text:
By Nicola Hepp
Featured from 1. 10. 20 - 1.11.20
A man and a woman together alone in a relationship that seems to drain them both. Is this the beginning of the end for them? The film Traces takes its inspiration from Jason Mabana's dance piece 'Last Line' which he created for the Amsterdam School of the Arts in 2018. Director Nicola Hepp felt a deep connection to his work and juxtaposed the movement material with ideas of representing a failing relationship. The underlying sense of time, rush and fragility informs the viewer of the inherent sadness in this duet.
Directed and edited by Nicola Hepp
Dancers: Gina Aussen and Luc de Raad
Choreography: Jason Mabana
Camera, edit and grading: Alessio Reedijk
Camera assistant: Esther Murdock
Runner: Maxime Abbenhues
Music: Koen van Baal violin: Marieke de Bruijn viola: Vera van der Bie cello: Jos Teeken
Soundmix: Good Sounds
Traces had its premiere at Cinedans Amsterdam 2019 and has since been screened at Screendance Festival, Encore Dance on Screen, Rotterdams Open Doek, Lago Festival and Chania Dance Days among others. It was a semi-finalist at Coorpi- Beyond One Minute and Alternative Film Festival Toronto.
Interview: NICOLA HEPP
Podcast interview recorded between Sydney & Amsterdam. July 2020.
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ABOUT NICOLA HEPP
Educated in Sweden, Switzerland and The Netherlands, Nicola Hepp obtained her Master in Choreography and New Media at the Amsterdamse Hogeschool voor de Kunsten in 2006. Her live performances have involved video and projections since 2003. Nicola's choreographies and films have been shown in festivals and venues internationally and have won several awards and nominations.
She works under commission as a choreographer and movement director for ads, mood films, shorts and feature films. Recently, an article she wrote called Choreographing the Camera was published by Videodance Studies, Valencia. The biennial edition of Women Cinemakers in Berlin published an interview with her in 2018.
www.nicolahepp.com
FULL IntervieW Transcript
Melissa Ramos: Your dance film, TRACES, explores the beautiful, complex and emotional textures of relationships, the link between body and emotion expressed through movement, just like how some feelings might suggest through colour or a piece of music. Could you describe what choreographic expressions and nuances you were exploring?
Nicola Hepp: Well, for TRACES, it's actually a piece that came about starting from a live dance piece. I initially saw piece by Jason Mabana, a Belgian choreographer who choreographed a work called "Last Line" for the Amsterdam University of the Arts, where I teach. And he worked a lot with kind of feelings of urgency and intimacy. There was a lot of duet work in this space, although the piece was actually made for 10 people. And somehow the matter of urgency really, really talked to me in a way. And I felt that it connected to some ideas that I had already for a while about a failing relationship. I wanted to make a film with a man and a woman where the man was going through something and the woman was supporting him. And I had kind of been thinking about this for a while. And then when I saw this piece by Jason, it immediately kind of connected. So I felt like, oh, wow, this would be amazing if he and I could somehow collaborate on making this into a film. So I just asked him if he'd be willing to go ahead and work with me on this. And he literally, because he was not in the Netherlands at the time when I wanted to shoot. So he literally just kind of gave me permission. He gave me the piece in the sense, he gave me the movement material and allowed me to play around with it, and do what I wanted, in fact. And TRACES is there not so much a film of his piece, but it's a film that kind of then initiated from his movement material. Together with this idea that I had with the failing relationship. The two of them, the man and the woman, there is a lot of physical contact. They they have a lot of duet work going on. But a large part of the film is also the two of them standing next to each other and the camera moving in on them. So there was there was kind of those two elements were really what I was working with when I devised the film. And then I knew already that I really wanted to work with a lot of editing. So there's a lot of like almost jump cuts at times. And the editing goes from one movement to a completely other moment in the duet material. So in a way, we kind of rechoreogrphed the movements. So it's not necessarily in order. The edit is not following the choreography as it was, but it's kind of reorganizing it.
Melissa Ramos: Interesting, and the sense of urgency. Was that something that you wanted to carry with from the performance to the film work?
Nicola Hepp: Yes, this this urgency was really kind of what was touching me when the urgency that came out of the piece on stage was really something that kind of spoke to me. And I felt that I wanted to have that as a clear kind of element in the film. I feel that when I make films, they don't necessarily always tell a story in a traditional sense. But there's definitely always some kind of feeling that comes out of watching my films. So, yeah, to kind of convey an emotion, that's really what I want to do when I make my films. And yeah, the urgency was something that together with this kind of. Some kind of sadness or feeling like, oh, it's too late or you know, the two of them. They're still hoping but it's not working. That's there in those to people next to each other. The urgency of having to be yourself or having to come out somehow was really inherent to me.
Melissa Ramos: You talked about how the live performance was the initiator. Have you ever done that before in your past works? And how do you start working on a work that started on stage and then onto moving images? And how do you sort of begin your creative choices and influences?
Nicola Hepp: I have actually worked with kind of transferring a live piece into a film before. With when I made the DOUBLE, for example, that was initially also a dance piece. I'm actually quite open to just kind of I get triggered by something. So if I then look at this piece and I get triggered by, for example, in the piece that initiated traces, which is called LAST NIGHT, it was actually made for 10 people. And those 10 people were standing next to each other for a large portion of the piece. And so that was kind of a visual connection to my own idea of this couple standing next to each other somewhere outside. And so with a lot of sky or a lot of air, so that kind of trigger somehow makes me then go off creatively and think like, oh, wow, this could somehow connect to that. And then it just kind of just starts rolling in a way. And it was similar when I made the piece THE DOUBLE, because it was actually about two dancers that I seen and our young choreographer in the Netherlands that I knew. And I've seen the two of them perform the piece. And I just said to the choreographer, wow, it's amazing how you pick those two dancers and they look so similar. And then later on, like a few days later, I was thinking more about it and I was like, oh, wow. Actually, I want to really make a film with this with these two guys with the choreography of Dalton. So in the end, we ended up also working together with this. And that was also kind of just initiated by a moment of inspiration, let's say, and then just letting it kind of start rolling. So I never when I make work that has been like performance before and I'm never really staying, sticking to how it used to be on stage, but I really take it off in that kind of it can be completely different in terms of what is the choreography, how much of the choreography do I choose? Because, for example, with LAST LINE it was that I think twenty five minute piece and it's actually just the three and a half minute film, the DOUBLE. It was also I think at least an eight-minute dance piece and it's just a one minute film. So obviously I just kind of distill and take out some moments that I really feel could work on film because obviously the timing is also really different when you make a film or if you're looking at live piece. But it's important then that you work with choreographers that are that understand that process, that it's not that I'm going to register your piece and we're going to make a film that's staying exactly how it was. It's actually a new thing, so. But it is using the dance material and somehow capturing the essence of what was in that piece before. So like with TRACES, that urgency was something that I felt that has to be part of the emotion that you get when you look at it. And with THE DOUBLE, it had so much to do with just the likeness of the two dancers and how they were relating to each other during the piece. But in fact, the choreographer of that piece, Dalton Dangelo Jansen a Dutch guy, he didn't name his own piece, THE DOUBLE until after I'd made, I named the film THE DOUBLE. So we kind of back and forth going between us like, wow. I was like saying to him, I'm so impressed with how you work with these two guys and 'how did you find them' they are so similar. And then he after seeing the film and seeing also how I described it, and there is some kind of story in THE DOUBLE because literally they're kind of meeting or one guys meeting the other. And the question is, like I said himself, or is it somebody else? And so Dalton was also like, oh, wow, it's so cool. Now I see even more how much simpler they are. And 'can I also name the piece THE DOUBLE'? So we kind of. Yeah. How do you say that? We kind of lifted each other up in a sense of going further with the concept in a way.
Melissa Ramos: Wow, that's interesting because it moves from live and to into a set of material and then back into live.
Nicola Hepp: Yes, they continue to work together these three guys. So, yeah, it is interesting, but I think it really means that you also have to like you know, the collaborators that you work with, is really important, that everybody's kind of on the same page and that everybody understands that this is what I'd like to do. Do you agree? Or and if you do, then what are what do you want and what do I want? Yeah, that's that's kind of how I approach it. So I just want to make sure that everybody feels OK with what comes out at the end. But also that's that I'm able to kind of put my vision on it and the clearer you can be ahead of time of what you want to do and that it will be different. I think the better, for example, with TRACES, the music that Jason Mabana had used for his live performance piece was a piece of music that I wouldn't be able to put under the film because it was just in terms of rights. And I knew that immediately, even though the music was so beautiful and so perfect and would have been perfect for the film. Also, I said to him immediately, I have to use another piece of music, but I do want to keep it in this similar kind of, well, feeling as what the live music that he used or the music that used for the live piece evoked. So I actually managed to to have a Dutch composer that I've worked with before. He was gracious enough to want to work with me and to kind of experiment a little bit on what to make and in what kind of atmosphere and what kind of feeling. And then we just ended up with this beautiful piece of music that he made for it.
Melissa Ramos: Wow. Yeah. I was going to ask you about the music and the choices and how you chose it, but that's really great. You had someone to want to create it.
Nicola Hepp: Yeah, I'm very lucky with that. I mean, I know a few composers who are just amazing making music for film. This guy Koen van Baal, he's is just fantastic.
Melissa Ramos: How do you discuss the types of rhythms for your work or how you want the sound to be? What are your ways of collaborating?
Nicola Hepp: Well, mostly there are some kind of music that I've been using in rehearsal or that has some kind of connection for me. So for example, with TRACES, obviously, when I was editing before Koen made the music, then I did put the music that was originally in the live dance piece. I put it in the editing program. So to work with in terms of rhythm. But I knew like, OK, we can't have it, we can't have it. So I have to keep repeating myself. Don't get too attached, you know, which is difficult. And then I also found a different piece of music that was also resonating with me in terms of feeling. So yeah, when I then talk to Koen about it's those two pieces of music I sent to him. And I also mentioned another very famous composer. It's actually a composer that did a lot of Hitchcock films. So for example, I think he did North by Northwest. I mentioned him as an inspiration. Like, ah I really love his music and the way he uses strings and then Koen just went off and started relating to the image and trying things out. He quiet quickly had this theme and then it just continued from that. So we just worked while going back and forth. We had a few versions. There were a few versions where he went like, how do you say, there were a few moments where you kind of went an octave higher or lower with the music. And then I responded to that saying I did not or did like what he was sounding. So, yeah, we just go back and forth a lot.
The urgency was something that together with this kind of sadness or feeling like, oh, it's too late or you know, the two of them. They're still hoping but it's not working.
Melissa Ramos: Yeah. In terms of collaborating, I'm interested in what you said before at the beginning. You need to be very clear about how you want the work to be. Have you ever been in a situation where you collaborated with different types of multidisciplinary artists or different types of disciplines and you were working on something that was completely different? It's a complete experiment. How do you work in an environment where you kind of don't know what you're doing? Do you have any thoughts on or reflect on that process?
Nicola Hepp: Yeah, I have. I mean, now, if I'm making a film, then I'm really in the role of the director and the initiator of the project, the filmmaker; seat, so to speak. So then there's also a need for some kind of clarity, like what am I asking you to do and what will the film before? And also because most of the time there's no or very little money involved. So I have to kind of I feel like I have to be clear, like this is the plan. This is what I will do with it. And this is this will probably be the outcome. Because I can't ask all these professional people to just go with me along the ride and not know, like, will we ever get paid. So I feel this needs for a lot of clarity because of that, also because of that situation. But I've also been in a lot of situations where you start working on something and you don't really know where it will go or you don't know what the outcome will be. And I think; I also really are really into that. I mean, I also really like just experimenting together and just seeing like what happens happens and sometimes things will come out later that you don't know at that moment that it will happen. And just to play around together and be open to the moments, I think that's the most important thing is really the people you choose. I think like. Yeah, who do you work with? And in different projects for what reason? Because for some projects it may be really important that you know, that, OK, this person can really deliver something that I need or in other projects. You want to work with somebody because they're just inspiring to you and you kind of hit it off and you can be creative together. So, yeah, I really enjoy doing both, so to speak. I think when I make a film often I have a kind of very clear moment that I feel like, oh, I have to make this. And when I feel that drive then it's also like then it's about collecting the people around me that I can make this with. That's kind of the first step that I see something in my inner eye. It's usually also that I already know who I want to be working with on the screen. So who are the dancers? That's kind of the first thing that I think about. But I also like last year, for example, I have this idea for some kind of image of a man standing. And at a certain point I was looking at this young dancer and I felt like, oh, wow, he could be that person, you know? So then we just went into the studio and we tried some things out and we were actually working with three different ideas. And then at a certain point, we both felt like, OK, well, this is this is fun. This is interesting. But we don't know where it's going at the moment. So we just kind of left it. And now suddenly during these strange covid-19 times, the idea kind of came up to the top of my mind again. And I contacted him and I was like, 'hey, do you think that your girlfriend would be willing to film you?' You know, so actually there was the whole project coming out of something that we did last summer that we at that point didn't know what it would be. And I think if it hadn't been for the situation now, it wouldn't have happened in this way because it was also like a kind of things coming together.
Melissa Ramos: Just speaking to you just the past couple ten minutes, I feel that your curiosity is like one of the major driving things that make you create and that sort of openness and thinking about what if this sort of this and you know, what resonates with you. And I'm just curious about how long have you been making dance films?Because you're a dancer and choreographer, you teach. And how did you start getting into making moving images? What brings you to go back to making more and more?
Nicola Hepp: Yeah, it's interesting because I mean, I've always been interested in film and I always loved looking at films growing up. The first as a classical dancer until about the age of 16. And then I shifted into doing modern, mostly because I felt that I wanted to portray real people somehow. I felt a need for four more realness, in a way, and at that same time, then I saw a film was the first dance film that I saw, and it was a film by the dancers of DV8, it's called Never Again by Bob Bentley. And I was just amazed, like, wow, how can you look at dance through this medium and how can you capture dance and know it was it was one of the first films I think that actually had dance in a desolate building. I mean, now we do see a lot of dance films in desolate buildings, but this was like the first or one of the first ones. And it was just so amazing to me, like how the camera could look at the dance and how you could be completely kind of enraptured in this dance performance. And you were right there. So I immediately felt drawn to to dance on camera or dance on the screen. And a few years later, when I just graduated from the dance departments here in Amsterdam, I was making my own work and I just got more and more curious about how would it be if I had video images together with live performance. So I made a few pieces with live video and sometimes also pre-recorded video, but video images that related to what was happening in the space life. So it was not like a backdrop of moving image that was, for example, like a decor kind of piece. But it was really relating, it was also the dancers that were on the screen, the dancers. They were then shown on the screen and you could see different things on the screen that you could see live, because obviously and the screen, I mean, the image was a lot closer. So I really went into a lot of close ups, for example, or like in some installation work that I've done. What was on the screen was not necessarily the same dancer that you would see live if you if you chose a certain position in space. So it kind of depended on if you were to see the young dancer or the older dancer, but then on the screen you could see the other one. So, yeah, I mean, I was really interested in just combining live image, what you were seeing in the performance with video. And that kind of captured my interest for a long time. And I still sometimes if I make live work, I do come back to that because I find it fascinating how the relationship between those two things work. It's a real kind of back and forth between where are you sending the eye of the audience, so to speak, because they obviously are free to look wherever they want if they're in a theater, but you as and make or sometimes we really want them to see a particular moment that's on the screen or a particular moment that's happening live. So then you have to be aware of what's happening with the other thing if you want them to look there. And yeah, that's interesting. But then a couple of years ago, it actually the thing was that I'd been working with my father for an installation that I made, and for some reason I'd imagined that we would go touring with this piece after I made it. But then I had my second child and it was kind of out of the running for a little while. And then I later realized this piece is actually a bit too heavy for my father to perform and it's a bit too much for him to travel around and do this. He's already in his 80s. He was in his 70s then. But then so I was thinking about like, ah, that's a real shame because I actually really wanted to still do something with him. He's a dancer also. And then around that time, I saw this open call from 60 Seconds Dance, which is a website that promoting 60 seconds dance films. And they were asking for a new round of films. And I kind of saw that open call. And then I immediately had this idea for a dance film with my father. And then I just thought, oh, wow, actually, yeah, why not? Why not make a film? Why doesn't have to be a performance video, but I'll make a dance film. So that's how it started. Then I made ECHO, which is the first film that I made, we filmed it in 2013 and it came out in 2014. And to be honest, when I was working on it, I really felt like, oh, this is actually where all my interests kind of come together and where all my skills also are combined. And this is just me. So this is what I want to do. This is what I want to create. Yeah. Ever since really I've been kind of compelled to create dance films and to put dance onto the screen. Now I'm just fascinated by how that works and how the image can speak to you and how you can reach also a lot of people that maybe don't necessarily go to see a dance performance, but might come across a dance film like just browsing the Internet. Really. Yeah, that's interesting to me.
Melissa Ramos: You said before that you love movement on screen because it translates into almost like a kinesthetic energy and that you want the viewer to, like, almost dance with the image. Could you reflect more on the term, what you mean by kinesthetic energy and by the level it affects us and how it moves us?
Nicola Hepp: So, yeah, I think I mean, I read a little bit about these mirror neurons that we have in our brains that when we look at movement, we actually kind of replicate it in our body, even though we can't see it. But our brains are kind of recognizing the movement that we see. And so there's some kind of recognition process going on, and I find that really beautiful. And I mean, there's something that I've also experienced myself during my training that you could if you look at video, for example, of a dance piece and you needed to learn that you could really just look at it and be kind of dancing internally and you kind of own; you train that quality as a dancer. But it also applies to just everyone. When you look at dance, your inner dancer is kind of dancing inside. And I find that beautiful in any case. But also on dance film, I think you can really kind of augment that in a way with how the camera is approaching a subject. So what you do with a camera can really affect whether or not you feel that kinesthetic energy a bit stronger. So, for example, if you just put the camera, if it's just a static camera and it just captures the whole scene, full body dancers, little puppets moving around at a distance, then it's much more difficult to feel the kinesthetic energy than when you're going closer with the camera and the camera's moving. The camera is almost a dancer itself. I often really feel like when I'm on a set shooting something that there's that's even kind of I could go outside and film this. You know, the dancer and the cameraman are already in a duet in a way. So there's a lot of energy flow going on when you're filming. And then also, of course, in the edit, that's how I approach it also; is the rhythm and the timing of things. When I'm sitting down to edit, then it's it also needs to make me kind of dance and move and I need to kind of feel the the movements. And sometimes I feel like, oh, that's too long. And so, yeah, I don't know, I kind of approach it really intuitively in that sense. But there's definitely a lot of moving going on. And I think that's kind of the kinesthetic energy that I talk about. I want the viewers to kind of feel some kind of drive to move as they watch a dance film that I've made.
It's important then that you work with choreographers that are that understand that process, that it's not that I'm going to register your piece and we're going to make a film that's staying exactly how it was. It's actually a new thing. But it is using the dance material and somehow capturing the essence of what was in that piece ...
Melissa Ramos: What are the other ways do you try to connect the audience with this moving image-body?
Nicola Hepp: Well, I think like I also said before, I don't always necessarily tell a real kind of traditional story with my film, but there is some kind of story there. It's not an abstract one. None of my films have been abstract movement where it's difficult to to see if it's not about kind of seeing shapes or forms. But there is always a kind of human factor so that it's always that we're looking at people and there's something that is going on with them. So that's a story in itself, I guess. And that's something that I yeah. That's just what I feel that I need to tell. So there's something about those people and. Sometimes in the relationship between them and others and sometimes just in themselves. But, yeah, I think that is something that I think catches us as a viewer because it's something we can all connect to. Yeah, human relationships and human emotion is something we're all experiencing, of course.
Melissa Ramos: I'm going to talk about metaphysics in a way. And the word metaphysics comes from the Greek word that come together. That literally means, after or before or among the study of the natural. And some of the topics they look at is like the soul, the mind and the matter, cause and effect, potential, or actuality. I'm just curious, do you think screen dance has a direct connection to the metaphysics notions?
Nicola Hepp: Well, when you put it like that, yes, I do. Actually, I think that screen does can really speak to people and can really say something and something that I also find it difficult to put words on it, because I think you don't know the things that you see when you're looking at a screen dance piece is not necessarily something that you can put words on. So that's maybe why I'm also struggling. But there's something about seeing people move that really speaks to us, I think us as people. I think we understand a lot more of body language than we maybe realize. And so dance movements can really be something that communicates through this image and because you're kind of zooming in on. I mean, not always, but as a filmmaker, you're choosing what you want to show. So you are really going for specific moments maybe or assuming into detail maybe. I mean, what they see is what you want them to see. And in that sense, I think you can really kind of focus your ideas. So, yeah, I do think that this kind of, um. Yeah, it has an effect on you. I think when you're a viewer, at least that's what I really also want. I want people to look at my films and be affected and be touched and feel something. Really.
Melissa Ramos: Yeah. When I watch your films, I feel like my body is saying, like there's this vibration that's happening in the center of my body and I'm just like, wow, it's the feeling I get. And it's like, OK, I can feel the emotion. And I kind of question what's happening from each character. And it makes me wonder what's happening without being told what what's happening, which is what I love about screen dance. It really invites us to observe, but also maybe dance as well. Or feel. I think that's the acknowledgement of the body to feel.
Nicola Hepp: Yes.
Melissa Ramos: Intersting. I'm curious about your sensitivity towards space. Could you reflect on how you generally approach space in your work and what's important for you when you express through space?
Nicola Hepp: In a lot of my work, there's a lot of physical contact and there's a lot of closeness of the characters, and I'm very interested in that. The closeness of people and how close is close and also like the space just around each other.
Melissa Ramos: In a negative space?
Nicola Hepp: Yeah, the negative space. But also, like just before you touch, like what happens just before you touch each other. So that's something that I'm really curious about. And also in teaching dance, for example, I work a lot with that. So, yeah, there's a lot of that space that's going on. But I also find it very interesting, like how do people relate to each other when they're further away? Well, in the times that we are in at the moment, we also keep the two meter or the one and a half meter distance. I feel like there's a lot of choreography going on. And, you know, when you go to buy your groceries, how to manage with each other and I'm sure there'll be a lot of work coming out of that. But yeah, I think the space I'm mostly interested in is really this kind of close space between two people and the negative space that's just around.
Melissa Ramos: Do you use abstract space as well, like in terms of imaginary space in your characters?
Nicola Hepp: Yeah, I do. I mean, I also really want people to kind of have an idea of who they are in this film, like what are they thinking about? Or it's not that I necessarily want people to draw the same conclusions, but I do want the performers to kind of have an idea of. This is this is my state of mind, I'm feeling this, so that's something that they work with a lot when we rehearse and also when we're when we're shooting, obviously.
Melissa Ramos: Yeah, can I ask you about pause and stillness and how that is a major component in dance and how do you relate to pause and stillness?
Nicola Hepp: Yeah, OK, so pause and stillness I find very interesting. I don't know if it's my Swedish background. I grew up in Sweden and I moved to Holland for my education. But somehow I feel sometimes that I have a different timing than people here. So I really like slowness and stillness and pause. And I also feel that this there's a lot of that kind of emptiness in parts of my work, which I at some point when I realized that it was less in these surroundings, I felt like, oh, maybe it's something that is also related to my Swedish background, because obviously in Sweden, there's less people even. So there's more space and there's more time and more nature. And you can go out and be completely alone. And here in the Netherlands, when you go out to the forest, you're always going to meet somebody. You just never really alone. And I think that also affects the way you feel and think about pause and emptiness. For me, it's something positive. And, yeah, kind of mindspace that it creates is something that I see as a good thing. Whereas there's at the moment or maybe it's just maybe it's just me thinking this, but I feel like there's a lot of impulses happening and there's new things all the time. And pause and rest in a way is something that I in my work is very present. I kind of tend to. Go back to some more minimal things sometimes when I see other people's work, I am amazed, like, oh wow, this beautiful dance film that they made and I can be really impressed. And then I see that it's like in six different locations. And I'm like, oh, that's also possible because for me, I tend to kind of stay in one place. It kind of tends to be more like a moment in time. And it's just right there, which is also kind of pause, I think. So but it's not that I don't appreciate when other people use different locations, I think sometimes it can work beautifully, but I just find that I myself can never really imagine that so far it hasn't happened, will see (laughs).
Melissa Ramos: With your work in terms of especially TRACES, I'm not sure if you've been told this before, but I feel like I have seen this before somewhere like, you know, when you're passing by and you know, you're being kind and courtesy, not going to stare at someone. You kind of like fleetingly walk past some moment and then that's it. And that's the moment that I have. And I feel like that's sort of your film, that you just capture that space in that moment. There's like a door, but you can't enter it. But you have to walk past, which is quite beautiful, fleeting moment that you capture in that moment. Yeah.
Nicola Hepp: What you said, that this is really nice.
Melissa Ramos: Yeah. I mean, it's yeah. Its another way of seeing things.
Nicola Hepp: Yeah, what I mean a little bit with this moment in time, it's like I mean it could go either way. I think that's kind of a lot of my films is you don't have necessarily the outcome. It's not. The ending is not like set in stone. I think with TRACES, for example, you don't know these two people might stay together and maybe it will work out or maybe they won't. I think that's also in a lot of my films, the ending is ambiguous in that sense. I think that you can continue to think about it and ponder like what will happen or... And I think that's also something that I really appreciate that when people see something in my films that they think that this is the story, it doesn't always have to be the story that I think is there. But what I find is that very often the story that the people tell me is still kind of connected to the general idea or the emotion that's there or. So that's really beautiful to me. When when people actually make their own stories.
And just to play around together and be open to the moments, I think that's the most important thing is really the people you choose. Who do you work with? And in different projects for what reason?
Melissa Ramos: What's something you believe in your early artistic career, but then think differently now?
Nicola Hepp: I think early on in my career, I was very concerned about doing things well, being perfect in a sense, like being good. And I think the older I get, the more open I become in a way to just try things out and just go for it. If yeah, I think if I feel the creative kind of urge to make something, then. Of course you can kind of question it, and if you questions a lot, then there's always a reason not to do it. But I find that I'm more I'm happier if I just make things. I think that's one of the things that I approach differently these days. Yeah.
Melissa Ramos: Besides the arts, where do you look for inspiration?
Nicola Hepp: To my family and my husband and to nature. And to people in general, I think what you said before about me being curious, it's very true. I'm actually really curious about people and things in general. And I always try to put myself in other people's shoes and understand there are reasons for doing certain things. Yeah, that fascinates me, so I'd say people actually.
Melissa Ramos: What about people that interests you? What is it about them?
Nicola Hepp: Well, there's something sad about this, maybe also a little bit, but I do feel a little bit like, you can never really understand somebody else. You never really know what they've been through. What why are they acting like they do at this particular moment in time? Because it's just, it's their whole life. And you haven't been there the whole life. You've only been your own life. And so I feel that there's some kind of loneliness also. And To be honest personally, I also sometimes really feel like I can't really express myself. I struggle for to really explain, like, how do I feel or what do I want or, you know, and it's something very fascinating to me to really try to understand and to do my best to make myself heard and to have people understand me and see. I mean with a lot of people, maybe not with a lot of people, but with some people, I should say you do have this kind of. Yeah. Real connection that you feel like there's just love there between you and, you know, each other. But even there, sometimes you still have moments where you feel one way and the other person feels another way. And you can't just really; you kind of respect each other. But you don't really understand. And that's something that I find very interesting and also sometimes a little bit sad because it can be kind of a lonely. Yes, there's some kind of loneliness there. Or maybe it's just Scandinavian melancholy. (laughs)
I feel that when I make films, they don't necessarily always tell a story in a traditional sense. But there's definitely always some kind of feeling that comes out of watching my films. To kind of convey an emotion, that's really what I want to do when I make my films.
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Reed Forms JV with Indonesian Panorama Group
Reed Exhibitions and the Indonesian Panorama Group have formed Reed Panorama Exhibitions (RPE), a joint venture which plans to organise trade shows in Indonesia. As part of the partnership arrangement, Panorama Group's MICE division, Panorama Convex Indah, will be rolled into RPE and renamed Panorama Meetings and Events.
RPE will hold its first exhibition, Indonesia Mining & Engineering from 10th to 12th October this year at the Jakarta Convention Centre. The show will become part of Panorama Convex Indah's exhibition portfolio. The company is targeting 300 exhibitors and 3,000 visitors.
Paul Beh, Reed Exhibition regional president of Asia Pacific, said, "Beyond the BRIC economies, Indonesia ranks high in the business agenda of multiple industries around the world. Our customers are telling us to bring them to Indonesia and help them find new businesses. We are aiming to add two new events every year, so in the next five years we will have 17. We are open to partnerships, be it equity partnerships, acquisitions or managing exhibitions such as those belonging to associations and the government."
Italian Exhibition Group Forms Partnership with Emerald Expositions
The Italian Exhibition Group (IEG) has joined forces with Emerald Expositions (EEX) in a partnership intended to strengthen the presentation of Italian jewelry manufacturers…
Reed Reports 2014 Results and Renames to RELX Group
London-listed RELX Group (formerly Reed Elsevier) reported its results for the year ended Dec. 31, 2014. The group's revenues were £5.8 billion (US$9.0 billion), while…
NXT Events Media Group and Meister Media Worldwide Form Meister | NXT LLC
NXT Events Media Group and Meister Media Worldwide have formed Meister | NXT LLC, a new joint venture dedicated to launching events in agricultural markets. NXT Events Media…
China Foreign Trade Centre (Group) and Reed Exhibitions Sign Strategic Alliance Agreement
Reed Exhibitions, one of the world's largest exhibition organizers, and the China Foreign Trade Centre (Group), a national state-owned, large scale enterprise and the world's…
Hannover Fairs Named Operator of New Indonesian Venue
Hannover Fairs International, a subsidiary of Deutsche Messe, has been named as the operator of the new Indonesia Convention Exhibition (ICE) centre. ICE is currently under…
470+ Exhibitors at UBM's Indonesian Furniture Show
Reportedly Indonesia's largest furniture trade show, Indonesia International Furniture Expo (IFEX) 2015, ran for four days from 12th to 15th March at Jakarta International…

redpajama_set_name: RedPajamaCommonCrawl


I'm grateful for those moments when everything seems completely, utterly right with the world.
WOW Joyce, your pictures are just as wonderful as your singing! I'm glad you're able to portrait Madrid just as full of life and beauty as I feel it.
By the way, I saw you in Paris, your Romeo just left me breathless-BRAVA! I can't wait to see you next Friday in Idomeneo.
Ah, muchas gracias, Papagena! You are very kind!


Visit the Beauty Brands makeup store in Topeka, Kansas when you need professional services from quick makeup application touch ups to full leg waxing. At our brow bar, book an appointment with a brow specialist for trimming or tweezing, or ask about full eyebrow waxing. Other spa waxing at our cosmetics store Topeka includes lips, chin, underarms and bikini. For men, our professional waxing services range from back waxing and neck waxing to waxing ears and nose. If needed, our waxing services salon will also include soothing post-wax skin treatments to ensure that your skin feels as comfortable as possible.
Our face makeup store in Topeka carries top makeup brands such as Smashbox, Tarte, Stila and BareMinerals. This Beauty Brands beauty products store in Topeka is also the place to go for expert makeup application services. Stop by for salon makeup applications, whether you're looking for fresh, ultra-wearable looks for daytime or you want to try the latest sultry shades. Skilled eye makeup professionals, our makeup store artists in Kansas also create flawless looks for special occasions, from wedding celebrations to holiday parties.
Look for eye makeup at our cosmetics store Kansas and then book time with a makeup services specialist. Our facial treatments address skin concerns from acne to uneven skin tone.
More than a face makeup store Topeka, our beauty brands provides salon facials, salon makeup application and many other luxe beauty services.
Stop by our makeup store Topeka for salon beauty products from trusted makeup and skincare brands, including Philosophy, First Aid Beauty and Tarte. After stocking up on eye makeup and other essentials, discover our professional services, from makeup application to spa waxing. While here, ask about eyebrow trimming, brow tinting and other services in our salon brow bar in Topeka. Revive your skin with facial treatments with our experienced professional facial treatments specialists who can help you with dry skin, oily skin, sun damage and other skin concerns.
At our brow bar spa Topeka, Kansas, our trained professionals tweeze and trim brows so you'll face the days looking and feeling the very best. Your time with our brow bar salon team members includes a consultation to determine the right grooming needs. Follow up eyebrow waxing or trimming with some time with one of our expert makeup application consultants to get advice for lips, eyes and foundation, and explore the latest products from NYX Professional Makeup, Smashbox, BareMinerals. During your time with salon makeup application artists in Topeka, try daring new looks that will take you from mild to wild or find a new matte look for daytime.
< Inside our cosmetics store in Kansas, find an array of spa facial options that include a personal consultation with an experienced esthetician. Rescue parched skin with facial treatments that deeply moisturize while exfoliating the skin cells and toning your skin. Treat yourself to salon facials such as masks or peels that not only remove dirt and trapped oils but also leave skin feeling incredibly fresh and youthful. At the Beauty Brands cosmetics store in Topeka, look for professional spa treatments that leave you revived.


Today is a BIG day!(!!) For the past several months, Team Lively has been working on a secret project which is being released for you right now – A Lively Adventure: Leaving it all behind to discover so much more!
PS – Want to purchase and listen to A Lively Adventure? Head over here.


GE Energy manufactures turbines, reciprocating engines, generators, packaged generator sets, and cogeneration units for the efficient generation of power and heat. GE Energy's brands include GE Energy Management, GE Oil & Gas, GE Power & Water, GE Jenbacher, and Waukesha.
Focused on the electrification business, GE Energy Management provides technology solutions for the conversion, distribution, management, optimization, and transmission of electrical power in industries with high energy use.
GE Oil & Gas provides services and equipment for the oil and gas industry servicing exploration, production and downstream. Products and services offered comprise solutions for Land & Offshore Drilling, Subsea, Enhanced Oil Recovery (EOR), Full Range LNG, Industrial Power Generation, Refinery & Petrochemicals, and Gas Storage & Pipeline.
GE Power & Water focuses on next generation energy solutions for power generation and energy delivery. The division works specifically with Aeroderivative Gas Turbines, Gas Engines, Nuclear Energy, Power Generation Services, Renewable Energy, Thermal Products and Water & Process Technologies.
An Austrian based manufacturer of gas engines, packaged generator sets, and cogeneration units, GE Jenbacher's products provide efficient power and heat. Products are designed for stationary use and run on natural gas or other gases such as biogas or other combustible industrial waste gas.


A grantor retained interest trust is a trust where a grantor makes an irrevocable transfer of assets but reserves the right to receive income from or enjoyment of those assets for a period of years. When the trust terminates, the assets are passed on to others.
A qualified personal resident trust allows for a grantor to transfer his or her house out of his estate, but continue to reside in his or her residence during the term of the trust. If the grantor survives the trust term, then the residence and any appreciation would be not be included in the grantor's taxable estate. However, if the grantor does not survive to the conclusion of the trust, then the full value of the real estate may be included in his or her taxable estate.
With all estate planning, a DC trusts lawyer will begin with a discussion of the client's goals, a review of the current tax laws, the size of a client's anticipated estate, the nature of the client's holdings, and family dynamic will be conducted to determine the available options for each client.
Grantor Retained Interest Trusts (GRIT) are not used much, if at all, anymore. They are an important concept because they became the basis of other estate tax or planning opportunities, but they are not a common tool anymore for estate tax purposes.
A qualified personal residence trust is just one of many estate planning mechanisms that an attorney can offer to clients as part of their overall comprehensive estate plan.
If the grantor survives the term of the trust and the grantor has not retained an interest in the trust property, the trust property will not be subject to the estate tax upon the grantor's death. However, if the grantor dies during the term of the trust while he or she still has the retained right of enjoyment of the property, the entire value of the trust will be included for estate tax purposes and the grantor's or the decedent's gross taxable estate.
The transfer of the assets to the grantor retained interest trust is taxable for gift tax purposes, determining the amount the gift tax available, or the applicable gift tax is based on regulations of the internal revenue code and will depend on the terms of the trust and whether or not the grantor is retaining an interest for himself or for other beneficiaries.
If the grantor's retained income interest and contingent principal interest exceeds 5% of the initial value or contributed value of the trust, the grantor is treated as the owner of the trust and the income of the trust will be taxed for the grantor for income tax purposes.


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Precast concrete is a product that is fabricated in a controlled environment in advance of a construction project and transported to the site when appropriate. It differs from the more traditional method of pouring concrete on site—"cast-in-place" concrete— in that it makes the creation of multiple identical structural members easier and more reliable. The downside: less freedom to create unique members.
Clay Naito, professor of structural engineering, was at a conference at the Precast Concrete Institute when he had an idea: Use 3D printing technologies to enhance what you can do with precast concrete.
"The current method of printing concrete is to build your structure by pumping it out on site like icing in a cake funnel," Naito says. "You can do it quickly, but you can see the layers on the finished product. What I wanted to do was more refined, to get nice details on the surface of the components."
Naito has been using 3D printing as part of his Civil Engineering Materials class, so he knew the technology was available on campus. What surprised him was the amount of interdisciplinary cooperation he was able to find.
He recruited a team of students to begin work through Lehigh's Mountaintop Initiative. "The academic diversity has been amazing to see. The team is made up of students from civil engineering, mechanical engineering, material science, chemical engineering, chemistry, architecture, and art," Naito says.
John Fox, assistant professor of environmental engineering, supported the effort based on his experience with binder jet printing, an offshoot of 3D printing. Nik Nikolov, assistant professor of art and architecture, supported the team with optimization of structural shapes.
"Binder-jet is being used industrially right now with sand," says Naito. "They're creating large complex sand molds for things like propeller blades and engine parts by forming a thin layer of sand, printing a binding agent at the desired location and repeating," Naito says. "When it's done, the sand and binder creates a rigid matrix. You blow away the unbound sand, and you have your mold. We're trying to do the same with concrete."
The group ultimately discovered several viable mixes, and they were able to print, but there's more work to do. "We're hoping to team with Paolo Bocchini [Frank Hook Assistant Professor of Structural Engineering] to look at the life cycle of some of the structural members we create," Naito says.
Clay Naito (left) and students working in Lehigh's world-renowned ATLSS Engineering Research Center. (Photo by Christa Neu / Lehigh University)
A sea sponge enzyme could provide greener, firmer soil foundations.
Web site: Lehigh Mountaintop Initiative


"The workshops we attended really helped us to figure out which direction to take our business in. They helped us to create a future plan and to develop our branding and marketing strategy. We would highly recommend attending"
Our events have now come to an end. To view our past events, please browse the listings below.
As most of you know, the SIAFS project will come to an end on the 29th March 2019. To say a huge thank you to all of our businesses and to celebrate your growth and successes, this event will be a big celebration of the project and of course, you! Come along and link up with other businesses, enjoy some delicious food and drink and say farewell! All welcome!
Get one-to-one support in: Marketing Plans, Business Plans, Website Design, Graphic Design, Case Studies and PR, Photography and Videography.
This interactive workshop will guide you through the in's and out's of all that is Facebook, including Facebook Advertising. More info to follow.
This insightful day will explore new trends in food and drink and predictions for the future. As a food/drink businesses, knowing what's in store for the industry early on gives you an excellent advantage and the option to embrace the trends or go against them. You will not only learn about the predictions and future trends of this year and next, but you'll also learn why they're important and how to use the information to your advantage.
This workshop will be an interactive day covering the fundamentals of butchery. The day will start with demonstrations from Andrew Sharp (Farmer Sharp), who will be teaching you core butchery skills, as well as the best ways to display meats, how to maximise sales and more. The afternoon will follow on with Marketing and Sales, where we will be splitting into separate focus groups.


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If you are interested in booking or hiring any of the comedians that are featured on this website please email me at mullaney3@blueyonder.co.uk and I will be happy to pass on your enquiry.
Martin Brown
Martin Brown is a stand-up and writer who has written comedy material for TV and Radio for over 15 years.
He has written for programmes that have included performers such as Simon Pegg, Fiona Allen, Shanjeev Bhaskar, Amanda Holden, Mel Smith and Griff Rhys Jones and many others.
Johnny Vegas has performed one of his five-minute monologues on BBC Radio.
As a stand-up he is a regular performer for Mirth Control and as well as playing venues up and down the country is also a regular on the London comedy Circuit where he has played many venues including The Comedy Store, Up the Creek, Downstairs at The Kings Head and the Comedy Café.
Martin is also the regular M/C of the Moonrakers Comedy Club in Devizes Wiltshire
He has supported such acts as Bob Mills, Paul Foot, Jarred Christmas, James Redmond and recently opened for Mitch Benn at the Arc Theatre.


Robert J. Tenerowicz, 81, of Bristol, died on Monday (January 21, 2019) at Bristol Hospital. Robert was born in Meriden on November 23, 1937 and was a son of the late John and Nora (Majewski) Tenerowicz. He attended St. Stanislaus Parochial School in Meriden and graduated Meriden High School in the class of 1955. Robert spent two years active duty in the U.S. Navy and four years in the Navy Reserves before working for New Departure in both Meriden and Bristol. He retired in 1991 after 28 years of service. He was active with the United Auto Workers Union and was a past-president. A longtime Bristol resident, he was a very active volunteer in Democratic politics in town. His civic involvement includes the Red Cross, the Bristol Fire Commission, and the United Way. Robert is survived by a brother: John Tenerow of Naples, FL, and several nieces and nephews. He was predeceased by four brothers: Peter, Ted, Edward Tenerowicz, and Ray Tenerow; and three sisters: Jeanette St. Onge, Helen Stelmach, and Joan Tenerowicz. A Mass of Christian Burial will be celebrated on Saturday (February 2, 2019) at 10 AM at St. Stanislaus Church, 510 West Street, Bristol. Burial, with military honors, will follow in St. Stanislaus Cemetery, Meriden. Relatives and friends may call on Saturday (Feb 2, 2019) at 9 AM at Funk Funeral Home, 35 Bellevue Ave., Bristol. In lieu of flowers, memorial donations may be made to the St. Stanislaus Church, 510 West Street, Bristol. Please visit Robert's memorial web-site at www.FunkFuneralHome.com.


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Capitol Hill Update: June 4, 2018
By Jason Pye
The House and Senate are in session this week.
It's going to be a long month, and immigration will be the major issue in the House. The discharge petition for H.Res. 774 is only five signatures away from the required 218 signatures for consideration on the floor. H.Res. 774 is a "queen of the hill" rule that would provide for the consideration of the Securing America's Future Act, H.R. 4760, as well as amendments in the nature of a substitute offered by Speaker Paul Ryan (R-Wis.), Judiciary Chairman Bob Goodlatte (R-Va.), Rep. Lucille Roybal-Allard (D-Calif.), and Jeff Denham (R-Calif.) or their designees. Whichever amendment gets to 218 wins. And if multiple reach 218, the one with the most votes wins.
The House is back in session on Tuesday. Legislative business begins at 2:00 pm. Votes are postponed until 6:30 pm. There are seven bills on the suspension calendar for Tuesday.
H.R. 5956, Northern Mariana Islands U.S. Workforce Act
H.R. 1026, North Country National Scenic Trail Route Adjustment Act
H.R. 2991, Susquehanna National Heritage Area Act
H.R. 5005, To direct the Secretary of the Interior to conduct a special resource study to determine the suitability and feasibility of establishing the birthplace of James Weldon Johnson in Jacksonville, Florida, as a unit of the National Park System
H.R. 5655, Camp Nelson Heritage National Monument Act
H.R. 801, Route 66 National Historic Trail Designation Act
H.R. 3997, Free Veterans from Fees Act
A reminder for those who aren't familiar with how the suspension calendar works. These bills usually aren't considered controversial, although leadership will occasionally put a potentially controversial bill on the calendar as a trial balloon. Legislation on the suspension calendar require two-thirds of members present for passage. These bills can also be voice voted out of the chamber.
On Wednesday, the House will take up the Senate amendment to the Project Safe Neighborhoods Grant Program Authorization Act, H.R. 3249. The bill would establish the Project Safe Neighborhoods Block Grant Program, which would seek to reduce organized crime in communities. The original version of this bill was on the suspension calendar back in March and passed the House by voice vote. This time around, it's coming to the House floor under a rule.
The other bill on the floor is the Water Resources Development Act, H.R. 8. The bill, which is taken up every two, authorizes federal water projects. More than 100 amendments have been filed with the House Rules Committee. The committee will meet on Tuesday at 5:00 pm to determine which amendments will be allowed under the rule.
We also have an appropriations bill on the floor: The Energy and Water, Legislative Branch, and Military Construction and Veterans Affairs Appropriations Act, H.R. 5895, will dominate legislative business on Thursday and Friday. More than 150 amendments have been filed. The House Rules Committee meeting to consider amendments is Wednesday at 3:00 pm.
The discharge petition for H.J.Res. 129, a disapproval resolution to cancel the Federal Communication Commission's Restoring Internet Freedom Order, currently has 124 signatures. All the signers are Democrats. The Senate passed the companion CRA, S.J.Res. 52, on May 16, with Sens. Susan Collins (R-Maine), John Kennedy (R-La.), and Lisa Murkowski (R-Alaska) breaking ranks to vote with Democrats. We're keeping a close eye on the discharge petition in the House.
The full committee schedule can be found here.
The Senate will convene at 3:00 pm today to consider the confirmation of Robert Wier to serve as a United States District Judge for the Eastern District of Kentucky. The cloture vote will take place around 5:30 pm. Majority Leader Mitch McConnell (R-Ky.) has also filed cloture on Fernando Rodriguez, Jr. and Annemarie Carney Axon to serve as U.S. District Court judges for the Southern District of Texas and Northern District of Alabama, respectively.
Well, what Leader McConnell says he plans to do for the rest of the year leaves a lot to be desired. According to Roll Call, "The Kentucky Republican said he would prioritize the fiscal 2019 defense authorization, a new farm bill and updated water resources development legislation." McConnell said that he isn't interested in "point-scoring amendments" and wants to pass bills "that will be signed into law." This means that a new authorization for the use of military force (AUMF) may be off the table if the White House doesn't give a nod of support.
What about immigration?: With the House possibly moving forward on immigration, Well, the Senate already went through that once, and McConnell doesn't want to go through that again. But he did leave the door open. "If it came out of the House and the president said he was for it," McConnell said, "I'd obviously consider it."
Tags Hill Update, Water Resources Development Act, appropriations
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Don't pass legislation that protects the vote. Don't pass enough funding to protect the election. Allow voter suppression. The Republicans are in control of all branches of the Government.
https://writemyessaytoday.net/, Joseph R. McLawhorn
Capitol Hill Update, 11 March, 2013
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BY Josh Withrow
Capitol Hill Update, March 11-15, 2013
Capitol Hill Update, 5 March, 2013
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FreedomWorks Capitol Hill Update, 5 March, 2013
Capitol Hill Update, 26 February, 2013
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FreedomWorks is pleased to return with our weekly update on the most important activity happening on Capitol Hill.
What's Happening in Congress: The Top Ten Things You Need to Know This Week, 3-05-2012
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What's Happening in Congress: The Top Ten Things You Need to Know This Week, 3/05/2012
What's Happening in Congress: The Top Ten Things You Need to Know This Week, 2/27/2012
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What's Happening in Congress – The Top 10 Things You Need to Know this Week, 02/27/2012
Hill Update for 1/17/2012
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Walking the Walk of Fiscal Responsibility
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BY Julia Rubicam
Many Members of Congress are talking the talk of limited government and fiscal responsibility, but who is actually walking the walk? When it comes to making the hard decisions that will get the government off its spending binge and back on the path of fiscal sanity, what Congressmen are living up to the task?
Podcast: Hill Update with Max Pappas - June 21, 2011
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BY Tabitha Hale
Click to listen!
Hill Update, 3/28/2011 from Max Pappas
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Key Vote No: H.R. 3082 Full Year Continuing Appropriation Act 2011 and "Omnibus" Substitute
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BY Matt Kibbe
Dear Senator, On behalf of over one million FreedomWorks members nationwide, I urge you to vote no on H.R. 3082, which as currently formulated would fund the government for the next ten months at current 2010 levels. With Congress failing to pass any of the required 12 annual appropriation bills, leaders have opted to put forth a massive $1.1 trillion continuing resolution that includes a number of costly provisions. If the proposed "omnibus" spending bill is introduced as a substitute for the continuing resolution, we also encourage you to vote against that.


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Judge Rules in Florida's Favor in Lawsuit Over CDC's No-Sail Order for Cruises
Florida Gov. Ron DeSantis called Friday's ruling a 'major victory' against the CDC and their "obstructionist" no-sail orders
By NBC 6 Digital Team • Published June 18, 2021
A federal judge has granted a preliminary injunction against the U.S. Centers for Disease Control and Prevention from enforcing its no-sail order for cruises giving the state of Florida a "major victory" in its lawsuit against the federal government.
In granting the injunction, the judge said the CDC can't enforce its conditional sailing order against a cruise ship arriving in, within or departing from a port in Florida.
The federal government shut down all cruises in March of 2020 amid the COVID-19 pandemic. Earlier this year, the state of Florida filed a lawsuit against the CDC over its no-sail order.
The current CDC process requires each ship that will be permitting non-vaccinated guests to complete a simulation cruise before receiving approval to resume sailing once again from U.S. ports.
Get Southern California news, weather forecasts and entertainment stories to your inbox. Sign up for NBC LA newsletters.
The CDC is allowing ships with 98% vaccinated crew and 95% vaccinated guests to skip that step.
Florida Gov. Ron DeSantis called Friday's ruling a "major victory" against the CDC and their "obstructionist" no-sail orders.
"The CDC has been wrong all along, and they knew it," DeSantis said in a statement. "The CDC and the Biden Administration concocted a plan to sink the cruise industry, hiding behind bureaucratic delay and lawsuits. Today, we are securing this victory for Florida families, for the cruise industry, and for every state that wants to preserve its rights in the face of unprecedented federal overreach."
Florida is the nation's cruise capital with three of the world's busiest ports: Miami, Port Canaveral near Kennedy Space Center, and Port Everglades near Fort Lauderdale. The cruise industry generates billions for the economy and employs tens of thousands of Floridians.
The injunction is stayed until July 18, when the CDC's orders will be considered "recommendations" or "guidelines," the judge said in the order.
"The state fought on behalf of the cruise industry in Florida to secure the ability to resume operations without overly burdensome requirements that discriminate against children, leave most of the ships sitting in port, and disregard the freedom of Floridians to make decisions for their families," DeSantis said in the statement. "Beginning July 18, the CDC's orders will become mere 'guidance,' and cruise ships will hit the open waters once again free from the CDC."
coronavirusFloridaRon DeSantis
5 Businesses Burglarized Within Minutes at Riverside Shopping Center


Connect with Franklin County Abstractors, Public Record Retrievers and Legal Service Professionals . You'll find Franklin County Clerk, Franklin County Appraisal District, abstractors, lawyers, county record retrievers, and real estate in Mount Vernon and Talco Texas.
Local abstractors, document retrievers and landman who physically inspect the Franklin County records at the courthouse.
Read these popular articles and find out how Franklin ranks for seclusion, growth, foreclosures, investment and other issues.


Online Orchestra is a telematic performance project, aimed at enabling young and amateur musicians in geographically remote locations to make music together over the Internet. This article describes the contexts out of which the project emerged, including an overview of the benefits of ensemble performance, and a survey of precedent telematic performance projects. It goes on to describe how the starting premises of Online Orchestra respond to these contexts and ends with a summary of Online Orchestra's approach, and its key findings. The article describes in particular how many recent telematic performance projects rely on specialist networks and equipment, and that alternative design solutions are necessary, and possible, in order to reach young and amateur musicians in their own remote locations.


Home / Blog / Announcements / New – Sip and Shop at LGCM!
CAN I BUY ANY BEER / WINE IN THE STORE AND OPEN IT TO DRINK?
No, you cannot. First of all, LGCM staff must serve you the drink, and second of all, we will only be offering on premise drinking during specific times, both during store hours, and during special events. Thank you for your understanding, and cooperation.
WHEN WILL YOU BE SERVING BEER / WINE AT THE STORE?
We currently do not have a set schedule for serving, but will be adding events and hours as we learn our system. Our first event is set for Monday, October 15th for National Cheese Curd Day! For just $3, you'll be able to enjoy a cup of Hill Valley Dairy Cheese Curds and a cup of New Glarus Spotted Cow or Mershon's Hard Snowed in Cinnamon Cider. Get more details on our Facebook event page.
what type of events will you plan with this new license?
Special sip and shop hours on select days to enjoy a rotating selection of local craft beers from our kegerator.
Special sip and shop hours on select days featuring high quality wines at great by the glass prices.
Pop up food & beer / wine events like the Cheese Curd event we described above on special days.
Brewery feature events showcasing beers that are only available on tap, in addition to bottled beers.
Winery sampling events featuring higher end wines for a paid sampling price.
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If the accident was another employee's fault, then it's important that you get justice in the form of compensation. You may need to hire a work injury lawyer in Ridgeway.
Accidents such as truck or road accidents are also covered under the Ohio injury laws. You can hire a auto accident lawyer in Ridgeway to help you out in case of a collision with a car or truck. Accidents where there is brain damage, are taken care of by specialized brain damage lawyers.
Get local city data on Ridgeway, Ohio.
Are you a Hardin County Work Injury Lawyer?


Jeff Altman, The Big Game Hunter offers up a scenario for you in this brainteaser and provides you with its answer.
You wake up early one morning and find the light in your bedroom is broken. You have one like in there. You get dressed in the dark. Your sock drawer has socks of three different colors – – red, yellow and blue. How many socks do you have to take out to be certain of having a matching pair?
To me, it implies that you never know when you put the socks away you put them in a ball that so that are all separate and thrown in there and that you only have three pairs of socks so it's a ridiculous question. But go with it, okay?
So, let's say the first one you pull out his red and, in theory, the second one can be red but it also be yellow, for example. So, a red and a yellow. Remember, you don't have to just match the red; you can match the yellow, too. So let's say, you pulled out the next sock and it was blue. So now you have red, yellow, blue. Automatically, the next one's the one that creates a match for one of them because out of these three we have already picked, one the six socks very in your drawer are going to wind up matching.
So, the correct answer to the question is four.
So, you can have some fun with the interviewer along these lines, teasing them kind of makes it seem like a ridiculous question. Then, you go through the format with them. Part of what firms that ask questions like this like is the arrogance that comes with knowing. So you can smile. You can tease. It's like playing with them like they were trying to play with you and matches their arrogance, which is as important as actually having the methodology answer the question.


text:
Report: Washington Rep. Matt Shea allegedly used app to discuss surveillance of liberals
By KIRO Radio Staff
Rep. Matt Shea, R-Spokane, speaks at a gun-rights rally, at the Capitol in Olympia, Wash. in 2017. (AP Photo/Ted S. Warren)
A Washington State Republican representative is accused of covertly organizing surveillance and violence against people and groups with liberal politics.
The Guardian reports that four men, including Washington State Republican Representative Matt Shea of Spokane Valley, used a messaging app to talk about left-leaning figures around Spokane in late 2017.
The Guardian says it has confirmed the identities of four participants who used the messaging app Signal by cross verifying phone numbers and accounts on the app. Shea was identified among the four chatting on the app.
RELATED: "Biblical war" manifesto author faces campaign finance trouble
RELATED: Lawmaker removed from leadership roles after manifesto controversy
Under the name Verum Bellator (Latin for "True Warrior"), Shea allegedly discussed surveillance of liberal organizers and supporters ahead of the 2017 Antifa revolution, which right wing media promoted as a mounting, violent left-wing revolt. It turned out to be a handful of peaceful protests. In the chat records, Shea reportedly blamed poor weather for the low leftist turnout for the expected revolt.
The three other men talked about violent acts against leftists, going to where they worked and lived, and using Russian anti-communist symbols to stir paranoia. The fourth person in the chat was withheld by The Guardian for safety reasons.
The report states:
The group included Jack Robertson, who broadcasts a far-right radio show, Radio Free Redoubt, under the alias "John Jacob Schmidt". The chat also included Anthony Bosworth, whose history includes a public altercation with his own daughter and bringing guns to a court house. Bosworth participated in the 2016 occupation of the Malheur national wildlife refuge, reportedly at Shea's request.
It is notable that "redoubt" is a word often used by Northwest white supremacist groups, under the idea of attracting supremacists to the region to form an ethnostate; and also by certain religious groups looking to form a new state under their views.
RELATED: Washington's history of white supremacist migration
RELATED: Sugarcoating white supremacy in Washington
Messages between the four men detail potential violence against people they perceived as communists and Antifa. Robertson allegedly wrote about a woman living in Spokane: "Fist full of hair, and face slam, to a Jersey barrier. Treat em like communist revolutionaries. Then shave her bald with a K-Bar USMC field knife."
The Guardian does not relate any messages from Shea that mention or encourage violence, but notes that he does not object to the rhetoric or plans presented by the others. Shea enters into the conversation asking about what background checks need to be performed on people. He asked for a list if names to target.
Robertson spoke with The Guardian and said people often speak "tongue in cheek" about such things in these chat groups.
The report is the latest news surrounding Shea's activities. He has introduced a bill to secede Eastern Washington from the state this past session — it didn't get much support in Olympia.
Controversy surrounded the lawmaker in November 2018 when it was revealed he wrote a "manifesto" that described how to wage a just war according to the Bible. The document titled "A Biblical Basis for War" explains the formation of a "holy army" and promotes that Christians are to avoid bloodshed and offer peace to their enemies. This includes demanding that they stop all abortions, no same-sex marriages, no communism, and they must obey biblical law. If they do not yield, "kill all males."
Shea has argued that it was not a manifesto, but a biblical study. Critics of Shea, including Spokane's Sheriff Ozzie Knezovich, have argued otherwise. The sheriff previously told the Spokesman Review: "The document Mr. Shea wrote is not a Sunday school project or an academic study. It is a 'how to' manual consistent with the ideology and operating philosophy of the Christian Identity/Aryan Nations movement and the Redoubt movement of the 1990s."
Sheriff Knesovich turned the document over to the FBI for investigation in November 2018. The Sheriff has previously noted while talking with MyNorthwest that groups such as Christian Identity and other white supremacist organizations have looked to the Northwest as a future ethnostate for the white race.
KIRO Radio has reached out to Representative Shea for comment.


text:
It's Your First Kiss, Charlie Brown is the 16th prime-time animated television special based on the comic strip Peanuts by Charles M. Schulz. It was originally aired 8:00 PM, Monday, October 24, 1977 on the CBS-TV network. In this special, Charlie Brown worries when he is chosen to kiss his crush in a homecoming parade.

The special was directed by Phil Roman and produced by Bill Melendez. It was the first Peanuts special (and second Peanuts project overall) following the death of composer and jazz pianist Vince Guaraldi, who died on February 6, 1976, a year before the special began airing. Following Guaraldi's death, the music was composed by Ed Bogas.

Plot
Charlie Brown's school has their annual Homecoming parade and football game.  He and Linus are on the team, who are the escorts for the Queen and her court. During the parade, Linus mentions that Charlie Brown himself will be escorting the Queen who, to Charlie Brown's shock, is the Little Red-Haired Girl herself (whose name in the special is Heather). But when Linus adds the Homecoming tradition of giving the queen a kiss in front of everyone before the first dance, Charlie Brown hyperventilates and falls off the float.

The game begins with Charlie Brown as kicker and Lucy as his placekick setter. But even in a real football game, Lucy still humiliates Charlie Brown, pulling the ball away four times during the game as he tries to kick it, including a crucial field goal attempt in the last thirty seconds.  The team loses by one point, and Charlie Brown is wrongly blamed by team captain Peppermint Patty.  Despite the indignity, Charlie Brown remains faithful to his duty and escorts Queen Heather to the middle of the dance floor, and then summons the courage to kiss her on the cheek.  From that moment forward Charlie Brown is in a euphoric state until, the first thing he knows, he finds himself falling into his own bed.

Charlie Brown wakes up the next morning with no memory of what happened after the kiss.  He meets with Linus, who tells him that he surprised everyone when he kissed Heather, but even more so when he took to the dance floor with her and the other girls in the court doing all of the latest dances. Linus sums it all up saying that though they lost the game, Charlie Brown took the honors at the dance.  In disbelief, Charlie Brown replies, "What good is it to do anything, Linus, if you can't remember what you did?"  Regardless, Linus reminds him that at least it was his first kiss and the story ends with him smiling with quiet satisfaction.

Voice cast
Arrin Skelley as Charlie Brown
Peter Robbins – Charlie Brown's screaming voice (archived)
Daniel Anderson as Linus van Pelt
Michelle Muller as Lucy van Pelt
Laura Planting as Peppermint Patty
Casey Carlson as Marcie
Roseline Rubens as Frieda
Ronald Hendrix as Franklin
Bill Melendez as Snoopy and Woodstock
Note: Sally Brown, Schroeder, Pig-Pen, Violet, Shermy, and the Little Red-Haired Girl appear, but they are silent.

Critical reception
Audience reaction was primarily positive, but there were two elements about this special that initially caused negative reaction from viewers:

The Little Red-Haired Girl was never seen in the daily comics (except in silhouette in a later strip from May 1998),  nor was she ever referred to by her real name. Schulz himself admitted that he could not draw her to readers' satisfaction, much less his own, but the storyline of the TV special forced the issue.
In the special's initial broadcast, Charlie Brown was blamed by most of his teammates (especially Peppermint Patty) for bungling kicks and losing the game, though it was clearly obvious that Lucy was the culprit. Many viewers protested; while they could accept Lucy pulling the ball away, they could not accept Charlie Brown's being blamed for the loss. As a result, in all subsequent broadcasts, the offending lines by Peppermint Patty ("Okay, Chuck, you really goofed up on that play!" and "Chuck, you can't do anything right!") were made lower and backmasked.

References

External links

CBS television specials
Peanuts television specials
Television shows directed by Phil Roman
1970s American television specials
1970s animated television specials
1977 television specials
1970s American animated films
CBS original programming
1977 in American television
American football animation
Television shows written by Charles M. Schulz

redpajama_set_name: RedPajamaWikipedia


text:
'I felt defeated': Indigenous hockey player shocked by act of racism
by Derek Craddock
Posted Feb 27, 2020 12:55 pm MST
Last Updated Feb 27, 2020 at 12:56 pm MST
FILE PHOTO: A hockey puck on ice. (CREDIT: iStock user francisblack)
CALGARY (660 NEWS) – An Indigenous hockey player says her league needs to do more after another player hurled a racial slur at her.
Davina McLeod is originally from the Northwest Territories and plays on the SAIT women's hockey team.
She said a player from Red Deer College shouted the slur during a game earlier this month.
McLeod was shocked at the event saying on Twitter, "In all my years of hockey, I have never had to experience racism at that level, although I've heard stories of it happening. I fell defeated and taken back."
Now while the player did apologize in a letter, McLeod said it didn't go far enough.
She called the letter disingenuous and noted the player misspelled the word Indigenous twice.
Multiple indigenous players in the league just found out that we are not safe or protected by the @ACAC_Sport when racism occurs within. @SAIT_Trojans pic.twitter.com/0ZrrBFfNSY
— davina mcleod (@davinamcleod_7) February 25, 2020
McLeod is now calling on the Alberta Colleges Athletic Conference (ACAC) to take action.
"To have one of my favourite places in the world tainted by a few words of an indignant person breaks my heart," Mcleod said. "It hurts even more knowing that no actual consequences will be done by the ACAC as I have to continue living with the realization that Indigenous people are not safe from racism in their league."
She also took aim at Red Deer College, saying the school should have taken responsibility for the player's action but instead "started pointing fingers to players on our team."
hockey\ | indigenous | racism | SAIT


Touchable Dastagears Tale Hyderabad, Indien, 2015 The life of 21-year old Dastagear changed dramatically after a leprosy infection. The oldest documented disease in human history is nowadays curable - nevertheless it severely damaged Dastagears body. Only his mother knows about his illness, stigmatisation and superstition are still common in India: People get rejected by their families, cannot find a job and can't marry anymore. Often they are forced to move into a leprosycolony or end as beggars on the street. When Dastagear goes to the hospital for his long medical treatments he even keeps it a secret from his fiancé. He is too afraid of her rejection. According to the WHO, each year an estimated amount of 230.000 people are diagnosed with leprosy worldwide; the majority of 135.000 in India alone. In recent years scientists observed an increasing number of new infections, especially among youth.


text:
📢 Bharatpedia is now also available in the Meitei language. The platform was launched on December 28, 2021 after a request by user SonOfZeus.
Please visit mni.bharatpedia.org.in to know more.
City Corporation in Karnataka, IndiaTemplate:SHORTDESC:City Corporation in Karnataka, India
Kalpataru Nadu
City Corporation
Clockwise from top: Siddaganga Matha, Kote Anjaneya Swami Statue, Globe Library of SSIT, SIT, India Food Park
Nickname(s):
City of Coconuts, City of Education
Bayaluseemē
Tumkur District
Tumkur City Corporation
Fareeda Begum
• Commissioner
T Bhoobalan IAS[1]
• City Corporation
Tumkurian
Pincode(s)
+91-(0)816
KA-06
Official language
www.tumkurcity.mrc.gov.in
Tumkur (officially renamed as Tumakuru) is one of the industrial cities located in the state of Karnataka, also known as Shaikshanika Nagari (city of education) and Kalpatharu Nadu (land of coconut trees). Since 28 August 2010, Tumkur has been accorded the status of a City Corporation. It is situated at a distance of 70 km (43 mi) northwest of Bangalore, along NH 48 & NH 73. It is the headquarters of the Tumkur district. Tumkur hosts India's first mega food park, a project of the ministry of food processing. The India Food Park was inaugurated by Prime Minister Narendra Modi in September 2014.[3]
8 Educational institutes
9 Notable people
9.1 Actors
9.2 Arts
9.3 Politicians
9.4 Sports
Etymology[edit | edit source]
Etymologically, the name of the city is believed to have been mutated possibly from "Tumbe ooru" because of the abundance of thumbe hoovu, a kind of flower, or thamate ooru because of the folk musical percussion instrument thamate, that might have been used most here. It is also called the city of education and Coconuts (due to the abundance of coconut trees in the area)
Another story says that during the rule of cholas Gulur was their capital. Since Tumkur is at high elevation the guards used to be there on any hill with tumaki (a kind of drum) and used to make sound in case of any alerts, hence the name. The Indian central government approved the request to officially rename the Tumkur and 12 other cities in October 2014. The city officially became "Tumakuru" on 1 November 2014.[4]
Geography[edit | edit source]
Tumkur is located at 13°20′N 77°06′E / 13.34°N 77.1°E / 13.34; 77.1.[5] It has an average elevation of 822 metres (2696 feet). The city has a railway station on the South Western railway, 43 km (27 mi) northwest from Bangalore, 130 km (81 mi) southeast from Chitradurga city and 130 km (81 mi) from Kolar City.
Demographics[edit | edit source]
As of 2011 India census,[6] Tumkur had a population of 305,821. More than 5,00,000 people lived in the corporation limit. At the 2001 census, males constitutes 52% of the population and females 48%. Tumkur had an average literacy rate of 75%, higher than the national average of 59.5%: male literacy was 79%, and female literacy was 70%. About 11% of the population was under 6 years of age. The most common language in the city is Kannada.
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.
Find sources: "Tumkur" – news · newspapers · books · scholar · JSTOR (July 2018) (Learn how and when to remove this template message)
The known history of the Tumkur district begins with the Gangas.[7] The Ganga family ruled over the southern and eastern districts of the state from early in the Christian era to 1025 AD. The earliest record of The Ganga family found in this district belongs to about 400 A.D. After the Gangas, Tumkur was ruled by the Rastrakutas and The Chalukyas. The Nolambas under these rulers ruled the area for a long time. The cholas also ruled some parts of the district. The Vijayanagara Empire ruled supreme for the latter part of the 13th to 17th century. During the 18th and 19th centuries, Tumkur was ruled by The Wodeyars of Mysore until independence.
The Tumkur town municipality was set up by the Mysore Wodeyars in the 1916. Self-rule of the residents of Tumkur started after the setting up of the municipality. Tumkur was converted into a city corporation only in 2010 by adding 22 villages adjoining the city. The population is 3,05,877 as per the 2011 census. Tumkur is now a middle class majority city, with a literacy rate of 80%, mainly traders, government employees, small and medium industrialists, and self-employed individuals. The GDP of Tumkur is around 16600 crores (2014) and the total collection of income tax in the last financial year[when?] was approximately 80 crores. Being an Agrarian economy, the major plantation crops of Tumkur are coconut and areca nut. The major cash crops are paddy, ragi and groundnut. Iron ore, manganese and granite are the major minerals found in the Tumkur district.
Due to its proximity to Bengaluru, it acts as a gateway to North Karnataka, being on the Chennai – Mumbai industrial corridor and the infrastructure that Tumkur provides, it has the potential to be the satellite city to decongest the state capital Bengaluru . It also has been identified as National Investment and Manufacturing Zone (NIMZ). NIMZ of approximately 13500 acres and the HAL helicopter manufacturing facility (Nr Gubbi) 610 acres are being developed as integrated industrial townships with state-of-the art infrastructure and land use on the basis of zoning, clean and energy efficient technology, necessary social infrastructure, and skill development facilities, for promoting world class manufacturing activity. Tumkur is home to 24 large scale industries with an investment of 911.42 crores and generating an employment for 6445 persons. The existing 15 medium scale industries and 23804 micro and small industries employ 132994 persons and account for an investment of close to 790 crores. A 2000 MW of solar power plant on 11000 acres is being developed near Pavagada to cater to the power needs of Tumkur and adjoining districts.
Tumkur is a knowledge hub in the south interior of Karnataka. It has Tumkur University, two medical colleges, five engineering colleges, 38 degree and postgraduate colleges, one dental college and many polytechnics, high schools and primary schools.
The Indian budget for the year 2014-2015 held on 10 July 2014 announced that Tumkur was one of the cities in south India to be developed as an "Industrial Smart" [8] city. The city was also selected as one among the 100 in the country shortlisted for the Smart City project. Tumkur is competing now to be one among the 20 to be taken up for development this year.[when?] The government of India has promised 100 crores each as a matching grant for five years and the local body with assistance from the state government has to match another 100 crores. Thus, in five years, development in the amount of 1000 crores will happen in Smart City. The Tumkur District Chamber of Commerce and Industry under the leadership of Surendra Shah, President - 2014-16 is striving to make the City of Tumkur the most aspired city in India.
Climate[edit | edit source]
Climate data for Tumkur (1981–2010, extremes 1972–1999)
(102.0) 38.1
Average rainfall mm (inches)
(0.28) 2.4
(3.62) 124.5
Average rainy days
0.3 0.2 0.5 1.9 4.2 6.3 8.1 8.5 7.6 6.8 3.2 1.0 48.8
Average relative humidity (%) (at 17:30 IST)
Source: India Meteorological Department[9][10]
Transportation[edit | edit source]
Karnataka State Road Transport Corporation, KSRTC, has a divisional office situated in Tumkur City. The city is well-connected to Bangalore and other cities in the state by KSRTC buses. Volvo buses are available for the city, Bangalore. Frequent buses are available connecting other taluks and towns of the district. Three National Highways NH 48, NH 73 and NH 69 pass through the city. The three National Highways connect Tumkur to Hubli, Mangalore and Shimoga in Karnataka respectively. TCB Road(Karnataka)(Tumkur-Chelur-Bukkapatna Road) connects the people of Hagalavadi, Chelur and Bellavi Towns to Tumkur Corporation City. Plenty of private and Karnataka State Road Transport Corporation buses are currently operating on this route.
Railways also play a major role in connectivity. The city's Railway Station comes under South Western Railway Zone (India) and was constructed during the British period and has been renovated recently.[when?] It is located in centre of the city close to the bus stand and the town hall. It is located in the Bangalore-Hubli main line.
The city buses are also available for transportation within the city by KSRTC. Popularly known as Sri Siddaganga Nagara Sarige, named after the holy place, Siddaganga. There are more than 100 buses transporting in the city.
The nearest airport to Tumkur is Kempegowda International Airport in Bangalore which is around 90 km from the city.
Economy[edit | edit source]
Tumkur district's economy is majorly derived from agriculture. Plantation crops such as coconut, areca nut, paddy cultivation (some parts) attributes to its economy.
Tumkur City's economy comes from industries.
Educational institutes[edit | edit source]
Siddaganga Institute, Tumkuru
Akshaya Education Trust
Ashwini and Aruna Educational Society
Channabasaveshwara Institute Of Technology
H.M.S Education Society
H.M.S Unani Medical College & Hospital
Sacred Heart Education Society
Sarvodaya Education Society
Shridevi Education Trust
Siddaganga Institute
Sri Siddaganga Education Society
Sri Siddhartha Education Society
The Mary Salian Society (St.Mary's School Gandhi Nagar and Batawadi)
Tumkur university
Vidya Group of Educational Institutions Managed by Aspire Techno
Vidyaniketan Educational Institute
Vidyavahini Education Society
Tumkur is famous for Siddaganga Matha 5 km toward HITECH city flyover, known for providing free education and dorms for more than 9000 children. Karnataka Rathna Shivakumara Swami, was the president of this matha.[11]
Notable people[edit | edit source]
Actors[edit | edit source]
Arjun Sarja, actor
Jaggesh, actor
Sharath Lohitashwa, actor
Lohithaswa T. S., actor, writer
Manjula, actress
Narasimharaju
Siddhanth, actor
Ashika Ranganath, actress
Arts[edit | edit source]
Doddarange Gowda, poet
Amarashilpi Jakanachari, sculptor
Renuka Kesaramadu, painter and sculptor
Kunigal Nagabhushan, writer
T. Sunandamma, writer and humorist
B. M. Srikantaiah, writer known as Kannadada Kanva
T. N. Srikantaiah, poet, linguist and teacher
Chi. Udayashankar, lyricist
Gubbi Veeranna, theatre director
Politicians[edit | edit source]
G. S. Basavaraj, politician
K. Lakkappa, politician
S. Mallikarjunaiah, politician
Rank Nazeer Ahmed, politician
Dr. G. Parameshwara, former Deputy Chief Minister of Karnataka, former KPCC President
Sports[edit | edit source]
Poll Ashokanand, cricketer
Poll Shyamsunder, cricketer
Others[edit | edit source]
C. P. Sadashivaiah, Indian freedom fighter
Shivakumara Swami, supercentenarian, humanitarian, spiritual leader and educator
Media[edit | edit source]
Tumkur has a private FM radio channel, Siddhartha, situated at SSIT campus, broadcasting in Kannada language. Amogha local channel is Amogha Networks.
Bhanasankari Temple
Town Hall junction
↑ "Commissioner ". Tumakuru City Corporation. Retrieved 9 Sep 2015.
↑ 2.0 2.1 "City/Town Summary". Tumkur City Corporation. Retrieved 1 June 2016.
↑ "Modi inaugurates Mega Food Park in Tumkur". 24 September 2014 – via The Hindu.
↑ New City, Names to Karnatka. "New name for cities". The Hindu. Retrieved 1 November 2014.
↑ "Maps, Weather, and Airports for Tumkur, India".
↑ "Census of India 2001: Data from the 2001 Census, including cities, villages and towns (Provisional)". Census Commission of India. Archived from the original on 2004-06-16. Retrieved 2008-11-01.
↑ "History | District Tumkur, Government of Karnataka". Retrieved 2019-03-26.
↑ "Unauthorized Request Blocked". uddkar.gov.in. Retrieved 2019-03-26.
↑ "Station: Tumkur Climatological Table 1981–2010" (PDF). Climatological Normals 1981–2010. India Meteorological Department. January 2015. pp. 759–760. Archived from the original (PDF) on 5 February 2020. Retrieved 19 April 2020.
↑ "Extremes of Temperature & Rainfall for Indian Stations (Up to 2012)" (PDF). India Meteorological Department. December 2016. p. M104. Archived from the original (PDF) on 5 February 2020. Retrieved 19 April 2020.
↑ http://www.sreesiddagangamutt.org/
Retrieved from "https://en.bharatpedia.org.in/index.php?title=Tumkur&oldid=3525"
Cities and towns in Tumkur district
Cities in Karnataka
Pages using infobox settlement with possible nickname list


Your Excellency , where does your war on indiscipline starts and ends? We are pretty sure you must have already seen the screenshot of the recent post which your Deputy Minister of Internal Affairs, Lahai Lawrence Leema posted on Social Media wherein he once again wrongfully and baselessly accused Former President Ernest Bai Koroma of bringing mercenaries into Sierra Leone through the frontiers of our good neighbors- the Republic of Guinea.
Mr. President as a Peace and Conflict "Expert" we may want to believe that you are aware of the diplomatic implications of such accusations levied by a member of your Government against our neighbor in which he is implicating them of supporting former President Koroma to wage war in Sierra Leone?
Although Mr. Leema has deleted the post as a way to cover up the damage he has done, It was too late because the post had already gone viral and thousands of Sierra Leoneans had seen and continue to repost the said material.
Other Sierra Leoneans choose to archive the post for reference purposes. We may want to believe that Mr. Leema's actions has caused some huge embarrassment to your person and your Goverment. Except if you want to finally confirm what the Sierra Leonean public already know that Mr. Leema is operating under your command and full approval.
We the people of Sierra Leone strongly believe that an overzealous, unprofessional and uncivilized person in the name of Lahai Lawrence Leema has done enough damage to prove that he is ill prepared and unfit to hold any public office or position of trust. Therefore, he is being perceived by the general public as a trouble maker and a liability to your administration and Sierra Leone at large. However, the decision to retain or sack any member of your administration remains your prerogative. Thus, you are considered to be the person who bears the greatest responsibility if your actions or inactions contributes to any form of civil unrest whilst you still remain the President of Sierra Leone. Therefore, we hope you will endeavor to serve your conscience and in the best interest of Sierra Leone at all times.
Finally Mr. President, we would like to remind you that the Safety, Security and Stability of this great nation is in your hands.