rabid (1977), David Cronenberg's early classic, stacked with extras, including a brand new feature-length documentary and an audio commentary with the Soska Sisters... and on 23rd September a UK debut on any format for Skinner (1993), starring Ted Raimi as the eponymous serial killer, in a film that was quite literally lost for several years.
Rabid is the enduringly te...
FrightFest fave Big Bad Wolves finally coming to HD
Posted in Frightfest, News, Wednesday 17th July 2019
101 Films presents Aharon Keshales and Navot Papushado's Big Bad Wolves (2013), a brutal and unpredictable thriller that addresses the perils of victimhood and the consequences of vengeance.
A series of brutal murders puts the lives of three men on a collision course: The father of the latest victim now out for revenge, a vigilante police detective operating outside the boundaries of law, and the main suspect in the killings - a religious studies teacher arrested and released due to a police blunder.
Released on Blu-ray for the first time in the UK, this release includes Last Night at the Empire: Big Bad Wolves at FrightFest, a brand new documentary on the background a...
Important information for Freeview viewers in south and central Wales
Posted in News, Tuesday 16th July 2019
Horror Channel fans living in parts of south and central Wales using the Freeview platform please take note that TV signals in this area will be updated on Wednesday 17th July and you may need to retune on this date.
If you are still missing services after completing a full retune, or would like more information, visit the Freeview website or call the Freeview Advice Line free on 0808 100 0288 for assistance.
Man of a Thousand Faces will appear in HD in October
Posted in News, Saturday 13th July 2019
One screen legend pays homage to another in Man of a Thousand Faces, an enthralling biopic which sees Oscar-winning tough guy James Cagney give a multifaceted portrayal of silent cinema legend Lon Chaney. This classic is being released onto Blu-ray on 28th October thanks to Arrow Academy.
In early horror classics such as The Hunchback of Notre Dame and The Phantom of The Opera, Lon Chaney captivated audiences with his vivid personifications of grotesque and afflicted characters. His extraordinary make-up skills, and miraculous ability to completely transform into grisly yet sympathetic and tragic monsters, garnered him international acclaim and the famous moniker of this fil...
Posted in Reviews, Saturday 13th July 2019
Sponsored by Horror, catch Marina Sirtis starring in the play Dark Sublime.
Posted in News, Friday 12th July 2019
Making her West End debut, Marina Sirtis (Star Trek: The Next Generation) is starring in the acclaimed play Dark Sublime from Michael Dennis. Supported by Arts Council England and sponsored by Horror Channel, the production is running at Trafalgar Studios, London.
The piece concerns Oli who arrives at the door of Marianne (Sirtis), a fading jobbing actress. He's impatient to make an impression, to make a friend. Marianne knows about waiting - for her turn at something more substantial than a half-remembered role on a cult TV show, for her best friend to see her differently. As Oli forces her back into the past, and a strange, outrageous world she hasn't visited in almos...
FrightFest reanimates its "New Blood" search for new writers
With FrightFest entering its 20th year, the search is set to resume for new writers in the horror genre. For the third year running, New Blood reunites FrightFest with Giles Edwards of Queensbury Pictures with its mission to find emerging UK-based writers dedicated to the genre and nurture their projects from script to screen. Queensbury is ultimately interested in buying the finished script rather than the idea, and so, this year all successful final candidates if selected should be able to send even a rough draft of the first ten pages of their script through with their acceptance.
Already the scheme has delivered one new project Broadcast Signal Intrusion. Written by Phil Drinkwater and Tim Woodall...
The Blair Witch Project on the big screen thanks to Grimmfest and Horror
Posted in News, Sunday 7th July 2019
Grimmfest will be having a special 20th Anniversary screening of The Blair Witch Project on 35mm on July 24th at Plaza Cinema, Stockport and is being supported by Horror.
Unless you've been living in abandoned cabin in the woods for twenty years you'd know that The Blair Witch Project concerns three film students vanish after traveling into a Maryland forest to film a documentary on the local Blair Witch legend, leaving only their footage behind.
The movie showed the power of the internet, telling the world about this 'real-life' documentary style film with an incredible campaign, it also re-awakened the 'found-footage' sub-genre into the horror-sphere. Whilst the film was made for only...
Relive those dog flashbacks in HD as The Hills Have Eyes Part II comes to Blu-ray
Posted in News, Saturday 6th July 2019
The hills are once again alive with the sound of screaming in Wes Craven's hugely entertaining follow-up to his own groundbreaking 1977 The Hills Have Eyes.
A motocross team on their way to trial a new super-fuel head out across the desert lead by Rachel, who, unbeknownst to the rest of the group, is a survivor of the cannibal clan which menaced the Carter family several years before. Opting to take an ill-advised shortcut across the desert, the busload of youngsters drive straight into the path of the remnants of Rachel's demented cannibal kin - the menacing Pluto, and a hulking, blood-hungry brute by the name of The Reaper.
Made by Wes Craven immediately prio...
Hammer's Lust for a Vampire to rise on Blu-ray
The second in Hammer's racy and rapturous Karnstein Trilogy, Lust for a Vampire - directed by Jimmy Sangster (writer of the legendary Dracula and The Curse of Frankenstein) - returns to wreck gloriously seductive horror once more. Bursting at the seams with lovingly put-together extras including a new featurette on Hammer in 1970, Lust for a Vampire will arrive on Blu-ray for the first time and DVD on 12th August.
In 1830, forty years to the day since the last manifestation of their dreaded vampirism, the Karnstein heirs use the blood of an innocent to bring forth the evil that is the beautiful Mircalla (Youtte Stensgaard). The nearby Finishing School offers rich pickings not...
Arrow Video FrightFest 2019 announces 20th year record-breaking line-up
Posted in Frightfest, News, Thursday 4th July 2019
The UK's biggest and boldest horror and fantasy film festival is celebrating its 20th bloody year. Since 2000 it has made its indelible mark, not only on the ever-burgeoning horror community but also on the UK genre landscape as a whole. The internationally renowned event leads the way in attesting to the versatility of the genre, its reinvention and its growing importance in the cultural landscape and this year is no exception.
Arrow Video FrightFest 2019 is back at the Cineworld Leicester Square and The Prince Charles Cinema from August 22nd - August 26th. Hosting a record-breaking seventy-eight films, embracing fourteen countries and spanning six continents, this year's...
Articles Archive: 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006
THEY CAME FROM BEYOND SPACE
Sunday 28th July

redpajama_set_name: RedPajamaCommonCrawl


text:
Jul 15 1918 to Aug 6 1918
Second Battle Of The Marne
The Second Battle of the Marne (French: 2e Bataille de la Marne), or Battle of Reims (15 July to 6 August 1918) was the last major German Spring Offensive on the Western Front during World War I. It failed when an Allied counterattack led by French forces overwhelmed the Germans, inflicting severe casualties.
Source: Wikipedia Added by: Aimee Lucido
On 26 March 1918, at the Doullens Conference, Foch was appointed Supreme Commander of the Allied Armies with the title of Généralissime ("supreme General") with the job of co-ordinating the activities of the Allied armies, forming a common reserve and using these divisions to guard the junction of the French and British armies and to plug the potentially fatal gap that would have followed a German breakthrough in the British Fifth Army sector. Despite being surprised by the German offensive on the Chemin des Dames, the Allied armies under Foch's command ultimately held the advance of the German forces during the great Spring Offensive of 1918 and at the Second Battle of Marne in July 1918. The celebrated phrase, "I will fight in front of Paris, I will fight in Paris, I will fight behind Paris," attributed both to Foch and Clemenceau, illustrated the Generalissimo's resolve to keep the Allied armies intact, even at the risk of losing the capital. On 6 August 1918, Foch was made Marshal of France.
Wikipedia: Second Battle Of The Marne
Wikipedia: World War I
View other events that happened on July 15


text:
Added this change log after project was already under way.  Early changes are not noted.

The format is based on [Keep a Changelog](http://keepachangelog.com/).

## [5.0]
### Changed
- `JSON`: modified error messages (removed "at root" when pointer is at root of JSON)
- `JSON`: added `escape` and `unescape`
- `JSONBoolean`, `JSONDecimal`, `JSONDouble`, `JSONFloat`, `JSONInteger`, `JSONLong`, `JSONString`, `JSONZero`: changed
`get` to `getValue`
- `JSONDecimal`: bug fix - `hashCode()` now returns value consistent with `equals()`
- `JSONDecimal`: fixed bug in comparisons
- `JSONDecimal`: optimisation in `valueOf()`
- `JSONSequence`: improved `hashCode()` and `equals()`

## [4.2] - 2020-12-26
### Changed
- updated dependency

## [4.1] - 2020-10-27
### Changed
- `JSONValue` etc.: added `toSimpleValue()`

## [4.0] - 2020-10-14
### Changed
- `JSON`: improved error reporting by including JSON pointer
- `JSONFormat`: generalised to allow YAML results
- tests: switched to JUnit 5 (allows checking of exception messages)

## [3.1] - 2020-05-10
### Changed
- `JSON`: create `JSONDecimal` when integer number is too big for `Long`

## [3.0] - 2020-01-27
### Added
- `JSONDecimal`: New class to handle decimal (floating point) values

### Changed
- `JSONNumberValue`, `JSONDouble`, `JSONFloat`, `JSONInteger`, `JSONLong`, `JSONZero`: added conversions to and
comparisons with `BigInteger` and `BigDecimal`
- `JSON`: now creates `JSONDecimal` when parsing floating point numbers (instead of `JSONDouble`)

## [2.2] - 2019-12-08
### Changed
- updated dependency

## [2.1] - 2019-12-01
### Changed
- changed `JSONObject` and `JSONMapping` to add constructor from `Map`

## [2.0] - 2017-04-25
### Changed
- multiple classes changed for Java 8; README updated accordingly

## [1.6] - 2017-04-23
### Changed
- changed `JSON`; several new convenience methods

## [1.5] - 2017-04-20
### Changed
- changed `JSONObject`, `JSONMapping`, `JSONArray` and `JSONSequence`; new convenience
  methods and constructors

## [1.4] - 2017-04-17
### Added
- new class `JSONSequence` (generalisation of `JSONArray`)
- new class `JSONMapping` (generalisation of `JSONObject`)

### Changed
- changed `JSONArray` to derive from `JSONSequence`
- changed `JSONObject` to derive from `JSONMapping`
- changed `pom.xml` to use version 1.3 of `javautil`

## [1.3] - 2016-11-27
### Changed
- Used optimised string output of int and long
- Better discriminination between int and long in `JSON.parse()`

### Added
- More JUnit tests

## [1.2] - 2015-12-10
### Added
- `putJSON()` and `addJSON()` methods to allow chaining
- new means of iterating over array values
- Documentation

### Changed
- Added nested exception to `JSONException`
- Fixed compiler warnings

## [1.1] - 2015-11-30
### Added
- `JSONException`

### Changed
- Optimised `equals()` in several classes

## [1.0] - 2015-09-08
### Added
- Initial release

redpajama_set_name: RedPajamaGithub


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Q: How to access my total x translation within a pan gesture recognizer and access it from XAML I'm setting up a pan gesture recognizer that, when panning with two fingers, moves the view contained in it. I want to provide event triggers when the view has moved a specified amount in the X direction, which requires the total displacement to be sent to my XAML page every time it is changed in the gesture recognizer class. I am having trouble accessing the total x displacement outside of the gesture recognizer class.
I have tried using a delegate and event handler to get the .TranslationX or TotalX values from within the class, but cannot seem to figure out how to do so. Every approach I try does not update the value as I pan the view. Below is my Gesture Container class. I just need to access the total x displacement every time it changes outside this class.
public class GestureContainer : ContentView
{
    public GestureContainer()
    {
        var panGesture = new PanGestureRecognizer();
        panGesture.TouchPoints = 2;
        panGesture.PanUpdated += OnPanUpdated;
        GestureRecognizers.Add(panGesture);
    }

    void OnPanUpdated(object sender, PanUpdatedEventArgs e)
    {
        switch (e.StatusType)
        {
            case GestureStatus.Running:
                Content.TranslationX =
                e.TotalX;
                break;

            case GestureStatus.Completed:
                ViewExtensions.TranslateTo(Content, 0, 0, 250, null);
                break;
        }
    }
}

I am very new to C# and Xamarin, so I apologize if the solution is an obvious one. I'm just not sure how to approach this one.

A:
I want to provide event triggers when the view has moved a specified amount in the X direction, which requires the total displacement to be sent to my XAML page every time it is changed in the gesture recognizer class. I am having trouble accessing the total x displacement outside of the gesture recognizer class.

If you want to get view TranslationX and TranslationY after you move view, I do one sample you can take a look:
Firstly, you can create a pan container,contains a generalized helper class that performs freeform panning.
public class PanContainer : ContentView
{
    public double x { get; set; }
    public double y { get; set; }

    public PanContainer ()
    {
        // Set PanGestureRecognizer.TouchPoints to control the
        // number of touch points needed to pan
        var panGesture = new PanGestureRecognizer ();
        panGesture.PanUpdated += OnPanUpdated;
        GestureRecognizers.Add (panGesture);
    }

    void OnPanUpdated (object sender, PanUpdatedEventArgs e)
    {
        switch (e.StatusType) {

        case GestureStatus.Running:
            // Translate and ensure we don't pan beyond the wrapped user interface element bounds.
            Content.TranslationX = Math.Max (Math.Min (0, x + e.TotalX), -Math.Abs (Content.Width - App.ScreenWidth));
            Content.TranslationY = Math.Max (Math.Min (0, y + e.TotalY), -Math.Abs (Content.Height - App.ScreenHeight));
            break;

        case GestureStatus.Completed:
            // Store the translation applied during the pan
            x = Content.TranslationX;
            y = Content.TranslationY;
                Console.WriteLine("TranslationX is {0}",x);
                Console.WriteLine("Translationy is {0}", y);
                break;
        }
    }
}

Then shows the PanContainer wrapping an one element, here I use Image element.
<ContentPage.Content>
    <AbsoluteLayout>
        <local:PanContainer x:Name="pan1">
            <Image
                x:Name="image1"
                HeightRequest="1024"
                Source="MonoMonkey.jpg"
                WidthRequest="768" />

        </local:PanContainer>

        <Label x:Name="labelx" Text="{Binding Source={x:Reference image1}, Path=TranslationX}" />
        <Label
            x:Name="labely"
            Margin="30"
            Text="{Binding Source={x:Reference image1}, Path=TranslationY}" />
    </AbsoluteLayout>
</ContentPage.Content>

You can use bind to get image TranslationX and TranslationY.

redpajama_set_name: RedPajamaStackExchange


The whiskey on your breath Could make a small boy dizzy; But I hung on like death: Thus, the writer includes the title in quotation marks as the signal phrase in the parenthetical citation in order to lead the reader directly to the source on the Works Cited page. Jones et al. For example, when quoting short passages of prose, use the following examples: So, for example: It was just unbelievable.
Q. How do I cite within my MLA paper?
How much should I quote?
Our company offers the best essay writing service on the web and is always ready to help with your task! These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: Wordsworth extensively explored the role of emotion in the creative process Even if you have provided some context for the quote, a quote standing alone can disrupt your flow.
While it is true that there are many ways to write an introductory paragraph, there will be times where it will make sense to start a paper with a quotation.
Fair-Use Policy How much should I quote? This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Do not forget to include the entry benefits of critical thinking at work your reference list.
In the event that you are using indirect quotes, you need only to list the secondary source on your reference list. According to Myles McLeish, author of A journey through the psyche of the broken man.
If you were instead using APA style, you would also have to include the year that the quote was written — in the body of the essay — and again in the corresponding reference page. By chance, or else attracted by hearing his voice, it crept to Mr.
When you introduce a quotation with a full sentence, you should always place a colon at the end of the introductory sentence. For example, when citing more than four lines of prose, use the following examples: Your parenthetical citation should come after the closing punctuation mark.
Condition 3 is especially useful in essays for literature courses. Question marks and exclamation points should appear within the quotation marks if they are a part of the quoted passage but after the parenthetical citation if they are a part of your text. Quite rarely, you quote a passage that has a quotation within a quotation. Early Signs.
He represented the hopes of young people everywhere. When do I use those three dots. Nelly Dean treats Heathcliff poorly and dehumanizes death penalty should not be legal essay throughout her narration: It was just unbelievable.
Familiarize yourself with the various verbs commonly used to introduce quotations. Ms Dean shows poor character in how she dehumanizes Heathcliffe: Take a look at this example: Or Legal experts counter Smith, Yang, and Moore's argument by noting that the current spike in gun violence in America compels law makers to adjust gun laws Jones et al.
Use a quote from someone that you would not have expected them to say Quote someone who is not a major celebrity James Earl Jones and Ben Stiller have said enough! You could, however, strengthen your analysis by demonstrating the significance of the passage within your own argument.
Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. However, you should try to include as much information as possible, such as the name of the writer, the year the writing was written, or the name of the source the quote was taken from.
This means that the author's last name and the page number s from which the quotation or paraphrase is taken must appear in the text, and a complete reference should appear on your Works Cited page. In "American Origins of the Writing-across-the-Curriculum Movement," David Russell argues, Writing has been an issue in American secondary and what are the types of essay writing education since papers and examinations came into wide use in the s, eventually driving out formal recitation and oral examination.
Miller 12others note that the advantages for medical research outweigh this consideration A.
Print, Web, DVD and 2. The page number will come after the quote. If the quote you are incorporating into your work meets that requirement, you will a. Although some medical ethicists claim that cloning will lead to designer children R.
Note, however, that the period remains inside the quotation marks when your citation style involved superscript footnotes or endnotes.
You could, however, strengthen your analysis by demonstrating the significance of the passage within your own argument.
If you are quoting a passage that contains a quotation, then you use single quotation marks for the internal quotation. Need Help With Essay Writing? They entirely refused to have it in bed with them, or even in their room, and I had no more sense, so, I put it on the landing of the stairs, hoping it would be gone on the morrow.
Short quotations To indicate short quotations four typed lines or fewer of prose or three lines of verse in your text, enclose the quotation within double quotation marks. Introducing your quotation with how to write a nursing application essay full sentence would help you assert greater control over the material: We Romped until the pans Slid from the kitchen shelf; My mother's countenance Could not unfrown itself.
I had never experienced such denial. You would not read the parenthetical note. As you decide whether or not you want to break up a quote, you should consider the shift in emphasis that the division might create. This example is from Paul F.
The same is true of writing in those social sciences—such thesis statement renaissance experimental psychology—that rely on controlled studies and emphasize quantifiable results.
Citing online quotes: Quotations come from somewhere, and your reader will want to know where. Depending on the context of your essay, or the nature of your topic, there are times when an inspirational quote might be the glue that you need to tie it all together.
For example, when quoting short passages of prose, use the following examples: Jones et al. When setting up a block quotation, indent the entire paragraph once from the left-hand margin.
By chance, or else attracted by hearing his voice, it crept to Mr. Earnshaw's door, and there he found it on quitting his chamber. Excerpt fragments. The author's name may appear either in the sentence itself or in parentheses following the quotation or paraphrase, but the how to cite quotes into an essay number s should always appear in the parentheses, not in the text of your sentence.
Since the quotation is relatively short, the brief introduction works. Visit our handout on paraphrase and summary.
Why is it important to identify my sources?


Online slots are one of the most highly sought after types of online casino games.
Coming in a wide range of themes and gaming formats, slots have garnered a considerable following since online casinos have gained in popularity.
CasinoEuro guide – The appeal of online slots is very easy to understand – no complex expertise is required, just old-fashioned luck and patience. One of the most popular genres of slots are progressive jackpots, which offer players the possibility of landing a life-changing, real money jackpot.
If you have ever played at the best online casinos, you will have definitely come across titles such as Mega Fortune Dreams, Hall of Gods, and Piggy Bank. In this week's tutorial, we will be covering the basics of how progressive jackpots work, some key features of these slot games, and also some of the best games that are currently available online.
Before we get down to the nitty-gritty of how progressive jackpots work, it is important to understand the two main types of progressive jackpots that players can find online.
Standalone progressive jackpot slots are those games that have a jackpot meter for a specific game that increases each time players place bets on that specific game. On the other hand, network progressive jackpots accumulate money across different slots games to feed towards a large jackpot. The latter types are the most common progressives found at online casinos, and generally carry the largest prize.
Standard slots will always have a fixed amount of money that a player can possibly win, but progressive jackpots continue to increase as more people play the game. This is because a small percentage of every wager is taken towards this big money pot – until someone eventually wins it and the process starts over again.
When playing progressive jackpot slots, it is important to keep in mind certain features of these games. Firstly, online casinos will always display a jackpot meter somewhere on the game to indicate the current jackpot prize amount.
In addition to this meter, players should also be aware of the 'max coin' or 'max bet' feature. This is because placing higher value bets on these types of slot games will make them more eligible to win the big prize – although possible, it is less common for players to win millions by placing a bet that is just a couple of cents.
In general with progressive slots, the higher the jackpot amount, the lower the odds will be in favour of winning. The odds can be compared to that of a lottery, whereby the higher the number of people who buy tickets, the less the odds will be in the favour of your ticket.
Unlike standard slot machine games, it is difficult to estimate the odds of winning a progressive jackpot since they are dynamic games. Despite this, the prize is lucrative, so worth playing for on the side. Much like a lottery, it is never a good idea to put all your bankroll on one game. As such, players can focus on a couple of standard slot games that have a high RTP and then indulge in the progressive reel spins.
There are several big progressive jackpot games that are currently available at CasinoEuro. Some of these have a relatively modestjackpot prize that sits below the 100k mark. These include Piggy Bank, Mr Toad, Holmes and the Stolen Stones, Jazz of New Orleans, Cosmic Fortune, and many more.
In addition to these, players can also attempt some of our progressive jackpots that carry a truly incredible real money pot. These include Joker Millions, Empire Fortune, Arabian Nights, Halls of Gods, and Mega Fortune Dreams. In addition to these, players might also be tempted to try Mega Moolah and Mega Moolah Isis, both of which have jackpots that run into several millions!
Despite the fact that the odds of landing a progressive jackpot may seem quite low, the lure of landing that top jackpot has not deterred the best slots players from giving it a shot, so make sure you join them and you could be our next big story!


Here is a free minimal cv template that will make you stand out from the crowd. Available in Photoshop and Illustrator file Format. All is vector (shape and icon) Easily you can change color. Just One click color change option.
Big thanks to Dario Rancatore for providing us with this awesome freebie.


Our Intelligence and Analysis Partner, Drum Cussac provides in-depth analysis of global risks via in-house experts, cutting edge technology and a comprehensive global source network. Global Risk Roundup, December 2018 Edition. Hotspots include Nigeria, Iraq, Vietnam, Phillipeans, Yemen, USA, Hungry, Bolivia, France, Belgium, Egypt & Bangladesh.
Our Intelligence and Analysis Partner, Drum Cussac provides in-depth analysis of global risks via in-house experts, cutting edge technology and a comprehensive global source network. Global Risk Roundup, November 2018 Edition.
Our Intelligence and Analysis Partner, Drum Cussac provides in-depth analysis of global risks via in-house experts, cutting edge technology and a comprehensive global source network. Global Risk Roundup, October 2018 Edition.
Israel's controversial Nation-State law, declaring Israel as the nation-state of the Jewish people, has angered many and led to a mass protest in Tel Aviv, in Rabin Square, August 2018.
As the 2018 Atlantic hurricane season approaches, concerns exist of a repeat of the destruction experienced last year. The responsibility of security, risk and business continuity teams is a complex one. You are your organization's first line of defense against any and all threats to operational continuity and people safety. How should you go about reducing your exposure?


text:
Aldwincle Parish Council
Council Documents & Policies
Aldwincle WI
Aldwincle is a village in the east of the county of Northamptonshire. It is on a bend of the River Nene not far from Thrapston. Aldwincle has a mixed population of 350, with a high proportion of retired people. Those in employment mainly commute to towns such as Peterborough and Kettering, or further afield to Cambridge, London or Birmingham. There are a number of small home-based businesses, a garage and a village shop, as well as a couple of farms.
There is a highly regarded voluntary aided primary school in the parish, Trinity CE Lower School which is now part of the 2 tier system which was in place for September 2016. The school now caters for Reception to Year 6, with a current roll of about 150 pupils.
Aldwincle Village Hall has been extensively refurbished, including a catering standard kitchen. It has good resources for village events and is available for private hire.
The parish church, dedicated to St Peter, is an attractive and well-maintained building. There are two Sunday services each month, one of them being a Family Service. There is a Baptist chapel and also a second Anglican church building (dedicated to All Saints and shown above), though this was declared redundant several years ago, and is in the care of the Churches' Conservation Trust. This was one of the first churches to introduce "champing", and has proved popular with walkers and canoists using the nearby River Nene. The original village rectory was the birthplace of the poet, John Dryden.
Use the following link to download information on places of interest and walks around Aldwincle and the surrounding villages. (Please note that on Walk1 the section along Harpers Brook from Brancey Bridge to the Nene Way is no longer open)
http://www.northamptonshire.gov.uk/en/councilservices/Transport/Documents/PDF%20Documents/AldwincleWadenhoe.pdf
Annual Parish Meeting- Monday May 20thSituation of Polling Stations - European election 2019Volunteers needed to cut part of St Peters churchyardFly Tipping and Garden WastePocket Park Open


Reading are up to fifth in the Championship. They picked up a 5-1 home victory over Ipswich last night to deny the visitors the chance to move to the summit. In today's action, Brighton against Hull is a clash of the top twowhile QPR aim to extend their good start with a win against Nottingham Forest in the lunchtime game. Cardiff are at home to Huddersfield, while Middlesbrough meet MK Dons. Bottom team Rotherham go to Charlton, while Bolton host Wolves, and Bristol City are at Birmingham. Burnley battle Sheffield Wednesday, Leeds take on Brentford, and Preston play Derby.


James Kessler QC, Barrister, Tax Barrister, foreign domiciliaries, offshore entities, trusts, wills and charities.
3 links pointing to Kessler.co.uk were found. Individual words like Kessler and James are frequently used in text links from other websites. The most important links to the website are from Taxationofcharities.co.uk and Foreigndomiciliaries.co.uk. The homepage of Kessler.co.uk and the subsite are most referenced by other websites.
The table shows the most important links to Kessler.co.uk. The table is sorted in descending order by importance.
The table shows websites of Kessler.co.uk, which are often linked by other websites and therefore they are classified as important content.


For information or support about our libraries, librarians, Destiny, or the PD Collection, please email Natasha Godwin or call 983.5114.
ExC3EL Expectations for Collaboration, Collections, and Connections to Enhance Learning. The most up-to-date information can be found here.
TRAILS: Tool for Real-time Assessment of Information Literacy Skills (grades 3,6,9, and 12 literacy skills online assessment).
Destiny Library Manager brings all your districts library automation together on one server. Because its designed exclusively for K-12, Destiny Library Manager is easily implemented and quickly learned. The browser-based application allows access through any workstation with a supported web browser, through the district WAN, the Internet, or both.
Centralizes and streamlines library management across all schools.
Provides circulation, cataloging, searching, reporting and management in one powerful-easy to use solution.
* if you don't see the form, here, please check the district Documents & Forms page.


Our Pastor Dave Pierce first became a follower of Jesus Christ at the age of eight in 1975. He grew up in the Assembly of God & Foursquare ministries.
Soon thereafter Dave quit college to pursue the call of God in Christ Jesus. In 1992 Dave married his beautiful wife Angel and together they have three grown children. In the Spring of 1992 Dave & Angel began attending Calvary Chapel West Covina (now Calvary Chapel Golden Springs) under the teaching ministry of Pastor Raul Ries.
There, Dave & Angel served for five years. Dave served in the letter writers ministry (answering the mail from Pastor Raul's radio ministry.) He also taught in the home fellowship ministry & the Golden Springs Bible College. His wife Angel served in the Worship ministry.
While a student in the "Golden Springs Pastoral School" Dave began to pray for the Lord's direction where his family would plant a Calvary Chapel church.
Through many confirmations Dave & Angel felt the Lord calling them to Fort Collins & moved out in faith in May of 1997. In September of that same year they started Bible Studies in their home. In August of 2017 Dave completed his verse by verse teaching through the whole Bible for the first time. Pastor Dave & his family have been faithfully serving the community of Fort Collins for the past 20 years.


text:
Knighthood for Section 28 backer Brian Souter
Jessica Geen June 13, 2011
Brian Souter.
Brian Souter, the Stagecoach co-founder who gave £1 million to a 2000 campaign to uphold Section 28, has been honoured with a knighthood.
The 57-year-old businessman has not spoken out against gay rights in 11 years but almost 2,500 people have signed a petition calling for the honour to be rescinded.
Sir Brian was named on Saturday as a recipient in the Queen's birthday honours list.
He co-founded Stagecoach with his sister, Ann Gloag, in 1980 and the company now has 35,000 employees and an annual turnover of more than £2 billion.
He was the leader of the Keep the Clause campaign and cited religious beliefs as his reason for supporting the ban on the promotion of homosexuality in schools.
Commenting on the honour, he said: "Having started my career in public transport as a young bus conductor, I am delighted to receive this prestigious honour. However, the achievements and innovations would not have been possible without the dynamic Stagecoach team who support me and I accept this award on their behalf."
Lesbian comedian Sue Perkins joked on Twitter: "Brian Souter is so homophobic I imagine he will refuse to bend over to accept his knighthood."
More: brian souter, knighthood, Scotland, Section 28, stagecoach
Dua Lipa dancing in a gay club to her own song needs to be played in the Louvre on repeat
Josh Milton - January 17, 2020
Politician who says two women kissing is pornography gives absolute worst reason for why he can't be homophobic
Eminem's new album includes shockingly distasteful lyric about Ariana Grande terror attack
Labour's Jess Phillips on transgender rights and why she'll never throw minorities 'under the bus'
Juno Dawson - January 17, 2020
Lesbian left bloody and bruised after being jumped by thugs in brutal homophobic attack


text:
Welcome to Ships Nostalgia. Would you like to register?
Welcome to Ships Nostalgia, the world's greatest online community for people worldwide with an interest in ships and shipping. Whether you are crew, ex-crew, ship enthusiasts or cruisers, this is the forum for you. And what's more, it's completely FREE.
Home » Royal Navy Ships Photo Options
HMS JAGUAR
Tim Webb
Location: Bedfordshire
HMS Jaguar (F37), was a Leopard-class Type 41 anti-aircraft frigate of the British Royal Navy. She was the last frigate built by William Denny and Brothers for the Royal Navy. Launched in 1957 and commissioned 12 December 1959
After a spell in reserve, she was sold on 6 July 1978 to the Bangladesh Navy for £2 million and commissioned in 1978 as BNS Ali Haider (F17) where she served as a training ship. She was decommissioned during a ceremony held in her home port of Chittagong on 22 January 2014
· Date: Mon, 28 October 19 · Views: 424
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Keywords: HMS JAGUAR
Source of Image, If not your own: ©MOD-Print in Own Collection
Location photo was taken: Not known
Date photo was taken: 1963
CEYLON220
Location: Silloth Cumbria
Tue, 29 October 19 11:40
Why is she still flying the Union flag at sea--is it a ceremonial occasion ?
Steve Oatey
Wed, 30 October 19 19:51
Interesting that you have called it the Union Flag (which I would otherwise heartily agree with) when these are the exact circumstances when it is a Union Jack.
Rgds, Steve
Fri, 1 November 19 05:59
Steve, I was always taught that the flag we come under is the" Union Flag", the pole that it is attached to is the "Jack", I`ve taught my son ,my Grandchildren ,and now my Great Grandchildren the same, even one of my Grand children pulled up her teacher when she referred to the flag as the Union Jack, teacher said that she was right.
Location: St.Louis, Missouri. USA
The national flag of the United Kingdom is the Union Jack, also known as the Union Flag. The current design of the Union Jack dates from the union of Ireland and Great Britain in 1801.
Mad Landsman
I am sorry to have to disagree but the origins of the 'Jack' are from the term 'National jack flag'. The word jack is an archaic diminutive meaning that it was smaller than the main flag. Over time it became known as the jack flag and then just 'Jack' or even 'Naval Jack' as we now know it. It was worn to show that the vessel was the King's ship and was displayed at the foremost part of the ship on a special staff which was known as the jack staff and later also just called 'the jack'.
It was only worn when the sails were lowered for purely practical reasons, fouling the jib etc, but with powered vessels that has transformed into etiquette.
Other Nations also have a National Jack flag or Naval Jack. The USA also call theirs the Union Jack.
I cannot find a source but I seem to recall that the Jack may be flown with the Ensign while under way if a vessel is 'conducting the monarch's business', such as a Queens Harbour Master. Probably not the case here.
Malcolm.
Sat, 2 November 19 03:35
When the Union flag was flown from the masthead of the Britannia, for example, it was referred to as "Union at the main" or similar. When the Union flag is flown from the jackstaff of one of H.M. ships, it becomes a Union jack, because it was already the Union and now it's a jack as well.
Location: Falmouth UK
There is something at the back of my mind that during the 90's there was a legal change to the name of the Union flag, in so much that it is now accepted that it can be called Union jack. I will try to find the relevant report etc...
I am getting long in the teeth, almost 88 years young, all my life from a kid I have always known the flag as the Union Jack. But like FG86 said there may have been a change. I will also search for the change. Looks like we have a good thread started.
I found this.
https://www.britannica.com/topic/fla...United-Kingdom
Sun, 3 November 19 10:20
Roger, like you I am also in my 80s and from my school days many moons ago I have lived knowing that the flag of my country was known as the Union Flag, they can change as many laws as they like it will not change my way of thinking ---the flag is the Union Flag which is flown from a pole called a Jack --- the only time that I ever saw a naval ship flying the flag from the bows of a ship at sea was on ceremony duties or in harbour - and also flying from the yardarm on exercises etc-- pleased to see that we all don`t agree on the subject.
Not that I disagree with you Ceylon its that there are so many interpitations and what we were told growing up, I was taught it was the Union Jack, As you can see if you click on my link above the well known Britannica says its the Union Jack. I have never heard it called the Union
flag until reading this thread. I left the UK in 1954 so times have changed and different laws have applied since I left. I Yield to people that know more than I.
My 1771 reprint of the Encyclopaedia Britannica shows:
On a page titled 'Flags' a picture of the original flag of the Union just marked 'Union'
In the section on parts of a ship, the flag which is flown from the foremost part of the ship is called the 'Jack flag' and the staff mounted on the end of the bowsprit is called the 'Jack staff'. On the Mizzen mast the flag, with staff, is called the 'Flag Union'.
Over 250 years the common use and meanings of words tends to drift somewhat but I don't think that calling it a Union flag is in anyway a new concept.
Another subject concerning the Union Flag--Union Jack is seeing it hoisted the wrong way up by many people especially these roadside snack bars up and down the country, surely if you are born in this country there is no excuse not to to show your flag the proper way up. By the way shipmates I stick to the Union Flag !!!
John, looking at your profile I would have thought you would have seen enough of the world after serving in the MN without joining the army to see more of it--- very good service record though, well done.
Thank you Ceylon, yes many people ask me that. I always tell them since I started off in the army as a Para and landed on my head a few times I guess it has something to do with my scrambled brains, that's if I had any to start with.
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US First Daughter Ivanka Trump's book 'Women Who Work' releases next week.
Ivanka Trump is taking her first crack at diplomacy abroad in her new role, speaking Tuesday at an economic conference in Berlin about boosting female entrepreneurs.
The First Daughter, who moved into her own West Wing office last month, advocated for gender equality during the campaign and is now working to reform the nation's child-care system. Her Germany appearance comes a week before the release of her advice book, "Women Who Work."
"From a global standpoint, female entrepreneurs are further disadvantaged by legislation impeding women's economic opportunities," Ivanka Trump co-wrote in a column Monday for the Financial Times, "restricting them from certain professions, preventing them from travelling, and constraining their ability to inherit or own land."
But female entrepreneurs in the United States say the White House is making their jobs even harder.
Women-owned businesses tend to face a disadvantage when it comes to expanding into foreign markets - and experts say Trump's talk on trade and immigration has made it harder for them to pursue international opportunities.
The president has threatened, for example, to slap steep tariffs on goods from China and Mexico. He has asked for a review of the high-skilled worker visa, which tech companies rely on for talent. His travel ban on people from predominantly Muslim nations risked straining relations with Middle Eastern countries and America's democratic allies.
All of this can impede an entrepreneur's step into internationalization, or the act of growing beyond the American border, said Nathalie Molina Nino, a serial entrepreneur and founder of Brava, a holding company that bankrolls women-benefiting startups.
"Women are at a particular disadvantage," Molina Nino said, "because unlike large, well-funded companies, women-owned businesses are less equipped to throw money at issues like this."
Ivanka Trump, Christine Lagarde and Angela Merkel at a women's empowerment summit.
Advancing into foreign markets is expensive, she said. Entrepreneurs need cash for shipping, research, travel and hiring more employees. Consulting experts to keep up with today's unpredictable business climate adds to the cost. And female entrepreneurs, Molina Nino noted, generally have less spending power.
Still, female entrepreneurs in the United States are better off than those in most other countries, studies find.
This year, Mastercard's Index of Women Entrepreneurs put the United States in third place for female entrepreneurs, behind New Zealand and Canada.
The authors, however, highlighted a persistent challenge: "In the United States where the underlying entrepreneurial conditions and women's advancement outcomes are among the best in the world," they wrote, "women's entrepreneurial advancement is held back by the lack of internationalization opportunities."
Fiona Murray, the associate dean of innovation at MIT's Sloan School of Management, said the uncertainty clouding international relations, driven by Trump's "America first" rhetoric, could exacerbate the problem. She pointed to Trump's executive order last week calling for a review of the H1-B visas for highly skilled workers.
"That makes it difficult for any entrepreneur to think about an appropriate internationalization strategies," Murray said. "Can you hire the people you need to hire? They need highly specialized talent, and that talent comes from all over the world."


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Monsoon – Interview with director Hong Khaou
This week, Hong Khaou's follow up to LILTING is released in Irish cinemas. MONSOON stars Henry Golding as Kit, a Vietnamese man who grew up in the UK, returning to a country he barely remembers, to lay his parents to rest, as well as some of the ghosts of his past.
We caught up with writer/director Hong Khaou to find out more about MONSOON, what it was like to film a quiet and thoughtful film in the seeming chaos of Vietnam, and why this is an important story to tell in the current climate.
Monsoon is released online on IFI@Home from this Friday – 25th September.
MONSOON feels like a very personal story. Where did it come from?
Hong Khaou: Yeah, it is very personal. A lot of the themes and motifs in there are things that I care about and I have been wanting to put onto a film. The central thing is this struggle for a sense of who he is, I think is something that I continue to have, and I have had all my life, pretty much. I wanted to find a way to put that down into a film, and from that I am then able to comment on all of these other things that I wanted to talk about, like touch on the idea of the Vietnam war. I really liked the idea that Lewis and Kit are now adults but they were born after the war – so I see them as very much a product of that – so as they meet and are able to find pleasure in one another, I think their parents' political past collides forward and affects that. I like the way that the political is binded to the personal. All of those things I wanted to find ways to put into a film. One of the things I really wanted to talk about was this romantic notion that we have to go back to our roots in order to move forward, and for somebody like Kit, I think – and very much me, I would say – when you don't have memories or language in that way, it's very hard to do that. I think there comes a point where it is left to us to draw that line. Not that there is anything wrong with that romantic notion, I think it's a beautiful thing, and it was something that I thought doesn't really apply to me. I wanted to put all of those elements together.
Why did you decide to tell this story after LILTING, which was another story about love and loss, and trying to find relationships.
HK: I think it's one of those things that still stirs in me, that I felt needed exploring. On the one hand, there are similarities to LILTING, and equally I think it is very different. Even though grief is present in MONSOON, I'm not really exploring grief. I wanted grief to be a device that he is carrying, and I wanted that to permeate the film, but not in any meaningful way, like LILTING was trying to deal with the idea of grief. The thing that I really wanted to explore deeper was this struggle between cultural and national identity that [Kit] was going through. I grew up on a staple diet of Vietnam war films made by Americans, that has been the dominant perspective in the West, an I felt that I wanted, in some ways, to do my take on it, but not as a period shootout type film. I wanted to address some of that and put a human face to it. So often in American films, they are the victim and they are the hero and the Vietnamese are always the villain and the country is always seen as a victim. I remember, in the early days, wanting to talk about it but as the script evolved it became this.
How challenging and chaotic was it to film in Vietnam?
HK: It is chaotic, if you first arrive there – anyone will tell you – it's just insane. It's an onslaught of noises and chaos. It feels exciting at first, and it's a quite a novelty at first but it can be quite wearing. Equally, as you acclimatise, it sits in the background. It was tough, there is no other way of saying that [laughs]. On the one hand, it made our film really expensive, and I think it gave the film authenticity, because we literally plunged our actors into those street moments. Obviously, we couldn't close any roads or anything like that; we just placed them into those elements, and I think that gave the film a richness and an authenticity. Equally I think it was tough, there were times when the cultural differences were tough; things were lost in translation. It was quite bureaucratic because it's a communist country, so they were quite strict with us. I don't mean that in a horrible way because we were able to go to all the locations we wanted to, these landmark locations that were very much part of the conflict, [but] in all the exterior scenes, we had to tell them where we were pointing the cameras, and there was almost no room to improvise. Yet, we were able to go to the Independence Palace, which was this incredible building [and] such a landmark for the independence of Vietnam, we were able to go to the Long Bien Bridge, built by Gustave Eiffel in Hanoi. So it was a mixture! [laughs]
That's interesting because a lot of your camera angles seem very deliberately still, was this as a result of the rules of filming in Vietnam?
HK: No that was a stylistic thing. That was always intentional. I felt the look of the film was very important for a film like MONSOON, that's quiet and intimate. It's very much about [Kits] internal journey and the nuance of that. Me and Benjamin Kracun the DP spent a lot of time talking about it. I really wanted the language of film to continue some of those motifs that I was talking about; the past and the present, the young and the old, and also to give Kit this distance between him and the country of his birth that he has no memories of, and is unable to access. The idea was that we were shooting him a lot off reflection in the beginning and we slowly removed that motif as he settled and acclimatised in the country. I really wanted to have this observational quality to it as well, but not always from afar. I would describe it that I feel like we are just a couple of steps behind [Kit], watching these personal moments. When these heartfelt moments do arise, I want us to be able to feel it beside him as well. That's the best way I can describe it.
The concept of home is very powerful in storytelling, and MONSOON is obviously a story of immigration, can you talk about telling a story like this now?
HK: I think we have been fortunate; with the current climate this film seems to resonate a bit more. Home as a concept, and family as a concept and identity, that's something that plagues me [laughs], it just follows me. It's interesting, I remember when I was writing this we were going though the Brexit referendum, and America had Trump during their election, and it got really ugly, and it got very polemic, and there was really no room or no desire to have a discussion of any sort. Refugees and immigrants got scape goated really quickly and easily and conveniently. I remember8 feeling incredibly angry about that. I remember thinking if I could contribute in any way, it would be to put a face to that experience. It just makes me so angry when we get into those places, and if you try to have any discussion it just becomes polarising.
There is a real clash between the old and the new, the traditional and the modern in the film, how did that come about?
HK: When I returned to Vietnam I noticed that a lot of the young – if not all of then young generation – don't really care about the war any more, They are very ambitious and dynamic and they just want to look to the future, and they get so bored when people like me talk about the war [laughs]. That is also continuing that motif that I wanted to talk about, the juxtaposing between the past and the present, and the country is caught in this transitional moment, which I felt we were able to capture. You could be in this amazing high tech high rise, and then you could walk 30 seconds and you would be in an extremely poor part of the country that is really quite unique.
Henry Golding's star is on the rise at the moment, how did you go about casting the film?
HK: He's become a bit of a star! When we cast Henry he told us that he had done two feature films – CRAZY RICH ASIANS and A SIMPLE FAVOUR – and we weren't allowed to watch those films, but we were told they were going to be great films [laughs]. It's really odd, the actor that Henry has become, and it has been brilliant. I knew from the beginning that we needed an actor that was good enough to give us access to his internal journey, because the film is quiet, it needed someone who has charisma and could hold our attention. We spent a lot of time searching; we searched in the UK extensively, we went as far as New Zealand, Canada, Germany. We really spent a lot of time finding the right kind of actor that is beautiful to watch and is able to give those nuances. A taping came in from Henry and immediately all of us felt there was something rather special about this man. My concern was that he didn't come from an acting background so we spent a lot of time testing. Eventually I flew over to LA and spent a day working on a handful of scenes together, for the both of us to get to know each other and to see how working together would be. The thing that sold it to me, was because he is not from a trained background, when he accessed these certain emotions they came across very honest to me. It didn't feel arched or mannered, and I wanted it this film to be very quiet and gentle, and to see all of these details. We spent a lot of time talking about that. Another thing was I think Henry really understood this conflict that Kit has because he is half British and half Malaysian. It was really beautiful to watch, to be able to work together to get that right.
What do you hope audiences take from the film?
HK: I hope it chimes with them, I hope it stirs something. You make it, and you can only hope for the best. More than anything I hope I am able to add to the noise about immigration, in that people don't just wake up one day and uproot entire family, and go through such extreme conditions and life risking conditions to go to another country. It's not something that something you would wake up thinking you would do. It has consequences, but really big repercussions not just the immediate, but the unintended consequence. You have Kit as an adult now grappling for a sense of who he is.
I don't know if this is overly optimistic since we are still in a global pandemic, but do you know what's next for you?
HK: I'm working on a TV show; I am directing a TV series with Fiona Shaw in it. It's the second series of BAPTISTE, written by Jack and Harry [Williams]. We were shooting in Hungary earlier this year and then the pandemic happened and we just got shut down. Now they are remounting the show and we are shooting in October. That's my current thing but I also have a project in development with BBC Films.
Words – Brogen Hayes
Monsoon is released online on IFI@Home this Friday – 25th September
Henry GoldingHong Khaou
4.0A stronger voice
Official Trailer for MONSOON Starring Henry Golding
THE GENTLEMEN Character Spot Introduces Colin Farrell As The Coach
THE GENTLEMEN – Character Posters for Guy Ritchie's Star=Studded Crime Caper
1.5Christmas stodge
G.I. JOE Spinoff SNAKE EYES Casts Úrsula Corberó As Baroness
Trailer: First Look at Guy Ritchie's Ensemble Crime Comedy THE GENTLEMEN
Henry Golding in Talks for G.I. JOE Spin-off SNAKE EYES


text:
De Militaire Eremedaille ter Herinnering aan de Bokseropstand (Japans: , ) was een herinneringsmedaille van het keizerrijk Japan. De medaille was één in een serie van militaire eremedailles (,  ) die door de Japanse regering werden ingesteld om oorlogen en militaire campagnes te gedenken. In dit geval was dat het ontzetten van de Japanse en westerse diplomaten in Peking en het neerslaan van de Bokseropstand.

In mei 1900 was in heel Noord-China een opstand uitgebroken die de belangen van de landen met concessies in de grote steden en gepachte gebieden in China bedreigde. De vijandigheid tegen deze machten was vooral veroorzaakt door een geheime nationalistische en xenofobe groep die zich de "Vereniging van rechtschapen en harmonieuze Vuisten" noemde. In het buitenland werden deze mannen de "boksers" genoemd. De opstand staat als Bokseropstand bekend.

Acht grote mogendheden (Duitsland, Oostenrijk-Hongarije, de Verenigde Staten, Frankrijk, het Verenigd Koninkrijk, Italië, Japan en Rusland) besloten om een internationaal leger van 150.000 man onder het opperbevel van de Duitse Veldmaarschalk von Waldersee in te zetten om hun belegerde landgenoten in Peking te redden en de opstand in de provincies neer te slaan. De geallieerde troepen bereikten Peking op 14 augustus 1900 maar een vredesverdrag met China werd pas op 7 september 1901 ondertekend.

De Japanners leverden de grootste bijdrage aan de geallieerde expeditiemacht. De Japanse Militaire eremedaille ter herinnering aan de Bokseropstand werd aan 9.000 officieren en manschappen, meestal ingedeeld bij de 5e Divisie van het Japans Keizerlijk Leger, uitgereikt. Het is daarmee de zeldzaamste van de Japanse campagnemedailles.

De medaille

Alle eremedailles van het Japanse keizerrijk waren tussen 1874 en 1945 min of meer gelijk. Deze ronde bronzen medaille was met een stevige gesp in de vorm van een tak aan een gesp met de aanduiding van de te belonen campagne bevestigd. Op de voorzijde van de medaille was een vogel met gespreide vleugels afgebeeld. Tussen de vleugels was een zon boven de karakters voor "ju-gun-ki-sho" (Nederlands: "medaille voor dienst in de strijdkrachten") afgebeeld.

Op de keerzijde staat "dai-nip-pon-tei-koku" (groot Japans Keizerrijk) met daaronder de datering "Mei-ji-san-ju-san-nen", wat volgens de officiële Japanse kalender overeenkomt met Meiji 33, het 33e regeringsjaar van de Meijikeizer, het Europese jaar 1900.

Bij de medaille hoort een diploma.

Het lint is lichtgroen met 3 brede witte strepen.

Zie ook
 Herinneringsmedailles van de Achtlandenalliantie

Onderscheiding in Japan

redpajama_set_name: RedPajamaWikipedia


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This ten day Morocco cultural holiday begins and ends in the legendary imperial city of Marrakech. In between, travellers will be enjoy a cultural tour of Morocco that includes the medieval walled city of Fes, the Roman ruins of Volubilis and the sacred hilltop town of Moulay Idriss, as well as time spent enjoying the peaceful atmosphere of the mighty Atlas Mountains.
These ten days will prove to be a real cultural eye opener. You'll visit mosques and markets, kasbahs and souks, and spend time with nomadic herders, women's co-operatives and Berber communities, sharing a lunch of home-cooked couscous with a family in Moulay Idriss.
You'll stay in small, locally run hotels and you'll travel with a small group of like minded travellers and will have expert guides to show you what's what along the way.
Our local operators generally prefer to select accommodation which is locally owned in order to support smaller businesses and their employees. This ensures that most income generated is reinvested into the area and the community.
Where meals are supplied, seasonal, fresh food is used wherever possible. Most vegetables come from the region of Sous; meat is locally supplied by butchers and fruits can be found at markets or farms in the countryside. The main Moroccan dishes most people are familiar with are couscous, meat and vegetable tagines, fish chermoula and bocadillos, which are available from street stalls almost everywhere.
During the trip, we will visit Fez, an intellectual and religious centre of Morocco. There, our city guide walks us through different sections of the souk and the tanneries. Outside the medina we also visit the Jewish District, the exterior of the Royal Palace and the potteries where famous mosaic tables are made from the grey clay of the Rif Mountains. Another cultural highlight is Marrakech, where clients are encouraged to haggle for souvenirs, take a ride in a traditional Caliche, or to visit the world renowned Marjorelle gardens. In the evening, the Djemma el Fna central square comes alive with musicians, snake charmers, travelling acrobats and food stalls. This is the perfect opportunity to interact with local people, purchase locally produced handicrafts and to support small street vendors by trying authentic food.
Passing through Berber villages up in the High Atlas Mountains, hiring local guides, staying in local gites and using markets and mule transport has a positive impact on the local economy. There are also opportunities for us to stop at women's co-operatives in the south east of the Atlas and in the Essaouira region. These co-operatives help local women to be more independent and take care of their children- especially if they are in difficult family situations. Stops can also be made at a care centre for those with disabilities, which aim to teach handicrafts skills and sell souvenirs.


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text:
Elisabeth Crawford
LOCATION: Praz de Fort,
Senior Research Fellow at the Centre National de la Recherche Scientifique in Strasbourg, France. Author of Arrhenius: From Ionic Theory to the Greenhouse Effect.
Primary Contributions (1)
Svante Arrhenius
Svante Arrhenius, Swedish physicist and physical chemist known for his theory of electrolytic dissociation and his model of the greenhouse effect. In 1903 he was awarded the Nobel Prize for Chemistry. Arrhenius attended the famous Cathedral School in Uppsala and then entered Uppsala University,…
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