Companies Act 2006, Section 1159 is up to date with all changes known to be in force on or before 26 April 2019. There are changes that may be brought into force at a future date. Changes that have been made appear in the content and are referenced with annotations.
or if it is a subsidiary of a company that is itself a subsidiary of that other company.
(2)A company is a "wholly-owned subsidiary" of another company if it has no members except that other and that other's wholly-owned subsidiaries or persons acting on behalf of that other or its wholly-owned subsidiaries.
(3)Schedule 6 contains provisions explaining expressions used in this section and otherwise supplementing this section.
(4)In this section and that Schedule "company" includes any body corporate.


text:
You Want to Work for AnOther
Holly Hay
Photographic Editor
AnOther Magazine
Yeah, so when I was at Saint Martin's I was in the fashion communication and promotion course, but I didn't enter it with an awareness of fashion. Which sounds strange, but I was advised the course when I was in foundation year. I actually wanted to do fine art and specialize in photography, but my professor told me, "You just won't do any work." I am not very good at self-motivation, I need targets, I need deadlines. So he was like, "You'll spend 3 years doing nothing. You need to do a course that's much more, almost vocational, really concentrating on one thing." I'd never considered fashion before, so that was quite a turning point. But I did start taking photos during the course, so when I left, I was a photographer. I took pictures, I got commissioned...
Yeah, I saw you got published by Dazed before you started working here.
Yes! So weird. It's all come full circle.
It took me a couple of years but I realized that I way preferred other people's photographs to my own, and that's not me being humble. That's just factual. I enjoyed taking pictures, and I liked the pictures that I took, but I didn't feel like they represented the aesthetic that I had in my head. So it just didn't match up for me, and it didn't satisfy me as much as a creative career should.
Then I met my now-husband who is a photographer and he just lives for it. You know what I mean? It's his entire world. He's got such an obsessive personality. He is completely addicted to it, and I was thinking, "I'm just not in that place." I'll always love it, but I started to get those feelings like, if I did this every single day, and had to do it for money, would I love it as much? I don't know if I would.
So those were the thoughts that were going through my mind, and I was taking photographs, working in a designer boutique, which was amazing because there were so many creative people working there. One of my best friends there was a stylist, one was a set designer, Georgina Pragnell, who's doing incredibly well now. One was a pattern cutter who now works for so many amazing designers. So it was a real creative place, really interesting people to meet there. But I didn't imagine myself working there forever.
I was on Facebook during my lunch break and a friend of a friend, Chloe Kerman, who was a stylist at the time, had left Tank Magazine. I knew she had gone on to work for this new magazine that everyone was really intrigued by but no one quite knew what it was. She posted on Facebook "We are in desperate need of a producer." I thought, "Oh, maybe I could do that."
At the time, the boutique that I was working for was closing down the woman's bit so I emailed her.
I was interviewed by Garage's managing editor at the time who's now one of my very good friends, Becky Poostchi, and she was having a dinner party at her house in France. So she was interviewing me on Skype while she was preparing for this dinner party. It gave me such a good feeling about it and I got the job. Garage completely changed my trajectory because it was something I'd never really considered. It was such an exciting project. It was a brand new magazine, and they'd never had an issue before. It was right at the beginning of their story, and it was so exciting to be a part of that.
Holly's INTERVIEW →
And now you're at AnOther, but I was in wondering in particular how you split your time between AnOther, AnOther Man, Digital AnOther, and Dazed Media Studio?
Laura Genninger, who was the art director for AnOther Man became creative director for AnOther at the same time I came on board. It was a lovely turning point for the magazine, I guess it was an excuse for them to think about who they were as a magazine and redefine all of those codes that make AnOther what it is.
At first, I was between digital, AnOther and AnOther Man, but how my time was split was quite interesting because the needs of each one were so different. For AnOther, we have a massive fashion team that has been here for so long. They are so creative and tight-knit and therefore have pretty precise ideas about who they want to shoot with. But the other sections of the magazine were really up for grabs. A massive portrait section in the beginning and we also have Document. All of those visual elements were something I was so passionate about and so lucky to be involved in. In short, I took care of front sections and anything that wasn't a direct fashion story.
Also building a relationship with Laura from the beginning of her story at AnOther was exciting because it was new for both of us and she really wanted to have a conversation about it.
And then on to Man, which was a bit more mixed. I've actually stepped away from it recently, but at the time I did a lot of research. They have a massive amount of archive imagery in the issue, so I did a lot of that for them. Alister Mackie, the creative director, would have this image, and you'd think, "Where the hell did you find that?" And you'd have to source it, find out who took that picture, the story behind the image, etc. So it was a research project, in a way. He has such a specific way of doing the magazine. He creates this scrapbook every issue, which is almost a page-for-page reference for what the atmosphere of the magazine is going to be. It's a really incredible way to work; you have to unpick those references and decide who photographically could represent that.
When I first joined AnOther, the editor for the website was still the person who started it, Laura Bradley and we went to Central Saint Martins together. It was really amazing to reconnect with someone that I studied with, and we were so in line with our aesthetic and our sensibility for imagery.
I'm so interested in the digital side for AnOther because we're a bi-annual magazine which means the appetite is so there for our reader. Also, the things and people that we have access to are so extraordinary, but we only have a certain amount of pages in the magazine. It's really exciting to be able to extend the stories online or to engage an emerging photographer and give them a project that excites them. What's amazing about AnOther as a company, is that we're so loyal to our contributors. It doesn't feel like we're saying, "Oh. This is all we're ever going to give you, online pieces." There are so many photographers that we've commissioned for online that have graduated into being a big part of the print magazine, which is really lovely.
That's such a nice space to give people a chance to grow and to foster new talent. That must be so exciting for you, too.
Yeah, and to be able to get them in front of the whole team. It's a real excuse to show what these people can do and what they're capable of. That is what I'm ultimately so passionate about, is meeting new photographers. New photographers to me though, they could have been working for years. Finding out what defines their process and what engages them. Trying to give them projects that satisfy that for them and really excite them and get them meeting amazing people to inspire them. That's what it's really about for me.
Then Laura Bradley, who was editor of the site, went on to become editorial director for Dazed Media Studio. She's there building their identity as a creative agency. So that was my in with the commercial side of the company. Her first project, which is an ongoing thing, is doing all of the social for Miu Miu.
Oh yeah because I saw that you worked on their eyewear campaign. It was so good.
It was gorgeous, wasn't it? I love Victoria who did that film. She brought me onboard for that, which was such an incredible thing to be a part of.
When you're looking at the shows and more specifically how the set and location were used to further the collection, how does that affect the way that AnOther reacts editorially?
It has the biggest impression on the magazine. We basically can't even think about the magazine until the editors have come back from the shows. There might be carryovers, ideas of photographers that they want, that everyone wants to talk about, and also in terms of themes, that all comes out of the shows as well.
I also find it really interesting because I don't go to the shows. So after they come back and they've digested everything, I'm so interested in the stories and ideas that they've seen and seen repeated. Those threads are stitched throughout the whole issue, but it does come from a fashion perspective.
On AnOther and Dazed Media +
I don't know if you read the Dazed 25th-anniversary issue, but they had loads of people write in and share their favorite memories of Dazed. It's really amazing to read that because that still exists. It's grown so much. People can't believe it when they walk into the office, how many people there are because they're are so used to going to visit independent publications, and there being 4 people around the table. Where Dazed is a massive company, and it has to be, because there's so much to be done. But it's still a real team spirit. To be honest, that all comes from Jefferson, he's so endlessly passionate about what he does and not afraid to give people large amounts of responsibility.
Yeah, because you're never going to get the extent that you want to from your employees unless you put trust in them.
It's so not a micromanaging situation up there. People are allowed to do their jobs, and I think that shows. Also, it's like people give a shit about each other. They've bothered to employ such interesting, intelligent, creative people, so they let them do their jobs. That's how you get the best out of people.
Jefferson Hack is one of the leaders in fashion publications and has never been afraid to experiment and break traditional approaches, which the industry has celebrated. What do you think that says in regards to where publishing is heading?
I'd love to have that conversation with Jefferson because he is so interested in new technology and pushing those boundaries, but he always brings it back to publishing. That's what was so interesting about the digital edition that AnOther did a couple years ago. It was still at it's core all about publishing but how to further that experience and make it more precious. I think that's probably where it's going, isn't it? It's no way disappearing anytime, you know?
I completely agree.
It's become... it's not luxury. It's just become more precious and timeless.
We did a hologram of Karl Lagerfeld on one issue. Then there was this other one where we had a Willy Vanderperre and Katy England shoot mounted a postcard on the magazine. It all felt really collectible. I think that's also interesting when you think about different covers of a magazine and making that special. How is it defining this moment.
For sure because the magazines that I buy now I'd like to think that one day my kids will look through and really get a sense of what was happening.
It's like a record. It becomes an archive.
Yeah, and you can't find that in digital. It doesn't work that way, because you only really pull up exactly what you're searching for.
Yeah, it just doesn't translate. I think for a bi-annual magazine, the time that goes into developing a piece of content is so thought out. It goes through so many rounds of development. It's so considered who we're going to interview and then the team that's put together to bring that to life. I guess it also must become important to the people who are being interviewed, who are being photographed because, in a way, it defines a moment for them too.
Susannah Frankel who's the editor in chief now, she's putting a...
She's done a great job.
She's the most unbelievable person to be around on a daily basis. She's so present and so approachable, and she's put this fashion lens on everything that the magazine does now. It's really pulled it all together.

redpajama_set_name: RedPajamaCommonCrawl


text:
The Mountain Star Team
MST Gives Back in Memory of Pearl, an AHS Senior Rescue
Back in March of 2020, during the early stages of the pandemic, my husband
and I adopted a portly little dog named Pearl from the Asheville Humane Society. We
named her Pearl because she was grey and white in color, fairly rough around the
edges, and so delightfully round. Pearl was a senior dog, and unfortunately came to
us with a number of health issues and only four awkwardly spaced teeth that she
would gladly display for you should you remain in her personal space for too long.
To be clear, Asheville Humane Society was very forthright about Pearl's less
glamorous attributes before we adopted her, and Pearl proudly exhibited her ornery
disposition the moment we were all introduced. So despite a first meeting that could
charitably be described as disastrous, we decided to adopt Pearl and hope for the
best. In hindsight, it was one of best decisions we've ever made.
Oddly enough, Pearl acclimated to her new home very quickly. She
apparently did not reach her ripe old age by luck alone as shown by her frequent
and surprising displays of intelligence. As the days passed, Pearl learned the
routines of the house from our other animals, and even began whining until my
husband would pick her up and put her in our bed at night. For each little milestone
in our evolving relationship, we took joy in the knowledge that Pearl was beginning
to feel a sense of security, and maybe even an actual affinity for her new family.
Things were going well, and it wasn't long before Pearl began showing us her
more lovable traits on a regular basis. She loved going on short walks and long
stroller rides. She enjoyed sunbathing in the back yard whenever weather
permitted. She was also the most photogenic dog we've ever owned! Pearl eased
into her new schedule, and stuck to it on most days. In the morning, she was at her
sweetest, and we began calling her "Early Pearly" to indicate when she was feeling
particularly approachable. In contrast, "Surly Pearly" or "Pergula", would also emerge every now
and then, and we knew it was best during these times to leave her alone. For the
most part, however, Pearl really enjoyed her new life and her new family loved
having her as well.
My husband and I have had many senior dogs over the years, and we know
about the inevitable heartache that comes when we have to say goodbye to them.
We've never really been "ready" to say goodbye, however, despite that knowledge,
and especially so when our relationship with a dog is just beginning to blossom.
Unfortunately, we had to say goodbye to our sweet Pearl after a prolonged but
unsuccessful hospital stay about 9 months after adopting her. Our time with Pearl
seems so fleeting to me now. We had the opportunity to smile and snuggle together
for a short time, and then one day she was gone.
We were heartbroken in those days and weeks after losing Pearl, but I always
took solace in the fact that Pearl had a better life being with a family that loved and
cared for her than she would have had otherwise. Although we suffered and cried
after her loss, our sweet Pearl got to live out her last days in relative comfort and
peace, and that's what made it all worthwhile for us. If you adopt a senior dog, there
will inevitably come a day where you have to say goodbye, but otherwise the
relationship has reciprocal benefits: you provide the snuggles for them, and they
will provide you with smiles that you'll keep forever. Mountain Star Team is a
proud supporter of the Asheville Humane Society because of wonderful animals like Pearl, and would urge anyone capable to consider adopting, fostering or otherwise supporting their cause.
-Heather Hines, Mountain Star Team Broker-In-Charge
Update: after taking some time to grieve the loss of our dear Pearl, we found another senior dog who needed a home at Asheville Humane Society. His name is Gordon. He is deaf, and he is wonderful.
Contact The Mountain Star Team
RE/MAX Executive Asheville · All Rights Reserved · Designed by Charlotte Realty Services


text:
Q: JPEG: Any dimensional size limits? Specifically, 220400w x 5400h.  Any problems (besides of course machine limitations) to generating images of this dimension?

A: The max dimensions of a JPEG file are 64K x 64K.

redpajama_set_name: RedPajamaStackExchange


Eduardo looked mad when Phil said that.
Do you know Dimetry's plans?
How often does Rudolph see Suresh?
You never gave Heidi a chance.
Everett waited until I got there.
Norma said he wanted to be there before 2:30.
Agatha hasn't been accused of anything.
Sekar had to sell his car to help pay his debts.
Pia will do a wonderful job.
I get the distinct impression that somebody doesn't want Devon to leave.
Jayesh jumped off the diving board.
Cynthia had a look of desperation on his face.
Ginny did it as a publicity stunt.
Amy is the person I was talking about.
Teresa shared the food that his mother had given him with his friends.
I expect that Pratapwant will do more.
James thought Ramiro knew where to buy black pepper.
Laurence had the same problems.
Plastic tied an apron around her waist and then took the turkey out of the oven.
I just found out that Those is wealthy.
Joni said he knew where the body was buried.
Isidore should be the manager.


What an outstanding experience! We fit in so much during our week at the lodge. The staff and other guests from FL quickly became new friends and we had some great times together. We returned home with halibut, salmon and crab to last us awhile and the fishing, hiking, kayaking, wildlife and great jokes will always be remembered as some of the many highlights of the week. Our expectations were exceeded. Now the countdown begins for our next visit to Raspberry Island.
Thanks Birch, Tiffany, Mike, Chelsea, Scott, Devin, Sage, Fisher, Kenny and Linda. We had a lot of fun.


I feel confident that I have now made all the adjustments to the CSS and now will have to clean up the mess I made here. At the same time, I will implement Colin's adjustments to replace the title of title-less posts (I know…) with the date. This will make it easier in the WP-admin interface. Maybe I will come up with another solution, but in the meanwhile this will do.


Windber Medical Center has named Eva Eagler as the new Director of Marketing and Public Relations. Eagler manages all internal and external marketing of the hospital and its events. She handles the release to the public and various media outlets information about the facility, events, awards, and employee recognitions while protecting the confidentiality, health and legal rights of each patient. Eagler also coordinates a public relations strategy for each media request in order to allow Windber Medical Center's response to be unified, well-explained, and representative of hospital policies.
Eagler brings with her nearly 15 years experience in marketing to large, small and non-profit businesses. She holds a B.A. in Communications, Public Relations and Advertising from the University of Pittsburgh at Johnstown. Eagler previously held positions at The Tribune-Democrat, Warner Brothers Television, and Kane and Company advertising.
Opened in 1907, Windber Medical Center is a non-profit community based medical center and the only PlaneTree hospital in Pennsylvania designated to improve the quality and length of life by serving mind, body and spirit..


Mental health and well-being embedded into new staff induction training programme and staff training sessions on mental health and well-being topics.
Year 9 Mental health day.
Wildern Wellbeing Week where a programme, developed by the Mind, body and soul focus group, was delivered to the whole school.
Student Services team includes staff trained as ELSA and bereavement support advisor.
Counselling service also offered to students from feeder primary schools.
Comprehensive Peer Mentor Training (Chums).
Parental access to support programmes such as Talking Teens and The Parenting Puzzle.
'The Hub' provision for vulnerable students.


text:
Q: Laravel, Carbon. Get count of hours for a specific month between dates How to get the number of hours referring only to the one month between 2 dates?
For example, how to get count of hours for December for first or for second row at the screenshot?

I tried this (subMonths generated in the loop, so no worry about it):
$bookings = Booking::whereDate('departure_date', '>=', Carbon::now()->subMonths($i)->startOfMonth())
                   ->orWhereDate('arrival_date', '<=', Carbon::now()->subMonths($i)->endOfMonth())->get();

and then:
foreach ($bookings as $book) {
   echo Carbon::parse($book->departure_date.$book->departure_time)->diffInHours(Carbon::parse($book->arrival_date.$book->arrival_time));
}

But in this case I get count of hours for whole booking, how to get it only for December?
p.s. I need this for calculating the statistics (booking percentage).

A: You would likely need to ->addMonth() then go to the ->startOfMonth() then use diffInHours().
Carbon::parse($book->departure_date)
    ->addMonth()
    ->startOfMonth()
    ->diffInHours(Carbon::parse($book->arrival_date.$book->arrival_time));

I've omitted $book->departure_time otherwise the timestamp wouldn't be the first second of the first day of the month.


There have been a lot of questions lately about inserts on our Facebook page, so I'll do my best to explain what I know.
When I started couponing several years ago, inserts were found in Saturday newspapers (The Times & Transcript and the Telegraph Journal), and often in the weekly flyer packs in the Greater Moncton area.
It's important to note that if you have a home subscription to the paper, you don't also receive the flyer pack.
If you don't receive your flyers and don't subscribe to the paper, call your local distributor to be added to the delivery list.
I started to need multiples to purchase items for Ronald MacDonald House. So I simply dropped by the stores in my area where I frequently shop. I explained that I'm a couponer and looking for the coupon inserts in the leftover newspapers on Sunday nights. The majority of stores immediately said it was no problem.
So whenever there are coupon inserts, I go around Sunday night and collect the extras.
How do you know when there are inserts? Click HERE for a guideline. They sometimes come the week after they are scheduled due.
The inserts have been sporadic in The Times & Transcript for the last year or so. The Telegraph Journal has the inserts more often but still not all the time.
The flyer packs are the best source and but tricky to get extras of.
Asking friends, neighbours & family to save them for you is an idea.
These are also sporadic. For example, sometimes Moncton North will have the insert in the flyers and Riverview will not.
The same happens with the newspaper. When this happens, I call my distributor and ask Customer Care to review the list of what was supposed to be in my paper or flyer pack. If it's determined that I should have received it but I didn't - I ask if there are extras left so I can come pick one up when I'm in the area.
I think we can agree that it would be nice for consistency ~ and hopefully if we all call them when our coupons are missing ~ they will look into it and get to the bottom of it!
Trading is another great way to get extras. Request to join our trading group HERE.
Don't forget Coupon swaps!! We host regular bi-weekly coupon swaps that are free to attend. People like me who have extras bring them to share. It's a great way to meet others who have caught the couponing bug 🙂 Click here to see upcoming swap.
I hope this sheds some light on coupon inserts for you!


text:
Official: Mady Camara joins Roma on loan from Olympiakos
Roma have announced the loan signing of Guinean midfielder Mady Camara from Olympiakos.
Camara, 25, joins the club for the remainder of the current campaign from Greek side Olympiacos.
As part of the overall agreement, there is an option to make the transfer permanent at the end of the 2022-23 season.
"I am really pleased to be here, joining Roma is a big opportunity for me," Camara said.
"It is going to be a busy season, in both the league and the cups, but I am here to make my contribution and help the side in every competition that we play in.
"It was magnificent to experience the Olimpico atmosphere and see all the fans; I cannot wait to play in front of them."
A full Guinea international, Camara has spent the past four seasons at Olympiacos – winning the Greek title on three occasions.
He also lifted the Greek Cup in 2020, the same year he was named his country's Player of the Year.
"Camara has a number of characteristics, both technical and physical, that we have been looking for," said Tiago Pinto, the club's General Manager.
"I am certain that he will take on this new challenge with the same character that he has demonstrated throughout his career and that he will do everything he can to establish himself at this club."
Camara has opted to wear the No. 20 shirt for the Giallorossi.
Roma open to Zaniolo departure in January
Roma and Valencia negotiate fee for Justin Kluivert's permanent deal
Francesco Totti in awe of Dybala: "He's a phenomenon."
Salzburg's Nicolas Capaldo previews Roma Europa League match-up


Have you got the slippin' clutch blues? This lightweight 10-1⁄2" clutch assembly only weighs 39 lbs. and offers superior clamping pressure. The organic disc has the common 1-1⁄8" x 10 spline with a factory-style sprung hub and the flywheel is a lightweight 153 tooth piece for 2-piece rear main S/B Chevys.
Pressure plate has a 2800 lb. clamp load rating, which is 25% higher than stock.


text:
Stunner: Solar and wind power alone could provide four fifths of U.S. power
A new study finds that wind power and solar photovoltaics could by themselves meet 80 percent of all U.S. electricity demand.
CREDIT: MARTIN BARRAUD VIA GETTY IMAGES
"Five years ago, many people doubted that these resources could account for more than 20 or 30 percent," co-author Steven Davis of the University of California at Irvine (UCI) explained in a news release. So, "the fact that we could get 80 percent of our power from wind and solar alone is really encouraging."
It's especially encouraging for two additional reasons. First, the price of solar and wind have been dropping rapidly.
This chart from Reuters last week shows that power from wind and solar are already the cheapest sources of power.
Second, the study only examined how wind and solar could power the grid. In doing so, it found these two sources alone could provide 80 percent of the power. This still leaves 20 percent that could be provided by a variety of alternative types of carbon-free power.
And in terms of alternate carbon-free power sources, hydropower already provides 6.5 percent of U.S. power while geothermal and biomass together add another 2 percent. All of those can be expanded.
In addition, while most current nuclear plants are bleeding cash (and so new nuclear power doesn't make much economic sense), even a modest carbon price would at least keep most existing plants competitive enough to support any transition to high renewable penetration. Nuclear currently provides nearly 20 percent — one fifth — of U.S. power.
For this latest study, scientists at the Carnegie Institution for Science, UCI, and CalTech looked at 36 years of hourly U.S. weather data "to understand the fundamental geophysical barriers to supplying electricity with only solar and wind energy."
The key to achieving 80 percent penetration of just solar... Read the rest of the story on ThinkProgress.org HERE
Jonathan Young March 30, 2018 solar, Solar Energy, Solar power, renewable energy, renewables, US, study
Virginia Supreme Court Ruling Makes It Easier to Shop for Renewable Energy
Jonathan Young March 30, 2018 va, solar, Solar power, solar energy, Renewables, renewable energy
California ski resorts embrace renewable energy and hope skiers will love it
Jonathan Young March 26, 2018 solar, Solar Energy, solar power, renewables, renewable energy, LA, Cali, California, ski, skiing, snowboarding, resorts


2017 MTN Hitmaker winner Freda Baffour Awuah aka Freda Rhymz got signed to DBlack's Black Avenue Muzik label January last year and shes 100% certain nothing will make her part ways with the record label.
In an interview with AmeyawTV, the 'Jamming' hitmaker revealed she is not just under a record label but a "family" and as such she cannot live without her family.
Unveiled among seven others signed to the BAM record label last year, the rapper has 3 projects under the label and gave exclusive details on her frist EP set to be released this year.
With recent rumors of singer MzVee leaving Lynx Entertainment after years of working under the record label, I do Freda's dream of staying with Black Avenue Muzik till the end materializes.


text:
[Federal Register: January 22, 2001 (Volume 66, Number 14)]
[Rules and Regulations]
[Page 6483-6487]
[DOCID:fr22ja01-25]
50 CFR Parts 13 and 17
RIN AG44
Response to Public Comments on Amending General Permitting
Regulations Relating to Habitat Conservation Plans, Safe Harbor
Agreements and Candidate Conservation Agreements With Assurances
AGENCIES: Fish and Wildlife Service, Department of the Interior.
ACTION: Final rule; affirmation.
SUMMARY: On June 17, 1999, the U.S. Fish and Wildlife Service (Service)
published a final rule amending parts 13 and 17 of title 50 of the Code
of Federal Regulations (CFR). This rule created regulations for the new
Safe Harbor and Candidate Conservation Agreements with Assurances
policies, and also dictated when the permitting requirements of Habitat
Conservation Plan (HCP), Safe Harbor Agreement (SHA) and Candidate
Conservation Agreement with Assurances (CCAA) permits, issued under the
authority of section 10 of the Endangered Species Act of 1973, as
amended (ESA), will vary from the Service's general part 13 permitting
requirements. On February 11, 2000, we published a request for
additional public comment on seven specific regulatory changes that
altered the applicability of 50 CFR part 13 to permits for HCPs, SHAs
and CCAAs. Based on our review of the comments, we have decided not to
repropose any of the amendments to part 13 or part 17.
DATES: Final rule published on June 17, 1999 remains effective.
ADDRESSES: Chief, Division of Conservation and Classification, or
Chief, Division of Consultation, Habitat Conservation Planning and
Recovery, U.S. Fish and Wildlife Service, 4401 North Fairfax Drive,
Room 420, Arlington, Virginia 22203 (Telephone 703/358-2171; Facsimile
703/358-1735).
FOR FURTHER INFORMATION CONTACT: Nancy Gloman, Chief, Division of
Conservation and Classification, U.S. Fish and Wildlife Service
(telephone 703/358-2171, facsimile 703/358-1735), or Renne Lohoefener,
Recovery, U.S. Fish and Wildlife Service (telephone 703/358-2171,
facsimile 703/358-1735).
The Service administers a variety of conservation laws that
authorize the issuance of certain permits for otherwise prohibited
activities. In 1974, we published 50 CFR part 13 to consolidate the
administration of various permitting programs. Part 13 established a
uniform framework of general administrative conditions and procedures
that would govern the application, processing, and issuance of all
Service permits. We intended that the general part 13 permitting
provisions would apply to the various Federal wildlife and plant
programs administered by the Service and that the specific permitting
requirements applicable to each of these programs would supplement
rather than replace the general part 13 requirements.
Subsequent to the 1974 publication of part 13, we added many
wildlife regulatory programs to title 50 of the CFR. For example, we
added part 18 in 1974 to implement the Marine Mammal Protection Act,
modified and expanded part 17 in 1975 to implement the ESA, and added
part 23 in 1977 to implement the Convention on International Trade in
Endangered Species of Wild Fauna and Flora (CITES). These parts
contained their own specific permitting requirements in addition to the
general permitting provisions of part 13.
With respect to most of the programs under the ESA, the combination
of part 13's general permitting provisions and part 17's specific
permitting provisions have worked well since 1975. However, in three
areas of emerging permitting policy under the ESA, the general approach
of part 13 has turned out to be
[[Page 6484]]
inappropriately constraining and narrow. These three areas involve the
Habitat Conservation Planning, Safe Harbor, and Candidate Conservation
Agreements with Assurances programs.
Congress amended section 10(a)(1) of the ESA in 1982 to authorize
incidental take permits associated with HCPs. Many HCP permits involve
long-term conservation commitments that run with the affected land for
the life of the permit or longer. We negotiate such long-term permits
recognizing that a succession of owners may purchase or resell the
affected property during the term of the permit. The Service does not
view this system as a problem, where the requirements of such permits
run with the land and successive owners agree to the terms of the HCP.
Property owners similarly do not view this arrangement as a problem so
long as we can easily transfer incidental take authorization from one
property owner to the next.
In other HCP situations, the HCP permittee may be a State or local
agency that intends to sub-permit or blanket the incidental take
authorization to hundreds if not thousands of its citizens. We do not
view this activity as a problem so long as the original agency
permittee abides by, and ensures compliance with, the terms of the HCP.
The above HCP scenarios have not been easily reconcilable with
certain sections of part 13. For example, 50 CFR sections 13.24 and
13.25 generally impose significant restrictions on right of succession
and transferability of permits. While these restrictions are well
justified for most wildlife permitting situations, they have imposed
inappropriate and unnecessary limitations for HCP permits where the
term of the permit may be lengthy and the parties to the HCP have
foreseen the desirability of simplifying sub-permitting and permit
transference from one property owner to the next, or from a State or
local agency to citizens under its jurisdiction.
Similar problems also could have arisen in attempting to apply the
general part 13 permitting requirements to permits issued under part 17
to implement SHAs and CCAAs. A major incentive for property owner
participation in the Safe Harbor or Candidate Conservation Agreements
with Assurances programs is the long-term certainty the programs
provide, including the certainty that the take authorization will run
with the land if it changes hands and the new owner agrees to be bound
by the terms of the original Agreement. Property owners could have
viewed the limitations in several sections (e.g., sections 13.24 and
13.25) as impediments to the development of these Agreements.
We promulgated revisions to parts 13 and 17 of the regulations that
specify the instances in which the specific permit procedures for HCP,
SHA, and CCAA permits will differ from the general part 13 permit
procedures. We published a proposed rule on June 12, 1997, (62 FR
32178) to change the regulations at 50 CFR part 17 in order to
implement the new SHA and CCAA policies and to revise the way in which
the part 13 regulations would apply to the specific HCP, SHA, and CCAA
regulations. On June 17, 1999, we issued a final rule (64 FR 32706)
that created regulations for the SHA and CCAA policies, and changed the
applicability of parts of the general part 13 permit regulations to the
HCP, SHA, and CCAA programs. We also published a notice on September
30, 1999, (64 FR 52676) to correct certain errors that appeared in the
final regulations. On February 11, 2000, we published a request for
additional public comment (65 FR 6916) on the seven specific regulatory
changes that altered the applicability of part 13 to the HCP, SHA, and
CCAA programs and that were part of the June 17, 1999, final rule. This
document responds to the additional public comments we received as a
result of the February 11, 2000, notice.
Summary of Comments Received
We received approximately 450 comments from individuals,
conservation groups, trade associations, Federal, State and local
agencies, businesses, and private organizations in response to our
February 11, 2000, request for additional comments on our June 17,
1999, final rule. Because most of these letters included similar
comments (more than 350 were form letters received electronically), we
grouped the comments according to issues. We further divided these
issues into two sets. The issues in the first set deal with the June
17, 1999, final rule as a whole. The issues in the second set pertain
to the individual sections of the June 17, 1999, final rule and are
organized accordingly. In addition, we received a number of comments,
including comments on the February 23, 1998, ``No Surprises'' final
rule (63 FR 8859) itself and on the HCP program in general. These
comments are beyond the scope of our request and we are not responding
to those comments as part of this process. The following is a summary
of the relevant comments and the Service's responses.
Issue 1: We received over 300 comments on the public notice process
associated with the June 17, 1999, final rule. Most commenters appear
to believe that the February 11, 2000, request for additional comments
was in fact the first opportunity for the public to comment on the
proposal to conform the general permit regulations of part 13 to the
HCP program. For example, many of the commenters stated that they
viewed it to be ``a flagrant subversion of the concept of public notice
and comment for the government to make important final rule changes and
subsequently, many months later, solicit public comment on them.''
Response 1: Although not within the scope of the request for public
comments, we believe these comments warrant a response because they
indicate a high level of confusion concerning the nature of the
February 11, 2000, notice seeking additional public comment. We believe
that we have provided the public more than adequate notice to review
comment on the June 17, 1999, final rule. The February 11, 2000 request
for public comment was the second opportunity, not the first, that the
public had to comment on changes to part 13 contained within our June
17, 1999, final rule. We first proposed changes to part 13 in order to
conform part 13 with the HCP program in June of 1997.
In the summary section of our June 12, 1997, proposed rule (62 FR
32178), we stated, ``in addition, the Service proposes technical
amendments to its general regulations (50 CFR part 13) which are
applicable to all of its various permitting programs. These proposed
revisions would clarify the application of existing general permit
conditions to the permitting procedures associated with Habitat
Conservation Plans, Safe Harbor Agreements and Candidate Conservation
Agreements issued under section 10 of the Act.'' The background section
of the June 12, 1997, proposed rule went into great detail on the basis
for proposing changes to part 13 stating, ``in most instances, the
combination of part 13's general permitting provisions and part 17's
specific permitting provisions have worked well since 1975. However, in
three areas of emerging permitting policy the `one size fits all'
approach of part 13 is inappropriately constraining and narrow.'' In
the public comments solicited section of the June 12, 1997, proposed
rule, we also specifically requested comment on ``the proposed
regulatory changes to 50 CFR parts 13 and 17.'' Our June 12, 1997,
rule would have dealt with the potential for conflict between parts 13
and 17 by providing in the scope section of the part 13 (50 CFR 13.03)
that the specific provisions in the HCP, SHA and CCAA regulations, and
associated permits and agreements, would control wherever they were in
conflict with the general part 13 permitting regulations. In the June
17, 1999, final rule, we chose to make seven specific changes to parts
13 and 17 that removed the potential for conflict, rather than to
change the scope of part 13. We view the final approach as well within
the scope of the initial proposal and completely conforming to the
public notice requirements of the Administrative Procedure Act.
In our public notice of February 11, 2000, we sought additional
public comment on our specific changes to the permitting regulations
found in our June 17, 1999, final rule. The specific issues we received
are arranged according to the relevant regulation with a summary of the
June 17, 1999, final rule changes. Our responses to the issues raised
Section 13.21(b)(4)--Issuance of Permits
We revised the HCP permit issuance criteria in sections 17.22(b)(2)
and 17.32(b)(2) to except HCP permits from section 13.21(b)(4) and also
included a similar provision in the SHA and CCAA permit regulations
(sections 17.22(c)(2) and (d)(2) and 17.32(c)(2) and (d)(2)). Section
13.21(b)(4) generally prevents the Service from issuing a permit for an
activity that ``potentially threatens a wildlife or plant population.''
However, the specific issuance criteria for HCP, SHA, and CCAA permits
all require a finding that the permit will ``* * * not appreciably
reduce the likelihood of survival and recovery of the species in the
wild.'' See, for example, 50 CFR 17.22(b)(2)(i)(D).
Issue 2: We received four comments specifically on the
applicability of section 13.21(b)(4). One commenter opposed the
revision, and three commenters supported it. The comment in opposition
to the change believed that it would shift the standard for permit
issuance from ``survival and recovery'' to ``continued existence.''
Response 2: The old provision under section 13.21(b)(4) was
unnecessary and potentially in conflict with the issuance criteria for
permits under the HCP, SHA, and CCAA programs. The decision to rely on
the permit issuance criteria in section 10 of the ESA instead of on
part 13 has not changed our standard for HCP permits. The provision in
section 13.21(b)(4) predates the creation of the HCP program by
Congress in 1982. Although the standard in section 13.21(b)(4), with
its focus on ``potential threats to a wildlife population,'' works well
for research permits, it is not well suited to the HCP program which
does allow for incidental take in a population if it is minimized and
mitigated to the maximum extent practicable. This standard is also
arguably inconsistent with the species-focused statutory issuance
criteria created by the 1982 amendments to the ESA. Our June 17, 1999,
final rule changes to parts 17.22(b)(2), (c)(2), (d)(2) and
17.32(b)(2), (c)(2), and (d)(2) retain the criteria for the issuance of
permits associated with an HCP, SHA, or CCAA as, among others, ``* *
not appreciably reduce the likelihood of survival and recovery. * * *''
Therefore, this standard for these permits did not shift.
Section 13.23(b)--Amendment of Permits
We revised section 13.23(b), which generally reserves to the
Service the right to amend permits ``for just cause at any time.'' The
revision clarified that the Service's reserved right to amend HCP, SHA,
and CCAA permits must be exercised consistently with the assurances
provided to permit holders through the permits and regulations.
Issue 3: We received four comments on the change to section
13.23(b). All four commenters supported the change, noting that the old
provision was arguably inconsistent with the ``No Surprises'' final
rule.
Response 3: We agree that the revision removes a potential conflict
between the general provisions of part 13 and the more specific permit
regulations in part 17.
Sections 13.24 and 13.25--Right of Succession by Certain Persons and
Transfer of Permits and Scope of Permit Authorization
We revised sections 13.24 and 13.25 in order to expand and
streamline the process for permit succession or transfer. We also
revised section 13.25(d) to describe the circumstances under which a
person is considered to be acting under the direct control of a state
or local governmental entity and therefore is entitled to act under the
authority of an incidental take permit issued to the state or local
governmental entity.
Issue 4: We received six comments on the revisions to sections
13.24 and 13.25. Five of the comments voiced support for the changes,
noting that ease of transferability will make the permit more
worthwhile to landowners. One comment, on behalf of a number of local
governmental entities, raised two issues concerning the revisions to
section 13.25(d). This commenter felt that the term ``under the
jurisdiction'' was vague and suggested we use non-limiting examples to
indicate that any person whose activities are subject to the customary
planning, permitting, and regulatory activities of a local government
would be considered a person ``under the jurisdiction'' of the
governmental entity for purposes of section 13.25(d). This commenter
also felt that the use of the term ``permit'' was problematic because
local governments sometimes operate in a permitting capacity without
actually issuing a permit (e.g., resolutions, ``conditions'' or
``requirements'').
Response 4: The old provisions at 13.24 and 13.25 were justified
for most wildlife permitting situations, but not for HCPs, SHAs, and
CCAAs. These agreements often involve substantial long-term
conservation commitments, and we negotiate such agreements recognizing
that there may be succession or transfer in land ownership during the
term of the permit.
We agree that any person whose activities are subject to the
customary planning, permitting, and regulatory activities of a state or
local government would be considered a person ``under the
jurisdiction'' of the governmental entity for purposes of section
13.25(d). We also believe that the second qualifying statement that
``the permit provides that such persons may carry out the authorized
activity'' sufficiently narrows the scope of the transfer of take
We do not believe that the ``permit'' concept should be broadened
to include circumstances in which an individual does not execute some
type of document with the Service or a local governmental entity
sponsoring an HCP. We structured section 13.25(d) to accommodate
situations in which a local government is not regulating an activity
through a local permit, but still wants to sponsor a regional HCP
permit using a subpermitting process. In those situations the local
government must still use some type of written instrument to include
individuals within the permit's coverage, in accordance with the
implementing agreement for the HCP. We, therefore, do not view the
current language in section 13.25(d) as posing the problem raised by
the comment.
Issue 5: Another commenter believed that the emphasis in section
13.25(d) on local governments meant that private conservation banks
would not be allowed. The commenter recommended that this section be
changed to allow
private entities to pass on the take authorization of a permit to
individuals who purchase conservation bank credits.
Response 5: We designed section 13.25(d) to provide a process for
local governments to assist with HCP implementation on a regional basis
through the exercise of local land use authority. We do not view
section 13.25(d) as prohibiting private conservation banks in any way,
but we also do not view it as the appropriate regulatory provision to
convey take authorization to purchasers of conservation bank credits.
The current regulatory framework provides flexibility on how permits
should be structured around conservation banks and we believe this
issue can be addressed through the development of policy on
conservation banking instead of through regulatory revisions.
Issue 6: One commenter objected that the new requirements for
permit transfer required more for SHAs than the Safe Harbor policy did.
The commenter specifically pointed to the requirement for a ``joint
submission'' by the current and prospective landowner instead of the
simpler requirement for a new landowner on their own to simply express
an interest in continuing with the SHA.
Response 6: We agree with the commenter that it would be an odd
result if it were easier to apply for a SHA than to transfer an
existing agreement during the purchase of property. We do not believe
that the changes to section 13.25 make it more difficult to transfer an
existing permit than to apply for a new one. We also do not believe
that the requirement set forth in section 13.25 for a ``joint
submittal'' on the part of the old and new landowners is particularly
onerous. The original landowner needs to provide some sort of
communication to the Service in order to inform us of that landowner's
desire to terminate the agreement. The new landowner would similarly be
providing the Service with an indication of whether they seek to
continue the SHA of their predecessor or not. We do not believe it will
be difficult for the two entities to provide a joint submittal when the
intent is to carry on the SHA. We will continue to track this issue as
we gain experience with the Safe Harbor program and will consider
modifications to the program in the future should the requirement for a
``joint submittal'' prove troublesome.
Section 13.26--Discontinuance of Permit Activity
In the June 17, 1999, final rule, we added a new subparagraph (7)
to sections 17.22(b) and 17.32(b) to make clear that HCP permittees
remain responsible for mitigation required under the terms of their
permits even after surrendering their permits. The general provision on
permit surrender at section 13.26 did not address this issue. The new
provisions made it clear that any mitigation owed for take occurring
prior to permit surrender would still be required after the permit was
surrendered.
Issue 7: We received three comments on the addition of subparagraph
(7) to sections 17.22(b) and 17.32(b). Two of the commenters supported
the new provision addressing post termination mitigation, finding that
it was a reasonable way to address the issue. One commenter did not
favor the provision and suggested it was unfair to the permittee to be
asked for mitigation after the permit has been surrendered or revoked.
Response 7: We have limited the requirement for post termination
mitigation to those situations in which the take has occurred prior to
permit surrender, but the mitigation that was agreed to has not been
completed. In order to obtain a permit, the HCP must include measures
that minimize and mitigate the anticipated impacts and ensure that
adequate funding for the plan will be provided. In addition, the HCP
must not appreciably reduce the likelihood of survival and recovery of
the species to be permitted. With the issuance of the permit the
Service makes a finding that the HCP has met the issuance criteria
based on the assumption that the implementation of the operating
conservation program will offset the proposed impacts. Therefore, we
believe it is fair to require the permittee to complete mitigation for
take that has already occurred.
Section 13.28a--Permit Revocation
We modified the permit revocation criteria in section 13.28(a) to
provide that the section 13.28(a)(5) criterion shall not apply to HCP,
SHA, and CCAA permits. We determined that it would be more appropriate
to refer instead to the statutory issuance criterion in 16 U.S.C.
1539(a)(2)(B)(iv) that prohibits the issuance of a permit unless the
Service finds the permit will not appreciably reduce the likelihood of
survival and recovery of the species. We, therefore, included in the
HCP regulations a provision (sections 17.22(b)(8) and 17.32(b)(8)) that
allows a permit to be revoked if continuing the permitted activity
would be inconsistent with 16 U.S.C. 1539(a)(2)(B)(iv) and the
inconsistency had not been remedied in a timely fashion. We also
included similar provisions for SHA and CCAA permits (sections
17.22(c)(7) and (d)(7), and sections 17.32(c)(7) and (d)(7)).
Issue 8: We received numerous comments on the provisions addressing
permit revocation. The comments ranged widely, but generally fell into
two categories, one of which is that the agency did not go far enough
with the revocation provision and the other is that the agency went too
far with the revocation provision. With respect to comments objecting
because the revocation provision did not go far enough, many of the
commenters stated that they did not see any reason why the old
provision in section 13.28(a) should be replaced with a standard they
viewed as less protective. These commenters also stated that the
revocation provision should have mandatory language like the word
``shall'' to indicate that revocation is not discretionary. Many
commenters questioned why the Service should have to step in at public
expense to remedy jeopardy situations before a permit can be revoked.
Some questioned what the standard ``in a timely fashion'' means. One
commenter suggested that the revocation provision also contain a
reference to adverse modification of critical habitat, while another
commenter recommended that the word ``jeopardy'' be used instead of
``appreciable reduction in likelihood of survival and recovery''
because the commenter viewed ``jeopardy'' to be a higher standard.
With respect to comments expressing concern that the Service has
gone too far, we received a number of comments stating that the
revocation provision undermined the ``No Surprises'' rule. These
commenters strongly opposed any further expansion of the revocation
provision and suggested further expansion would be contrary to
congressional intent. A number of commenters requested that the Service
reaffirm the principles of ``No Surprises'' and noted that revocation
should be ``an action of last resort.'' Another commenter requested
that we limit revocation to instances where the permittee is not in
compliance with the permit or, at a minimum, add to the revocation
provision a statement to indicate that the burden is on the agency to
establish that the conditions for revocation exist. Another commenter
stated that the revocation provision is not applicable to the Safe
Harbor context and that Safe Harbor revocation should be limited to
instances where the permittee is not in compliance or has refused
efforts to salvage animals or to sell land at fair market value.
Response 8: We believe that it is inappropriate to have a standard
revocation of a permit that is different from the standard for issuing
the permit in the first place. When Congress amended the ESA in 1982 to
create the HCP permit program, it clearly indicated that the relevant
focus would be at the species level. Section 13.28(a)(5) predates the
1982 amendments and focuses only on the wildlife population in the
permitted area. We therefore believe that it is appropriate to replace
section 13.28(a)(5) with a provision that more accurately reflects the
congressional intent behind the 1982 amendments. The new revocation
provision established in sections 17.22 and 17.32 is written in a
manner that indicates when revocation is not permissible instead of
when it is. As a result, the suggestion that the word ``may'' be
changed to ``shall'' is not practical. In addition, decisions involving
permit revocation are fact-intensive and will require the exercise of
discretion on the part of the agency. It is therefore questionable
whether permit revocation standards can be described as being mandatory
versus discretionary.
In the February 23, 1998, ``No Surprises'' final rule, we provided
the rationale for committing the agency to step in and attempt to
remedy jeopardy situations in cases where the permittee is in full
compliance with the permit and has a properly implemented conservation
plan in place. In exchange for assurances, the HCP permittee has agreed
to undertake extensive planning and to include contingencies to address
changed circumstances. This requirement does not exist in other Federal
permitting programs. We believe it is fair, therefore, to commit the
agency to step in and address unforeseen circumstances in the very rare
circumstance that this will be required.
Because each HCP is so case-specific it is not possible to indicate
what remedying the jeopardy situation in ``a timely fashion'' means in
all instances. Whether a response can be deemed timely or not will
depend on highly fact-specific issues, including the species involved
and the source of the problem.
We do not see the need to add a reference to adverse modification
of critical habitat or to use the word ``jeopardy'' in the revocation
provisions. Instead we view it to be preferable to simply reference the
statutory permit issuance criterion. Although one commenter viewed the
terms ``jeopardy'' and ``appreciable reduction of survival and
recovery'' to mean two different things, we view the terms to be
synonymous, and in fact the agency's definition of ``jeopardy'' is to
``reduce appreciably the likelihood of both the survival and recovery
of a listed species in the wild.''
As we stated in our notice of February 11, 2000, ``the Service is
firmly committed, as required by the ``No Surprises'' final rule, to
utilizing its resources to address any such unforeseen circumstances,''
and we view the revocation provision as available ``as a last resort in
the narrow and unlikely situation in which an unforeseen circumstance
results in likely jeopardy to a species covered by the permit and the
Service as not been successful in remedying the situation through other
means.'' (65 FR 6916, 6918). We further view the likelihood of the
revocation provision applying in the Safe Harbor context to be
extremely remote and likely to occur only in the limited circumstances
described by the commenter. Because the revocation provision is based
on a biological situation and therefore applies to more situations than
those in which the permittee is in non-compliance, we decline to narrow
the provision as requested by one commenter. We believe that the
current revocation provision is consistent with congressional intent
and strikes the right balance between the need for permittee certainty
and the need to avoid jeopardy to the species covered by the permit. We
also believe that existing regulatory provisions, both in part 13 and
the ``No Surprises'' final rule, adequately detail the agency's burden
in permit revocation contexts and that there is, therefore, no need to
add the suggested process changes to the revocation provision.
Section 13.50--Acceptance of Liability
We revised section 13.50 to allow more flexibility where the
permittee is a State or local governmental entity and has thus taken a
leadership role and is assisting in implementation of the permit
program. In this limited situation, the governmental permittee would
not be liable for activity conducted by sub-permittees under the
authority of the permit issued to the governmental entity.
Issue 9: We received one comment in support of the change to
section 13.50. The commenter noted that the change to limit the
liability of State and local governments that hold master permits would
encourage greater regional HCP planning.
Response 9: We agree and believe that the revision to section 13.50
is warranted. In large regional plans, the local jurisdiction largely
administers the implementation of the HCP. In doing so, the local
jurisdiction extends the incidental take authority of their permit to
other non-Federal entities undertaking activities in accordance with
the HCP. We believe it is those entities that should be responsible for
their actions involving implementation of the HCP and incidental take
permit, rather than the governmental entity that holds the master
permit.
Sections 17.22(c)(5), (d)(5) and 17.32(c)(5), (d)(5)--Assurances
Provided to the Permittee in the Case of Changed or Unforeseen
We extended the ``No Surprises'' assurances that apply to HCP
permits to SHA and CCAA permits. We did this by adding a new
subparagraph (5) to sections 17.22(c) and (d) and 17.32(c) and (d).
Issue 10: We received two comments supporting the addition of
assurances to the SHA and CCAA programs.
Response 10: Many landowners would be willing to manage their lands
voluntarily to benefit fish, wildlife, and plants, especially those in
decline, provided that they are not subjected to additional regulatory
restrictions as a result of their conservation efforts. Therefore, we
agree that when a landowner voluntarily implements the provisions of a
SHA or CCAA, in accordance with the respective standards of those
programs, the landowner should receive assurances that we will not
require any additional conservation measures without their consent.
After careful review of all of the comments received, we have
determined that none of the comments revealed problems with the current
regulatory framework that would warrant a reproposal of the permit
regulation changes. Based on our review of the comments, we believe
that the changes to the permit regulations effectively achieve the goal
of conforming part 13 to the more recently created permit programs for
HCPs, SHAs, and CCAAs and that they strike the proper balance.
Accordingly, we have decided not to repropose any of the amendments to
part 13 or part 17.
The authority for this action is the Endangered Species Act of
1973, as amended (16 U.S.C. 1531 et seq.).
Dated: January 10, 2001.
Jamie R. Clark,
Director, Fish and Wildlife Service.
[FR Doc. 01-1483 Filed 1-19-01; 8:45 am]


Organisers are pleased to announce that planning is underway for the 2nd annual night-time arts event in downtown Sydney, Lumière: Contemporary Art. Unconventional Spaces. is set to take place on Saturday, September 29 6:58 p.m. to 11:58 p.m.
A free annual night-time celebration of the arts, Lumière takes audience engagement to new levels. For one night only, the festival transforms downtown Sydney into a nucleus of creativity, bringing together theatre, dance, music, visual art and fine craft for one and all to enjoy. Lumière provides a platform for different communities to collaborate, and presents the art of Cape Breton in a whole new light.
Connecting the local population with its existing culture, the organizers of Lumière partner artists with unconventional spaces in downtown Sydney to create this unique night-time cultural event. Venues are located on Charlotte St. & The Esplanade between Townsend St. & Amelia St.
The organising committee is led by Laura Schneider, Cape Breton University Art Gallery, Lori Burke, Cape Breton Centre for Craft & Design and Kent Senecal, Centre Communautaire Étoile de l'Acadie.
For anyone interested in learning more about participating in Lumière there will be a public information session on March 12 between 6 – 7pm at Governor's Pub in Sydney.
For more information visit www.cbu.ca/art-gallery.


text:
The One From The Other
by Philip Kerr
ON SALE: 2nd December 2021
Paperback	ebook	Audiobook Downloadable
'One of the greatest anti-heroes ever written' LEE CHILD
Bernie Gunther has learned the hard way that there's no way to distinguish 'the one from the other'. The cynical P.I. sees through the deceit and hypocrisy of both friend and foe – a lifesaving skill in postwar Germany.
Munich, 1949 is home to all the backstabbing intrigue that prospers in the aftermath of war. A place where a private eye can find a lot of not-quite-reputable work: cleaning up the Nazi past of well-to-do locals, abetting fugitives in the flight abroad, sorting out rival claims to stolen goods. It's work that fills Bernie with disgust – but it also fills his sorely depleted wallet. Then a woman seeks him out. Her husband has disappeared. She's not looking to get him back – he's a wanted man who ran one of the most vicious concentration camps in Poland. She just wants confirmation that he's dead.
It's a simple enough job. But in post-war Germany, nothing is simple…
(P) 2021 Quercus Editions Limited
Bernie Gunther


text:
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The Misleading Decision: A Situation Explanation By Demographic Characteristics And Rural Banks In The Agricultural Sector; A Case In The Eastern Region Of Ghana.	+
AshEse Journal of Agricultural Science Vol. 2(1), pp. 082-104, December, 2019 ISSN: 2059-1225 © 2019 AshEse Visionary Limited Full Length Research…	Read More
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Summer holidays are one of the biggest highlights of the year, with the nation spending billions on the quest for some R&R. However, many of us don't share the excitement of holidaying abroad due to anxiety related to flying, with some experiencing symptoms so uncomfortable that it prevents them from even setting foot in an airport.
When the fear of flying is so severe that it impedes a person's ability to behave in a way that they want, it can be classified as 'aviophobia' or 'aerophobia' - a specific phobia of flying that affects approximately one in 10 of the general population.
"Psychological therapy has been proven to help people effectively manage their anxiety when flying. However, one-size-does-not-fit-all and the specific techniques used for one person may not be the most useful for another. It is recommended that people experiencing moderate to severe levels of anxiety when flying seek support from a qualified therapist with experience of working with anxiety conditions.
"For mild levels of anxiety, skills and information provided by common forms of talking therapy, such as Cognitive Behavioural Therapy (CBT) and Acceptance and Commitment Therapy (ACT) are able to help people to better manage their discomfort and make flying a more enjoyable experience."
"Specific techniques, including: breathing exercises, mindfulness skills, visualisation exposure exercises and challenging unhelpful thoughts can be useful in counteracting anxiety associated with flying.
"It is best to practise these in advance so these skills can be put into practice effectively on the fight. Remember to also be kind and compassionate to yourself. Even though you might recognise the thoughts as irrational, the anxiety you are experiencing is certainly real and valid. It is okay to be anxious and the feelings will pass quicker if you don't try to avoid or struggle with them."
"...Such as those offered by 'fear of flying' courses provide some additional advantages, particularly for those with moderate to severe levels of anxiety. These courses are offered by a number of airline operators and most are based on CBT principles. Many 'fear of flying' courses offer the opportunity for immersive exposure to the anxiety by providing an aeroplane flight as part of the programme. These courses are also usually run in a group format which can be validating to people with a fear of flying, as they are able to share and normalise their anxiety with other sufferers.
"Many 'fear of flying' courses also use former pilots or aircrew in addition to therapists who specialise in aviophobia. This can instil an extra sense of confidence in the information being provided."
Virgin Atlantic offer its own course, as do British Airways and easyJet.
"Understand your triggers. Try to identify what your biggest fears are. Worrying that the plane will crash or be hijacked may play on some people's minds while others may be more concerned about the potential catastrophic consequences of having a panic attack in an enclosed space at 30,000 feet. By pinpointing your fear, you will be able to better understand the steps needed to help combat your phobia."
"Some people find it helpful to inform the flight crew and even neighbouring passengers of your fear of flying. This can help by 'naming the elephant in the room' when and if you start to exhibit signs of anxiety. You won't be so worried about what others might be thinking and you are likely to receive genuine expressions of sympathy and validation. The flight crew will be well aware of some useful tips and tricks to manage flight anxiety so may be able to offer additional support or assistance if needed."
"Do your research on statistics relating to your phobia. For example, if your phobia surrounds the plane crashing, research how many planes have crashed recently and what the likelihood of this happening is. Whilst it won't eliminate your fear, it will put it into context and help you to rationalise these unhelpful beliefs."


text:
Afonso Pires Alcoforado (? -1285) foi um Rico-homem do Reino de Portugal que atravessou os reinados do rei D. Sancho II de Portugal e do seu irmão o rei D. Afonso III de Portugal.

Foi Senhor da Domus Fortis denominada Torre de Alcoforado localizada na freguesia de Lordelo, no antigo Bispado do Porto e confirmador dos actos reais deste último rei para com as tias de Afonso Pires em 1225.

Relações familiares
Foi filho de Pedro Martins Alcoforado (1195 -?) e de Teresa Soares de Paiva (c. 1195 -?) filha de Soeiro Mouro e de Elvira Nunes das Astúrias. Casou com
Aldara Gomes Frade filha de Gomes Viegas Frade (1175 -?) e de Teresa Gonçalves de Mós, de quem teve:

Pedro Afonso Alcoforado;
Martim Afonso Alcoforado (1250 -?) casou por duas vezes, a primeira com Maria Vicente e a segunda com Maria Ribeiro;
Lopo Afonso Alcoforado casou por duas vezes, a primeira com Teresa Mendes do Fôjo também conhecida como de Teresa Mendes de Abrantes e a segunda com Maria Rodrigues Gato;
Lourenço Afonso;
Rodrigo Afonso Alcoforado;
Vasco Afonso Alcoforado casou cerca de 1393 com Brites Martins Barreto filha de Martim Fernandes Barreto (1250 -?) e de Maria Rodrigues de Chacim (c. 1250 -?);
Constança Afonso Alcoforado casou com Afonso Pires Velho;
Aldora Alcoforado;
Fernão Afonso Alcoforado.

Ver também
Lista de senhores da Torre de Alcoforado

Bibliografia
José Augusto de Sotto Mayor Pizarro, Linhagens Medievais Portuguesas - 3 vols, Universidade Moderna, 1ª Edição, Porto, 1999, vol. 2-pg. 14.
Manuel José da Costa Felgueiras Gaio, Nobiliário das Famílias de Portugal,  Carvalhos de Basto, 2ª Edição, Braga, 1989, vol. I-pg. 223 (Alcoforados).

Senhores do Reino de Portugal
Ricos-homens do Reino de Portugal
Nobres de Portugal do século XIII

redpajama_set_name: RedPajamaWikipedia


text:
Still a chance for Becks to come early
by Soccer America , Jan 28, 2007
There's a lot more time for David Beckham and Real Madrid to reverse course yet again on whether he will come to MLS earlier than the summer.
True, the European transfer window closes next Wednesday and Beckham's contract with Real doesn't officially expire until June 30. However, in the case of a player under contract moving between teams in different countries, his eligibility to be registered and play in competitive matches is determined by the transfer window in the country of destination, not the country of departure.
In either case, there's much more flexibility with the American transfer windows than there has been in the past. If he sits stewing on the bench at Real he won't have long to wait once the Spanish season is over.
In the past, the U.S. secondary (summer) window didn't open until Aug. 15 and closed Sept. 15, but those dates have changed. (The dates are set by the national soccer federations in each country and are subject to FIFA approval.) The new dates are June 15 to Aug. 15.
The primary American transfer window opened Jan 15 and doesn't close until April 15, meaning if Real coach Fabio Capello changes his mind once again on whether to field Beckham, he could be transferred during that time and registered to play in MLS. Before this year, the American registration period ran from Jan. 1 to March 31.
So, even if he does come in the summer, Beckham will be eligible to play for a much greater portion of the MLS season than in the past, which will make those fans that bought season tickets in cities other than Los Angeles happy. He'd miss two-thirds of the season if he couldn't play until mid-August.
The earlier dates also clear up any confusion regarding the SuperLiga tournament, which doesn't start until July 24. Because it is not an official FIFA or CONCACAF competition he technically would have been eligible anyway, since the registration restrictions don't apply to friendlies or exhibitions, such as the All-Star Game (July 19). But since the SuperLiga tournament is offering $1 million in prize money, it could fall into a gray area.
SOCCER AMERICA
More from Soccer America Confidential
Bravo, Jill Ellis, the role model coach
Anson Dorrance on an extraordinary Women's World Cup, the 'iconic' Megan Rapinoe, and the case for college soccer
How the quest for back pay in the U.S. women's team lawsuit could play out
Five Takeaways from the USA's Gold Cup performance -- Berhalter's first major test
SA's 10 winners of the Women's World Cup


To sustain myself and preserve some sanity i have taken to daydreaming! I am lucky enough to have a dresser in my new kitchen and I know these beautiful ceramics will look fabulous on it.
So that's the dresser sorted, now about the chairs! Definitely the Hungarian sack cushions to give that beautiful rustic look i am trying to create.
And for that lovely cosy feel with a little bit of Christmas thrown in, I think I shall fill the windowsill with these beautiful star lanterns which will look stunning when lit.
As a final decorative touch I shall fill one of our Decorative Hanging Racks with mini vintage Christmas baubles.
I have a long way to go but when I get there I will ask Karen to take some photographs and we will share our ideas with you. Until then I shall continue to daydream and live in denial!!


The talk show host - who has had a long-running feud with the 'Hung Up' singer - was not impressed with Madonna's routine during the halftime show of the NFL game on Sunday because she looked like a "drunken aunt".
He told TV host Chelsea Handler: "That Super Bowl performance - it was like watching your mad drunken aunt at Christmas, wasn't it? I keep reading all these celebrities tweeting like, 'Wasn't she awesome?' No she wasn't! She was gruesome!
"But at least I've found that I have one common ground with Madonna: neither of us have sung live at the Super Bowl. She was lip syncing the whole damn thing. I was singing along with her and trust me, she wasn't singing."
Piers - who has banned Madonna from his talk show - has made no secret of his dislike of the 'Material Girl' hitmaker and has often spoken about several clashes they have had.
He once said: "There was a bread roll throwing incident in London in the mid '90s; there was an incident at a hotel in the south of France at the Cannes Film Festival involving a photographer and a bodyguard. And there's been an incident involving a pub owned by her recently departed husband, Guy Ritchie, where my brother was the manager."


Travel with confidence by checking into the Fairfield Inn & Suites by Marriott Boone, a Boone hotel with outstanding service to make all your travels easy and comfortable - at an exceptional value. With a great location near Tweetsie Railroad, Grandfather Mountain and Appalachian State University, we are always ready to welcome you with amenities like; thoughtfully designed guest rooms and suites that allow you to work and relax, free Wi-Fi throughout the hotel to stay connected during your stay, and fitness facilities that include a pool and exercise room. You'll find it easy to settle into our vibrant lobby, with spaces to gather, relax and work. Jump-start your day with our free breakfast, now with more hot choices like scrambled eggs and sausage, plus favorites including fresh fruit and yogurt. At the Fairfield Inn & Suites Boone, you are our #1 priority. We promise you'll be satisfied or we'll make it right. That's our commitment to you. Ask us about the Fairfield 100% Guarantee.


Live the luxury while in Dubai, with Howard Johnson!
Dubai stands for Luxury and Howard Johnson Hotel is just another synonym for luxury in Dubai. Howard Johnson Hotel offers hotels rooms in Dubai, packed with ultimate comfort and elegant luxury for everyone to take home some beautiful memories of the stay. Situated in the scenic beauty of Bur Dubai, just 8 km from Dubai airport, the hotel offers luxurious hotel rooms in bur Dubai with most exotic setting and best amenities.
Travelling on a budget, this hotel is fine. Comfortable room, clean, fridge, good air con. Taxis readily available and cheap. Metro not far away.
Located in one of the most prominent localities of Bur Dubai, Howard Johnson Hotel offers the luxuries of 3 star hotels, the comforts of home and a towering view of Dubai's scenic as well as metropolitan vistas. This luxury hotel in Dubai is conveniently located a short 8 km distance from the Dubai Airport, and is strategically sited to provide easy access to all popular places of tourist and business interest. This 3 star hotel in Dubai has been thoughtfully designed to impart utmost pleasure and convenience to guests at budget prices, making it a popular choice among the cheap hotels in Dubai as well.
Howard Johnson hotel in Dubai boasts of 123 classy, luxurious rooms and suites that are furnished with everything that satisfies a discerning traveller. There are four categories of rooms at this hotel, out of which, the Standard Room is an ideal option for those looking for cheap hotel rooms in Dubai. The Deluxe room and the Junior Suite rooms are laced with additional amenities such as secretarial services, day-time valet service, in-room cocktail services as well as free internet facilities along with an iPad and mobile phone for the guests' use, whereas the Executive room is an aesthetically designed ultra-spacious room suited for businessmen or families who love the cushion of class and luxury on a holiday.
This 3 star hotel in Dubai boasts of three trendy restaurants that cater to diverse palates and various requirements – be it a family dinner, celebratory party or a business event. While one restaurant flourishes in the colours, décor and the aroma of Chinese cuisine, the other two caters to guests who favour Indian Cuisine restaurants in Dubai. With an excellent menu, efficient services and a stylish ambience, they are suitable as restaurant party halls in Dubai, can facilitate outdoor catering services in Dubai or cater to outdoor party venues in Dubai as well. The best feature of Howard Johnson hotel is their exclusive cake shop selling some of the most exquisite cake varieties, which also makes it a perfect choice of venue for a wedding or birthday party hall in Dubai.
The availability of a rooftop swimming pool, poolside lounge with sunbeds and a well facilitated in-house gym makes Howard Johnson hotel booking in Dubai an enviable choice for a holiday or business trip. There are also additional facilities for those looking at a business trip – well-equipped conference rooms complete with audio visual equipment ideal for seminars, workshops, meetings or presentations. The banquet hall that boasts of classy décor, Wi-fi facilities and seating space for 150 guests, is one of the most popular choices of banquet halls in Dubai for wedding parties and other celebratory events.
With a vast inventory of hotel rooms, restaurants, and banquet hall, Howard Johnson hotel caters to large number of travellers looking for 3 star hotels in Dubai. Hotel room booking in Dubai becomes easy with Howard Johnson, and the exemplary services have converted patrons out of the guests and they come back for more.


text:
Entertaining Disasters
My Wisteria
Here We R
Berenice Abbot
Family Albums
Let Us Now Praise..
Review: Our Mothers
Ann Noggle
Women&the Beats
Consuelo Kanaga
Eugene Aldo & Isaac 1
Mortality and Love
For My Father
For My Mother
Creeley's Eye
BRUDNOY
Bob Quinn
Life's Pleasures
Names, Dates, Places
Photography Names
Bruce Cratsley
Places Named
Consuelo Kanaga:Review by Elsa Dorfman
Consuelo Kanaga: An American Photographer by Barbara Head Millstein and Sarah M. Lowe is published by the Brooklyn Museum in association with the University of Washington Press. 1992.224 pp., 180 images.
This book was published on the occasion of the retrospective exhibit, Consuelo Kanaga: An American Photographer at the Brooklyn Museum in 1992, fourteen years after her death. (In 1976, the Museum had organized a 50-print exhbit of Kanaga's work which led Kanaga's husband to bequeth all the photographer's negatives and a substantial number of her prints to the Museum. Thus this study of her sixty-year career.)
In alternate sections written by Barbara Head Millstein, Associate Curator of Painting and Sculpture at The Brooklyn Museum,and Sarah M. Lowe, guest curator, the catalogue divides Kanaga's work into seven categories and provides a very useful biographical review of her life. Though Millstein's essay is only 34 pages, it gives a good sense of what Kanaga was like and how she worked. It is a little descreet about her habits (did she drink too much to get much work done? ) about her long-term relationship (1922-1925) and about her marriages (three). It fails to wrestle with the hard question: why did a woman who was obviously talented and charismatic and for whom there was no lack of opportunity turn out so little work? The text barely mentions her work as a painter and we have no idea if painting distracted Kanaga from photography. Nonetheless Millstein's biographical essay and the chronology prepared by Sarah M. Lowe are indispensable. This is the first and probably only study that will be devoted to Consuelo Kanaga's work, though it suggests that her work deserves to be considered in any study of how African Americans have been presented in American photography and in any study of photography in women's magazines in the first half of the twentieth century.
Consuelo Kanaga was born in 1884 and grew up around San Francisco. She worked from 1915-1922 first for the The San Francisco Chronicle and then for the San Francisco Daily News. It was highly unusual for a woman to be a newspaper photographer in those days and she was treated with deference and respect by her contemporaries: Edward Weston, Dorothea Lange and Imogene Cunningham because of her job. (Millstein and Lowe don't recap the history of women photographers in the newspaper business so I don't know if Kanaga has claims to being the first.) In 1918 she joined the California Camera Club, discovered Alfred Steiglitz's ¯Camera Work and decided to become an art photographer. "It changed my life," she said. She felt that the prints were "the most beautiful things that had ever been done in photography, and I wanted to start from there." p. 21. That decision to turn from what a decade later became photojournalism as we now know it was crucial and in a way imprisoned her. It determined how and what Kanaga photographed, how she thought about money, and how she arbitrarily divided her life into "work for money" and "work for herself/that is ART." It made the life of the artist incredibly romantic and devalued the life of the self-supporting photographer. It tied her to the Steiglitz and later Steichen aesthetic.
From 1922-1924 Kanaga worked at The New York American, then operated a portrait studio in San Francisco until 1927. After almost a year in Europe, she came back first to New York and then to San Francisco married to a man who was jealous of her work and who eventually cheated her friends and left her with a pile of his bills to pay. She ran her portrait studio in San Franciso from 1930 to 1935. Her work was widely respected and was accepted into what turned out to be historic photography shows:Showing of Hands and the first exhibit of Group f/64 both at the M.H. deYoung Memorial Museum. She left San Francisco for New York in the fall of 1935 for a change of scene and to get over that distastrous marriage. In Manhattan she worked for the WPA, photographed for the political left, got involved with the New York Photo League, and married an artist, Wallace B. Putnam. She freelanced for Woman's Day¯ and ¯Good Housekeeping¯, travelled, and maintained her portrait business. In 1948 her work was included in three important shows at the Museum of Modern Art. Just two years later Putnam convinced her to move out of Manhattan to their modest country property in Yorktown Heights near Croton on Hudson and in 1955 a photograph she made five years earlier was included in Steichen's landmark museum show, The Family of Man.
Lowe and Millstein don't discuss the ramifications of the move out of Manhattan beyond stating that Kanaga resisted Putnam for as long as she could. The move took her away from the city which was the source of her favorite images and took her away from her colleagues. Up to 1950 the momentum of her career seems typical of the few successful female photographers in Manhattan.
Lowe and Millstein don't call attention to the fact that only three images in their catalogue were made after 1950--although Kanaga lived until 1978. They explain simply: "She had no gift for self promotion. Few people saw her work, and the consequence is the story of her career."p.50 and "Perhaps her activity on both coasts contributed to her lack of public recognition or acceptance in photographic history, although it also extended her illustrious circle of friends, colleagues and admirers.:p.9 They write without drawing any conclusions: p.48 "Putnam came first to her, as friends and acquaintances have noted: She felt that her work wasn't important. His work was important." And similarly, they relate the experience of Helen Gee, an important figure in American photography in Manhattan p.48,49 I wanted to show Consuelo's work in the late 1950s at the Limelight. I arranged with a friend to drive me up to her house...As soon as we got there, she insisted that we eat and aferwards I asked to see her photographs. She proceeded to wander around the house looking for them in an aimless fashion. She couldn't seem to focus at all. She couldn't find the photographs. The conclusion was that Wally began to show us his canvases of two birds...There must have been two hundred canvases...So, she never had a show. I didn't see one photograph and it didn't seem to bother her at all."
But William Maxwell who was her country neighbor got it right in his introduction to this catalogue, "Connie herself was dispossessed--that is to say, she was in the wrong place. The people she wanted to be photographing were in the city, in black neighborhoods, or in the deep South." p.15.
Millstein and Lowe are circumspect about how much Putnam contributed financially to the marriage once he left his day job in Manhattan for Yorktown Heights. They describe Kanaga having to live very frugally. Into the nineteen sixties she was charging only $10 for a portrait when young people like myself were charging $40. Her main source of income was her portrait business. We don't know if she ever applied for a Guggenheim, an NEA grant or a grant from the New York State Council. (We do know she never got any grants.) Ironically, Kanaga had one treasure. In 1925 she had bought a set of Steiglitz's ¯Camera Work for $200. The authors describe her showing it to two young collectors before she died in 1978 (when it was worth a fortune). They do not say if Kanaga sold it to the young men and if she did, for how much.
Kanaga's life work included 2500 negatives and 375 prints. We do not know if the 2500 negatives included the negatives from the sixty years of making commercial portraits. In fact, although the catalogue is divided into seven sections, there is no section devoted to Kanaga's commercial portraiture or to her newspaper and magazine journalism. Nor is there anything from the WPA project she worked on.
Though clearly Kanaga could make a wonderful landscapes, interiors, still lifes, and cityscapes (the potential was there to be a great photographer with a definitive oeuvre) the portraiture chapter by Millstein is the heart of the book. Kanaga describes her approach:p.32.".I would sacrifice resemblance any day to get the inner feeling of a person,she later wrote. It seems so much more of one than our face which is so often just a mask." She is also quoted, p. 17. The great alchemy is your attitude, who you are, what you are. When you make a photograph, it is very much a picture of your own self. That is the important thing. Most people try to be striking to catch the eye. I think the thing is not to catch the eye but the spirit. "For this reason perhaps Kanaga was particulary successful photographing children. Millstein notes that the children in all of Kanaga's portraits of children are solemn and unsmiling. The portraits of March Avery and of an unnamed child (figure 67) are wonderful examples of portraits that do not try to make kids cute.
The portraits of Barbara Deming, possibly made in 1966,and of Mark Rothko are particularly memorable. There is one undated wonderful self-portrait (fig.48) of Kanaga in her kitchen leaning behind a wooden chair. The chemical stains on the image actually enhance it. Her last noncommercial portrait of W.Eugene Smith and his wife Aileen, made in 1974, four years before her death is warm and lively, making Smith look angelic and Aileen blissful. A portrait of Countee Cullen (fig. 50) is forceful and thankfully departs from her occasional formulaic portraits that manage to include the hands cradling the face in some way. Langston Hughes is draped on a couch, staring with a penetrating gaze at her camera. (But where is Jean Toomer who was her close personal friend?) There is a wonderful portrait of a woman (M.C) that is perhaps of M.C. Richards (plate 41). Figure 59 of Seddie Anderson shows Kanaga's interest in skin texture and profile. Plate 85 of a young African American mother with her baby girl is exhuberant and clear. The woman seems real, not monumental or sculptural or symbolic of endurance. These portraits by Kanaga are as wonderful as any portraits to be found from any era. Her subjects sensed her spirit and returned the favor. William Maxwell writes, p.15: Many years after she had focused her camera on them, she continued to love the people she had photographed...p.15. . Even though there are many powerful images in this book, Kanaga's photography is eclipsed by the questions her working life raises. Found among her papers was the following prose written by Consuelo Kanaga toward the end of her life: p. 50
Am I a poor taker? Why? What do I want? Am I concealing my needs and yearnings? Why should I insist on being second and carry resentments for years? Why really have I not driven the car? Is it to shackle myself and suffer more? Why do I look down on money as an evil and yet be in need of enough to live on? Was it necessary to divide my creative work so called which aims at reality--with portrait work which I feel must be softened and flattereing? Aren't they one? Why have I turned away from thinking about what to eat !!!! Sometimes I make Wallace suggest what we might eat. To make him pay? Why have I felt shut in at the Icehouse--when it is so beautiful and I am so fond of the plantings, etc. What do I lack in physical needs? Clothes? Food? Shelter? Would cutting off my hair free me of any strings or bonds? Do I want to die or be in jail again to be reborn-- must one always become a captive to know freedom? What am I--a mess or something reaching toward light?
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