text:
CPS publishes advice on prosecuting journalists over illicit newsgathering
Changes following five-month consultation on draft guidelines include closer scrutiny for so-called 'fishing expeditions'
Director of public prosecutions Keir Starmer. Photograph: Linda Nylind for the Guardian
Josh Halliday
Thu 13 Sep 2012 09.31 EDT
The Crown Prosecution Service has published its final guidelines on the prosecution of journalists over illicit newsgathering methods, with so-called "fishing expeditions" to face closer scrutiny.
Keir Starmer, the director of public prosecutions, said on Thursday that the guidance underlines the need for prosecutors to consider public interest factors before deciding whether to bring criminal charges against journalists.
"The purpose of the guidelines is to strike the right balance between the important public interest in a free press and the need to prosecute serious wrongdoing," said Starmer.
Changes following a five-month consultation on the draft guidelines include fresh guidance on prosecutions in cases involving fishing expeditions, and examples of stories that could be described as raising important matters of public debate.
The guidance advises prosecutors to consider what information was available to a journalist at the start of their investigation into the target of a story. This means that fishing expeditions – where the journalist does not have prima facie evidence of wrongdoing before using illicit newsgathering methods – will face closer scrutiny by prosecutors when deciding whether to launch criminal proceedings.
Another section gives examples for the first time about what prosecutors should consider "important matters of public debate". The guidance says that serious impropriety, significant unethical conduct and significant incompetence should all fall under this category.
The revised guidelines contain more detail about invasions of privacy by journalists. Prosecutors are advised to examine the particular impact of the invasion of privacy – which could include voicemail interception or email hacking – on the victim.
"When considering invasions of privacy, regard must be given to the level of seriousness of the invasion, whether on the facts there was a reasonable expectation of privacy, and whether the conduct in question was proportionate to the public interest claimed to have been served," the CPS guidelines state.
The guidelines come into force immediately and represent the first formal CPS policy involving the prosecution of journalists. They follow an unprecedented spate of arrests of journalists in Scotland Yard's investigation into alleged phone hacking, computer hacking, other breaches of privacy, and payments to police and public officials.
The CPS said it had examined ongoing prosecutions in this area – including the high-profile charges brought against former News International chief executive Rebekah Brooks and the former News of the World editor Andy Coulson – and decided they are in line with the formal guidance published on Thursday.
Prosecutors are advised to consider whether the public interest served by journalistic conduct outweighs the overall criminality before bringing criminal proceedings.
The acting chairman of the Press Complaints Commission, Lord Hunt, welcomed the guidance and said he hoped it would "generate a greater understanding and appreciation of the public interest, and also of the need to take it into account in editorial decision-making".
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Privacy & the media


As part of the weBuddy Programme there is a a Hamburg Welcome Week with a Meet & Greet session, a Hamburg Programme and a welcome dinner. This will help you get to know the city and the other new international students. And during the semester there will be regular events to ensure that this group becomes good friends. On our facebook page (click on the photo) you can find pictures of the weBuddy programme and you will be updated about semester events, scholarships and lots of other interesting updates. In the weBuddy facebook group you can share information, ask questions and network with other HAW Hamburg students. Join us!


Office for National Statistics; National Records of Scotland; Northern Ireland Statistics and Research Agency; UK Data Service.
General health is a self-assessment of a person's general state of health. People were asked to assess whether their health was very good, good, fair, bad or very bad.
For Northern Ireland, 'General health' refers to a person's health over the 12 months prior to Census day (27 March 2011).
A long-term health problem or disability that limits a person's day-to-day activities and has lasted or is expected to last at least 12 months. This includes problems that are related to old age.
People were asked to assess whether their daily activities were limited a lot or a little by such a health problem, or whether their daily activities were not limited at all.
People with more than one condition are counted separately for each condition but only once in the 'All people'/'All people in households' and 'One or more conditions' categories.
A communication difficulty means a difficulty with speaking or making yourself understood.
A mobility or dexterity difficulty means a condition that substantially limits one or more basic physical activities such as walking, climbing stairs, lifting or carrying.
An emotional, psychological or mental health condition includes conditions such as depression or schizophrenia.
Shortness of breath or difficulty breathing includes conditions such as asthma.
A chronic illness includes illnesses such as cancer, HIV, diabetes, heart disease or epilepsy.
A long-term condition refers to a condition which has lasted, or is expected to last, at least 12 months.
Codes as headers, descriptions in separate file.


Treat yourself and get a bonus at Strawberrynet.com with a $20 USD coupon when you spend $100 USD by April 8.
Offer ends April 8. Coupon will be sent out on April 18. Shipping is free on all orders of $50 or more; small charges may apply for fragrance and hair care. Quantities are limited so stock up now while supplies last.


Each wedding, I will try to share my favourite photo of the day! Mostly, the reason why it is my favourite goes behind the techniques and the composition, but because of the story behind it.
I recently shot a beautiful wedding at Zest, Point Piper, and for the couple shoot we headed to Murray Rose Pool at Double Bay.
As we were doing the couple portraits I noticed the old couple sitting on the bench. At first, I was going to make sure they weren't in the photograph, but I noticed the old lady looking lovingly at her husband.
Then she reached out to him and stroke his arm.
Was she remembering their own wedding day? I love the poetry of Old Love and New Love in this photograph.


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Bill Brandt (geboren Hermann Wilhelm Brandt (Hamburg, 2 mei 1904 – Londen, 20 december 1983) was een Britse fotograaf en fotojournalist. Hoewel geboren in Duitsland, verhuisde Brandt naar Engeland, waar hij bekend werd om zijn beelden van de Britse samenleving voor tijdschriften als Lilliput en Picture Post, later maakte hij vervormde naakten, portretten van beroemde kunstenaars en landschappen. Hij wordt algemeen beschouwd als een van de belangrijkste Britse fotografen van de 20e eeuw.

Leven en werk

Brandt kwam uit een welgestelde familie met een Britse vader en een Duitse moeder. Op zijn zestiende kreeg hij tuberculose en heeft hij zes jaar gerevalideerd in een Zwitsers sanatorium. Hierna reisde Brandt naar Wenen om een psychoanalytische behandeling te volgen en verbleef hij bij de filantroop Eugenie Schwarzwald. In Wenen kreeg Brandt interesse in de fotografie en toen de dichter Ezra Pound op bezoek was bij Schwarzwald maakte Brandt een portret van hem. Het is naar alle waarschijnlijkheid Pound die Brandt introduceerde bij de kunstschilder en fotograaf Man Ray. Ray zou een grote invloed hebben op Brandt voor wie hij zelfs kort ging werken als assistent in zijn studio in Parijs. Na deze periode reisde Brandt door Europa samen met Eva Boros, met wie hij in 1932 zou trouwen in Barcelona. In deze periode begon Brandt ook met het experimenteren met nachtfotografie, iets wat nog niet veel was gedaan in die tijd.

In 1933 verhuisde Brandt naar Londen en begon hij alle lagen van de Britse samenleving vast te leggen, iets wat voor die tijd nog ongewoon was. Van dit werk publiceerde Brandt twee boeken, The English at Home (1936) en A Night in London (1938). Ook leverde Brandt regelmatig bijdragen aan tijdschriften zoals Lilliput, Picture Post en Harper's Bazaar. Voor het uitbreken van de Tweede Wereldoorlog trok Brandt naar het industriële noorden van Engeland. Daar legde hij het leven van de mijnwerkers vast.

Gedurende de Tweede Wereldoorlog maakte Brandt, op eigen initiatief, in twee verschillende sets een serie van foto's van de Blackout. In opdracht van het Ministry of Information maakte Brandt een reportage van de mensen in de schuilkelders gedurende 'The Blitz'. Foto's die werden gebruikt om de Amerikanen te overtuigen deel te nemen aan de oorlog.

In 1948 publiceerde Brandt, Camera in London. Hieruit blijkt zijn interesse voor diverse onderwerpen maar blonk hij het meeste uit in portretten en landschappen.
Hoewel hij in de jaren dertig en veertig al experimenteerde met naaktfotografie begon hij na de oorlog met een langdurige exploratie van het vrouwelijk naakt, waarbij hij het lichaam vervormde en transformeerde door middel van de hoek en het frame van de cameralens.

In 1955 nam Edward Steichen vier foto's van Brandt op in zijn vernieuwende en inmiddels wereldberoemde tentoonstelling The Family of Man.

Brandt, in 1968 bestempeld als een van 's werelds beste fotografen, leed meer dan veertig jaar lang aan diabetes en overleed na een kort ziekbed op 20 december 1983.

Publicaties
 The English at Home, 1936
 A Night in London, 1938
 Camera in London, 1948
 Literary Britain, 1951
 Perspective of Nudes, 1961
 Shadow of Light, 1966

Externe links
 Biografie (artnet)
 Galerij (artnet)

Brits fotograaf

redpajama_set_name: RedPajamaWikipedia


Join us in elevating women's stories and diversifying the voices and faces you see on stage at industry conferences across the country.
We've all heard over and over again from event organizers how "hard" it is to find women that want to speak - let alone a diverse cross-section of women. Women are half the planet, so that's hard to believe, right?
The funny thing is, on average filling 1 spot on a panel requires asking at least 5 women to every 1 man. That means, to fill a panel of 4 women, it might require having a list of 20 women to ask. Meanwhile, for men, it's more like 1 to 1 ratio. Knowing this, usually people say, they didn't ask ENOUGH women because they couldn't even find "enough" women to ask to balance things out. How can that be? Mitt Romney even has "Binders full of women!"
Men say yes more often. Per above, saying "yes," means you get the spot. It's amazing how many women say they want to speak and then say "no" to a perfect opportunity. I will note: It also tends to be the case that women hit a stride in their career around that "prime" time to start families - so some of us do have less time "on the table." Also most speaking events are during a work day, which means being out of the office, or they are at night, which means staying out late on your own time - so you gave to weigh it.
Women tend to prioritize "others" first. This is not exclusive to women by any means, but many of us find this to be true: women leaders are more likely to give the opportunity to someone else on their team. In many workplaces, there is a big chance that person to the left or right is male, or a woman who also passes (see above).
Research is hard. On the planning side, it takes a lot of time to look for new speakers (that's why a lot of the same people appear on stage at so many different events). On the speaker's side, you have to know organizers are even looking for speakers. More often than not, events don't come on the radar until they are open for attendee registration, and then it's typically too late to apply to speak.
The criteria for selecting speakers doesn't make sense. The most common criteria for a speaker to be selected is based on if they have a c-suite job title and/or have published a book. But if research shows that women with more than enough qualifications, still don't have the titles to show for it - this narrow criteria is going to disqualify most female experts, even before their bios are read. Speaking of bios, (which we know are notoriously under-utilized as a self promotion opportunity), they don't always show how qualified women are and unless it comes with a personal referral, it isn't always the strongest foot forward.
Knowing this, the open listserv started in summer/fall of 2016 to share things that come across my desk. It organically formed through friends and referrals. With the intention of keeping it small, curated group of experts in different fields. In the first year, over 60 women were booked for panels, keynotes, and podcasts. That number has continued to grow since.
If you want to speak: Please start/keep saying, "Yes!" Your knowledge and stories are important and there is an audience for what you are trying to give to the world. Join other lists and Facebook groups for women speakers and join the speaker list here.
If you are curating events: Ask for help and be persistent. There are so many people who want you to find talented experts from all different backgrounds to speak at your event. A great place to start, ask your past speakers to nominate someone. But it's up to you to keep looking and to not settle for anything less than equal representation. Get a speaker referral here.
If you want to support: So maybe all of this is great, but not in your wheelhouse. No problem. Be a champion of other people in your life by nominating them for things they might want, but need the help to get it and by sharing resources like this. Because that's what community and connection are all about. Join our newsletter to get more ideas and insights.


Step 1. Click 'Progress & Reports' from the left hand menu.
Step 2. Choose the tab 'Operational reports'. Click on 'Mobile Device Management Report'.
This shows a list of the users who have synced their mobile devices to Myprogress.
The pie charts shows the data of the App Version, the Device Type and the Device OS.
In the table, to the very left you can see the unique id of the user and device, then which app version they are running, the user name, their email, their device, the device OS, when they last logged in, and the date they initially synced to the app.


India needs to cut the Gordian knot of strategic stalemate in its external environment.
A whispering campaign' has been going on that CPEC is fated to put an intolerable burden on Pakistan's debt repayment liabilities, with no commensurate economic returns. Fact check is uncommon in our part of the world: Moody's says CPEC may account for 9-10 % of Pakistan's GDP this year.
There was much speculation that PM Imran Khan, burdened with the immediate task of finding money for debt servicing/repayment, might not be enthusiastic about it. However, the dust is settling down and what emerges impacts Indian interests in a medium and long-term perspective. Being the flagship of the Belt and Road Initiative (BRI), China attaches the highest importance to CPEC.
This became apparent from the extraordinary 'special invitation' extended by Chinese President Xi Jinping last month to Pakistan army chief Gen Qamar to visit Beijing against the backdrop of the cloud of uncertainties regarding CPEC, with a view to underscoring that CPEC is not only the anchor sheet of Sino-Pakistani cooperation, but also imbued with regional and global significance.
Indian soothsayers who predicted an apocalyptic future for CPEC were either uninformed or unable to comprehend the realities.
Many misconceptions regarding CPEC — in its share of Pakistan's debt burden or the benefits accruing to the economy or its potential for job creation, etc. — are unwarranted. Curiously, the provincial leadership in Quetta and Peshawar are vying with each other for the allocation of more projects in their respective regions. Some 'tweaking' can be expected as CPEC progresses, which is inevitable in such a massive regional project that has no precedent in modern history.
Beijing has repeatedly affirmed an open mind to innovative ideas to infuse the BRI with global standards in the preparation and execution of projects, including funding arrangements. From Beijing's perspective, the BRI holds the potential to create a new value chain in world economy. Last month, the EU signed off on a new 'Asia connectivity strategy', which aims to improve transport, digital and energy links while promoting environmental and labour standards.
The EU proposes to discuss with China how to harmonise. Meanwhile, Imran Khan's forthcoming visit to China is expected to add new templates to CPEC. Specifically, a framework agreement on industrial zones, progress on agricultural cooperation and addition of a social sector joint working group are on the cards. From the Indian perspective, a most significant development is in respect of third-country participation in CPEC. Specifically, Imran Khan has swung some promises from Saudi Arabia to invest in CPEC projects.
China has since welcomed this. This is a paradigm shift. For one thing, CPEC is gaining habitation and a name in regional cooperation. If the Saudis step in, can Iran and/or Russia be far behind? It's time India understands that CPEC is destined to be an enduring feature of the regional security architecture. Indian soothsayers who predicted an apocalyptic future for CPEC were either uninformed or unable to comprehend the realities. China has announced its intention to extend CPEC to Afghanistan and Central Asia in near future.
There was much speculation that PM Imran Khan, burdened with the immediate task of finding money for debt servicing/repayment, might not be enthusiastic about it.
India should take a fresh look at CPEC. It makes sense to stop dwelling on the past and look ahead. Indeed, open Indian criticism of CPEC has tapered off. The Wuhan spirit probably accounts for it. Meanwhile, a new concept has appeared in the Sino-Indian discourse with Beijing testing the water with the 'India-China Plus One' concept in relation to third countries. India is hesitant because its own prism on regional politics is geopolitical. But geo-economics should gain primacy as the fountainhead of India's regional policies.
Lack of geopolitical convergence is not deterring countries from cooperating. Geo-economics can help moderate geopolitical differences. The Turkic and Persian civilisations witnessed great rivalries through history. They contend for regional influence today. However, a gas pipeline connecting Iran with Turkey enables the latter to source half of its energy requirements from Iran. This has become a stabilising factor in their relationship.
Russia and Europe also have 'win-win' oil and gas pipelines and are adding a new template to it — Nord Stream 2 pipeline — the current New Cold War conditions notwithstanding. Broadly, India has two alternatives in the approach toward its two problematic relationships — China and Pakistan.
China has since welcomed this. This is a paradigm shift. For one thing, CPEC is gaining habitation and a name in regional cooperation.
One is to continue to 'manage' the troubled relationships and mark time like the tramp in Beckett's Waiting for Godot, taking advantage of crumbs that may fall from the high table of US-China competition (or hoping for an outbreak of Sino-American New Cold War); and refusing to talk to Pakistan unless its behaviour changes. A second approach is also possible, which is not predicated on windfalls, but on rational thinking and will be beneficial — engage Pakistan and China and make them stakeholders in a predictable and stable relationship.
This is where Saudi participation in individual CPEC project(s) ought to stimulate Indian rethink. Imran Khan has made an overture to India to rev up economic ties. This has been, ironically, the classic Indian position, too — that notwithstanding the Kashmir problem and other differences, the two countries should foster mutually beneficial relations that would inevitably have a positive impact on the climate of relations and even help resolve their disputes and differences that may look intractable today.
The moribund idea of a gas/oil pipeline connecting Iran, Pakistan and India comes readily to mind. The point is, India as an emerging regional power needs creative thinking to cut the Gordian knot of strategic stalemate in its external environment.
Next articleAvenfield Reference: Will SC dismiss NAB's appeal against IHC's verdict?


Nationwide "Medicare for all" would cost more than $32 trillion over its first decade. Doubling federal income and corporate taxes wouldn't be enough to pay for it. No doubt, that cost would be used to justify further restrictions on health-care access.
But the problems with single-payer go well beyond cost. In the past half-century, nationalized programs have consistently failed to provide timely, high-quality medical care compared with the U.S. system. That failure has countless consequences for citizens: pain, suffering and death, permanent disability, and forgone wages.
Many Democrats have embraced "Medicare for All," but there's a big variation in the policies they propose under that banner. This poll asked respondents two related questions—what they think candidates mean by "Medicare for All," and what they want that policy to mean, if they support it at all. Overall, just 52% of those surveyed said they think "Medicare for All" refers to a single, government-run health care program covering everyone. Voters were more divided over what they want "Medicare for All" to be: 34% said they would favor a single-payer system; 33% said they would prefer an optional public plan alongside private insurance; 30% wanted neither. This poll shows that Medicare for All has different meanings to different people.
The United Kingdom's National Health Service, which celebrated its 70th anniversary on July 5, is imploding. Vacancies for doctor and nurse positions have reached all-time highs. Patients are facing interminable waits for care as a result. This August, a record number of Britons languished more than 12 hours in emergency rooms. In July, the share of cancer patients who waited more than two months to receive treatment soared. Yet enthusiasm for government-run, single-payer health care continues to build in the U.S. One look across the Atlantic, to the disaster unfolding in the U.K.'s government-run healthcare system, ought to curb that enthusiasm.
President Trump's administration says on average prices for 2019 are 1.5% lower than they were last year on the federal health exchange. After years of double-digit price hikes on exchange plans, health insurers are starting to turn a profit on the ACA exchanges. For 2019, there are more carriers getting back into the market and offering new plan options. The Trump administration extended the length of cheaper, short-term plans with fewer benefits to provide up to 12 months of coverage. Some analysts predict those cheaper plans could attract healthier members.
The battle over coverage for pre-existing conditions has become a central front in the 2018 midterm elections, but however heated their rhetoric and whatever their positions have been in the past, there is operatively no difference between Republicans and Democrats on the issue.
What I mean by that is no matter who controls Congress at the end of this process, Obamacare's ban on allowing insurers to deny coverage to those with pre-existing conditions is going to remain intact.
In the case of Democrats using statewide numbers for people with preexisting conditions for votes concerning the AHCA, that's worthy of Four Pinocchios. They've taken high-end estimates for the entire insurance market, even though the law affected only the individual market. Different states also would have had to proactively seek waivers. The Congressional Budget Office found that in states with one-sixth of the U.S. population, there could be turmoil in the insurance markets – but that meant it might be fine in other states. There's little excuse to apply numbers for the entire insurance market to the much-smaller individual market.
Amgen announced on Wednesday it is creating much lower pricing categories for its innovative biologic, Repatha, reducing the list price by 60%—from the current $14,600 to $5,850 a year. Patients who pay a share of the list price through co-insurance can see immediate savings. The company says it hopes that insurers will see the value of adjusting their formulary tiers to include the drug and make it more accessible and affordable to patients. The list price cut is a market-based approach that is much more likely to succeed in lowering drug prices while allowing investments in research for new innovative therapies to continue.
State proposals to allow residents who don't qualify for Medicaid to buy into the program are gaining steam, but providers are concerned that could cut deep into state budgets, drive physicians out of Medicaid's already-skimpier networks and shift more costs to the commercial insurance market.
Providers' worries about state Medicaid buy-in options are similar to their unease over the "Medicare for all" plan pushed by Sen. Bernie Sanders (I-Vt.), which is gaining steam with progressive Democrats in Congress.
Such fights are leading to sometimes bitter races across the country involving the ACA, enacted in 2010 under President Obama.
The text of the Medicare for All bill specifies large and immediate reductions in payments to providers now treating patients under private insurance, cuts of more than 40% for hospitals and 30% for physicians, with these respective cuts growing more severe over time. We do not know the extent to which these cuts would disrupt the supply and timeliness of U.S. healthcare services. But without them, the costs of M4A would be substantially greater than $32.6 trillion in added federal costs over the first ten years.


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"Dreams do come true-if you believe" - Barno
Art: Movies
Thesis: Luc Besson is one of the best French Directors of this century. His works can either be viewed as mere action packed thrillers or the viewer can go in depth and question society and morality. Besson wishes to make the viewer question the importance of individualism, the role of each individual in society and whether the individual should follow the norms of society or follow his heart. Besson's humor, sense of pathos and his reflections on life deserve credit. Besson draws on his own life in some movies. Besson lacks presence of family and religion and in his movies the protagonist has to sacrifice one love so as to attain another, which he feels to be of greater importance to his life.
Luc Besson was born in Paris on March 18, 1959, and spent most of his childhood living in the idyllic settings of various Mediterranean hideaways between Yugoslavia and Greece where his parents worked as diving instructors. A tragic diving accident when seventeen, put an end to his dreams of a career in marine biology and he diverted his interest to films and directing. He dropped out of school and moved to Hollywood at the age of nineteen where he spent three years working on and learning about American films. There was a time when he used to watch a dozen films a week so as to understand filmmaking. Considered the French equivalent of Steven Spielberg, Besson is popular for creating fast–paced stylish and hugely budgeted films. What are noticeable in Besson's movies are the visual style, humor, pathos, and sense of direction, reflections on life and declination of modern society. (Susan Hayward, 1998)
Luc Besson's movies can all be viewed not just as movies but movies with a meaning. One of his major themes in all his movies is social existentialism - the decline of society and morality. The protagonist develops his own sense of morality and what is right and wrong in relation to...
How To Get a Girl
Tamil Eelam
History Of Media
The Internet Economy...
Cultural History Of Britain

redpajama_set_name: RedPajamaCommonCrawl


Senator Pierrette Ringuette is an INDEPENDENT.
Ms. Ringuette was educated at the Université de Moncton, Edmundston Campus; where she obtained a B.A in administration and social sciences. She went on to attend Laval University, where she completed her course work towards a Masters of Industrial Relations. She received a Masters of Business Administration from the University of Ottawa in June 2000.
Ms. Ringuette worked as supervisor and customer services relations officer for numerous businesses in Northern Quebec. Later, she worked as the manager of the Edmundston Chamber of Commerce. She was also an associate lecturer at the Université du Québec at Rimouski, and, later, a professor of Continuing Education at the Université de Moncton, Edmundston Campus teaching labour economics.
In her community, Ms. Ringuette was involved with numerous organizations. In 1986, she served as the first female President of La Foire Brayonne; in 1986-87, she was the Honourary president of Big Brothers/Big Sisters of Madawaska Inc.; served as a director of the board of Cie des Jeunes Travailleurs du Nord-Ouest Inc. and a member of the board of Family Enrichment; was a member of the Cercle de Presse Internationale de la République and a member of the disciplinary committee of the New Brunswick Nurses Association. She is currently Honourary Co-Chair of the "Centre Aster", an organization that promotes science to young Canadians.
In the course of her political career, Ms. Pierrette Ringuette has enjoyed the distinction of being the first Francophone woman in New Brunswick to be elected to the provincial Legislative Assembly having represented the provincial constituency of Madawaska-South from 1987 to 1993. She also enjoyed the distinction of being the first Francophone woman from New Brunswick to be elected to the federal Parliament having represented the federal constituency of Madawaska-Victoria from 1993 to 1997.
During her legislative career in the New Brunswick legislature, she served as deputy speaker from March 1988 until October 1991 and she was also a member of the Standing Committee on Crown Corporations, a member of the Standing Committee on Privileges, a member of the Special Committee on Economic Policy Development, Vice-President of the International Association of French-speaking Parliamentarians – New Brunswick Chapter, a member of the Commonwealth Parliamentary Association and was also appointed to the New Brunswick Commission on Canadian Federalism.
Throughout her mandate as Member of Parliament, she was elected Co-Chair of the Joint Committee on Official Languages, elected Chair of the Sub-Committee responsible for revising Communications for different House of Commons Committees, elected Chair of the Standing Committee on Official Languages and appointed Assistant Deputy Chairman of Committees of the Whole House. She was also a member of the Liaison Committee and was appointed Vice-Chair of the Policy Development Committee for the Liberal Party of Canada.
In 1997, Ms. Ringuette joined the Canada Post Corporation as Manager of the international trade development unit, taking part in a number of trade missions promoting Canadian expertise among foreign postal administrations.
On December 12, 2002, she was appointed to the Senate by the Rt. Honourable Jean Chrétien to the Senatorial Division of New Brunswick. As a Senator, she has been or still is: member of the Standing Senate Committee on Banking, Trade and Commerce, member of the Standing Senate Committee on National Finance, member of the Standing Senate Committee on Legal and Constitutional Affairs, member of the Joint Standing Committee for the Scrutiny of Regulations, member of the Standing Committee on Internal Economy, Budgets and Administration, member of the Standing Committee on Energy, Environment and Natural Resources, member of the Standing Committee on Agriculture and Forestry, member of the Standing Committee on Transport and Communications and a member of the Standing Committee on Rules, Procedures and the Rights of Parliament. She is also a Counselor of The Inter-Parliamentary Forum of the Americas, Co-Chair of the Canada-Cuba Inter-Parliamentary Group. She was also Vice-Chair of the Prime Minister's Task Force on Seasonal Work from 2003 to 2004.
On June 6, 2007, she received the grade of Officer of the Ordre de la Pléiade from the New Brunswick section of the Assemblée Parlementaire de la Francophonie in recognition of her contribution to the development of francophone and Acadian culture.
On February 2nd, 2016, Senator Ringuette advised the Speaker that she will sit as an Independent Senator for New Brunswick.
Ms. Ringuette was born in 1955. She has one daughter.


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Rackets World Eliminator 2019
Updated: 28 May 2019 Final Result
Eliminator May 2019
Wednesday 22nd; Queen's; Will Hopton beat Alex Duncliffe-Vines 15/6 15/4 15/7 11/15 15/4
Saturday 25th; Manchester; Duncliffe-Vines beat Hopton 15/14 15/9 18/17 15/12
Alex Duncliffe-Vines wins 5-4 overall
The current World Singles Champion, James Stout, has decided not to defend his world title again having held it for the last 11 years. James is one of the greatest players our game has seen and it has been a privilege to watch him play. A full tribute to James' achievements and contribution to the singles game will published by NARA and the T&RA in due course.
James Stout vacating his title means that we now have an Eliminator match to determine who plays Tom Billings in the Championship Match this Autumn. The Eliminator is being played between Alex Duncliffe-Vines and Will Hopton who are the third and fourth ranked players in the World Championship points ranking.
The Eliminator will be played over two legs in the UK as follows:
First leg: Queen's Club: Wednesday 22nd May - Will Hopton beat Alex Duncliffe-Vines 15/6 15/4 15/7 11/15 15/4
Will Hopton and Alex Duncliffe-Vines exchanged a point apiece as both settled down in front of the packed gallery at The Queen's Club. Hopton the struck the first blow as he quickly settled into his rhythm, picking up six points on the next hand to lead 7-1. ADV pulled back a point and then chances came and well, but the score remained locked at 7-2. After three hands each, it was again Hopton who found his mark, and although ADV was returning well, Hopton ran down three more points to lead 10-2. ADV pulled a point back but Hopton closed in on the first game with four more points to lead 14-3. ADV rallied and good speed around the court dragged the score back to 6-14, which held for a furtehr couple of hands each before Hopton finally struck the decisive shot to win the game 15/6, and an early lead.
Both players were now working hard and missed opportunities to score, but once again Hopton's serve was just that little more precise and he slowly, but surely, edged ahead; 3-0, then 5-0, then 6-0, before ADV replied. Pulling back two points gave a glimmer of hope but Hopton was always ahead, stretching the lead to 8-3, and then a further five points in another successful hand gave him a 13-3 lead. ADV pulled back a point but it wasn't enough and Hopton served the next two points to win the game a decisive 15/3, and a two game lead.
The third game followed a similar pattern with Hopton once again showing the early running, reaching into the back corners to recover and forcing ADV to aim just above the tin. Hopton established a small 2-0 lead but ADV was fighting, recovering to lead 3-2 briefly, before Hopton scored a further four points, 6-3. The game was fast scoring and Hopton edged further ahead but ADV came back again to level 7-7. Sadly for ADV that was the end of the resurgence as Hopton stepped up a gear, serving magnificently, backed up by effortless movement around the court, to reel off eight points on service like the oncoming tide, taking the game 15/7. Hopton was now 3 games to love ahead and his supporters were extremely vocal.
ADV needed to step up and he certainly did just that. With a renewed sense of urgency, he established an early 4-0 lead, finally waking the Cheltonian support. Hopton responded, chipping away at the lead until he led 5-4 and then 7-4. ADV worked hard to re-establish momentum gradually fighting back to 6-7. The game was tense and hung in the balance. Hopton again pushed ahead to 9-6, then 10-6, edging closer to the vital fourth game, a point apiece left the score 11-7. Now Hopton stalled as ADV played his best Rackets of the match, scoring single points but eventually levelled and then took a slender 12-11 lead. Hopton couldn't find a way back in as ADV snatched his serve before serving three sweet points to take the game 15/11, and establish a foothold in the match.
The fifth game saw Hopton regain the momentum, leading 6-0 after his first hand. ADV rallied but then disaster struck as his playing hand started to cramp, trailing 2-6. ADV fought valiantly struggling to hold his racquet, but it was Hopton who was now unstoppable. From 7-3, Hopton scored six points, without reply, to lead 13-3. ADV somehow salved a point but that was his last triumph on the night as Hopton took the game 15/4, a four games to one lead in the overall match.
The 100 strong gallery had witnessed a superb match between two of the top players in the game, with the eventual winner scheduled to play the watching Tom Billings in the same format in November.
Second leg: Manchester: Saturday 25th May - Alex Duncliffe-Vines beat Will Hopton 15/14 15/9 18/17 15/12
Alex Duncliffe-Vines stunned Will Hopton by overturning the three-game deficit, winning four games to love. ADV will now play Tom Billings for the World Championship in November. In the closest of matches, it was Duncliffe-Vines who was able to win the critical points. Both players were closely matched and the first and third games were balanced on a knife edge.
The players came North to Manchester to contest the second leg on a court they both know well. Given his commanding lead from the first leg, one game would almost certainly suffice to secure victory for Will. Could Alex reverse the result at Queen's and win by 4 games to love?
Alex opened the match with a serve from the left and was immediately put out after a bad bounce, allowing Will, varying the pace of the ball, to move to a 2-0 lead. Alex then got back in hand after a fine, low return and moved slowly to 5-4 and then to 8-4. Will clawed his way back, reducing his opponent's lead to 8-7. But a good run by Alex, serving well and mixing hard hitting down the side walls, cross court kills and the occasional drop shot, saw him increase his lead to 12-7 before losing service on a double fault. Will took advantage of this opportunity to win the next two points before Alex regained service and moved on to 13-9. An attempted drop then left him out of position allowing Will to put the ball away. Will then dug in to take the score to 13 all. Alex elected no set; and Will won the next point to take him to game ball. But Alex got back in hand and won the next point to equalise the score at 14 all. From the backhand side, he served hard down the middle, allowing Will to claim a let. The same sequence was repeated twice more before Alex claimed the point he needed, winning 15/14 after a game lasting some 37 minutes.
In the next game, Alex carried on where he had left off, quickly running to a 6-0 lead over Will, soon advancing to 9-2. But Will fought back with typical determination, levelling the score at 9 all before losing the service. After a fine, long rally, Alex took the next point and moved on impressively to win the game 15/9.
The third game initially took a very different direction. Alex won the first two points; but Will then got in hand and moved to 9/3, losing and almost immediately regaining service on several occasions. There followed some splendid play from both men with the advantage tilting back to Alex, who eventually evened the score at 11 all. But Will regained the initiative, moving to 13-11 before Alex clawed one back and then took the score to 13 all with a fine backhand kill. Will chose to set to 5. It looked as if the decision would pay off, as Will quickly took the score to 4/1 in the set. Nothing daunted, Alex got back in hand, and won three more points before losing the service once again to give Will game ball for the second time. But Alex immediately fought back, got in hand and managed to serve out the game to win 18/17.
Both players were now tiring, but Alex was brimming with confidence and quickly established a commanding lead at 11-3, varying pace and direction and playing to the gallery with several shots between his legs. Will fought back, but the scales had tipped too far in his opponent's favour and Alex eventually won the game and the match 15/12.
The match was a credit to both players, hard fought in the very best of spirits over 2 hours and 10 minutes. Will had his chances; but Alex deserved his fine victory against the odds, saving three match points along the way, so as to secure his place in the World Championship Challenge in November.
Many thanks to John Prenn and PlayBrave, sponsor of both matches.
Second Leg Information Live stream


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More than food at Gordonton takeaways
October 25, 2011 August 28, 2012 Iris Riddell	2 Comments	Agriculture for Family Care, Cambodia, Coastal Connection, fund raising, Gordonton fish and chips
Yorng Dul in the shop
You can buy fish and chips at one end, and help build a Cambodian orphanage down the other.
Gordonton's Coastal Connection owners Mich and Yorng Dul came to New Zealand from a Cambodian refugee camp in 1986. They took over the fish and chip shop two years ago and have been busy since, and not just with battering and frying.
"For many years we have wanted to do something. In Cambodia many live in slums, there are so many poor, so many orphans, not much education. We didn't know how we could start, so we just did it after a lot of thinking," says Yorng.
The couple have set up Agriculture for Family Care, and have purchased 40 hectares in three different locations in Cambodia. They want to raise $1 million to build an orphanage and training centre.
"So people can study, learn how to work, and then go back to their village."
To make this reality, they have set up a second hand shop down the far end of the store, selling clothes, shoes, movies, books, bags – "whatever we can to raise money. People, locals, bring in all sorts of things. We don't ask, they just come."
Every year Mich and Yorng travel separately to Cambodia to work on the project. Building hasn't started yet, but there's still plenty to be getting on with.
"We do a lot of planting and work in the garden. At the moment we are planting dragon fruit trees. One tree lasts seven years, and produce 20kg of fruit. The ones we planted two years ago are already starting to produce."
The fruit tastes a bit like kiwifruit, she says. "It is lovely. Selling it provides work and income for the poor people."
Just like kiwifruit...
Last year they printed and sold special Christmas cards; the money raised from selling these goes toward the purchase of a tree.
There is a lot of interest in the project. "We hold meetings, and a lot of people come. We have a lot of good people who are behind us.
"It's a big dream, and just a little bit at a time, we get there. It makes you feel good, doing good things," Yorng says, before heading off to serve up the next batch of chips.
← Seat of the pants gardening
The original rental car company →
Orini defibrillator fundraiser all go
June 20, 2016 N8N	0
Expressway plans 'detrimental' to school
December 6, 2011 December 8, 2011 N8N	2
Treasure hunters in Gordonton
June 15, 2015 June 22, 2015 Annette Taylor	0
2 thoughts on "More than food at Gordonton takeaways"
alan leadley
Mich and Yorng, you and your family are an inspiration, the way you are committed to the greater good in our society and in your own home country Cambodia.
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Category Archives: Let's Go
DAVID SERERO STARS AS MOSES IN THE U.S. PREMIERE OF 'THE TEN COMMANDMENTS, THE MUSICAL'—MAY 5TH (3PM), 8TH (6PM – PREMIERE), 10TH AND 12TH (8PM), AND THE 15TH (6PM) · Apr 18th
(via The Culture News news@theculturenews.com)
Under star and director David Serero, the French musical The Ten Commandments, finally in English–based on the biblical story of Moses, an adopted Egyptian prince who becomes the deliverer of his true brethren, the enslaved Hebrews, by leading their Exodus–will open Off-Broadway, MAY 5TH (3PM), 8TH (6PM – PREMIERE), 10TH AND 12TH (8PM), AND THE 15TH (6PM). Along with Serero, as Moses, the cast of twelve includes theatre and operatic talents, including: DaShaun Williams (Ramses), Stephanie Craven (Sephora), Brooke Myers (Jochebed), Lisa Monde (Bithia), Cale Rausch (Joshua), Zachary Harris Martin (Aaron), Kristyn Vario (Myriam), Shane Patrick Watson and Julia Anne Cohen (Various roles and U/S).
WHERE: This limited engagement will be performed at the Center for Jewish History (15 West 16th Street, New York NY 10011)
TICKETS: Available on thetencommandmentsthemusical.com or 1.800.838.3006 for $26 and $36.
Serero is a critically acclaimed, award-winning opera singer, actor, director, and producer, who has performed more than 2,500 performances in more than 45 countries. He has directed and produced nearly 100 theatrical productions, starred in over 100 films and T.V. series, recorded and produced over 100 albums, and played more than 50 leads and title roles (in several languages) from opera, theatre, and musical repertoire. In New York, he starred Off-Broadway in iconic roles such as Shylock, Cyrano, Othello, Barabas, Yiddish King Lear, Don Giovanni, Figaro, Romeo, Nabucco, as well as in new works such as Napoleon by Kubrick, Queen Esther, and Anne Frank a Musical, among others. In his native Paris, he also starred as Don Quixote (Man of La Mancha) and Happy Mac (Beggar's Holiday by Duke Ellington). He entered the prestigious Who's Who America for demonstrating outstanding achievements in the entertainment world and for the betterment of contemporary society. In 2019, he received the Albert Nelson Marquis Lifetime Achievement Award, the Morocco Day Distinguished Achievement Award, the Trophy of the Culture of Morocco, and was named among the fifteen most influential Moroccans worldwide by Morocco's airline Royal Air Maroc.
David is a member of the Recording Academy and the Television Academy and a voting member of both the Grammys and Emmys. In 2020, David Serero received the UNESCO Award for Diversity in Paris and became an Honorary Member of the United Nations of Arts and Science. In 2021, he won 4 Broadway World Awards for Best Performer of the decade, Best Producer of a Musical of the decade, Best Producer of a Play of the decade, Best Opera singer of the Year. He was awarded the Certificate of Recognition by the Mayor of New York, Bill de Blasio, for his contribution to the City's dynamic cultural landscape, enriching the vibrant performing arts sector, and uplifted and inspired diverse New Yorkers. His first documentary film on fashion designer Elie Tahari won dozens of awards (including Best Director, Best Documentary, Best Producer) and received over 100 film festivals selections. www.davidserero.com
France's The Ten Commandments, (Les Dix Commandements) announces its upcoming U.S premiere—and releases its first single in English.
Almost 20 years after its opening, "The Ten Commandments" is coming to America and will be presented in English–below, listen to the first single from the Cast Album, created by the filmmaker Elie Chouraqui, with music by Pascal Obispo and lyrics by Lionel Florence and Patrice Guirao. The show has already played to over 3 million spectators in Europe alone.
The revival recording and stage adaptation are the ideas of star baritone (playing Moses) and producer David Serero, who wrote the English language adaptation for American theatrical productions. The first single from the upcoming Cast Album Recording, titled "The Maximum Pain (La Peine Maximum)," has been released on all platforms. The first series of Off-Broadway performances will take place in May 2022 in New York. Tickets and additional information will soon be available.
First presented in October 2000, the musical was an instant hit, equaling in success another famous French musical: Notre Dame de Paris. The musical carried such radio hits as "L'envie d'aimer," performed by Daniel Levi. The shows original stars included Yael Naim, Ahmed Mouici, and more. Sonia Rykiel designed the original costumes, and Kamel Ouali created the choreography.
Serero explains "I have carried this masterpiece in my heart since its first day of creation. This unique collaboration between two masters, Elie Chouraqui and Pascal Obispo, will forever remain in the history of French musicals. The original French lyrics were by Lionel Florence and Patrice Guirao."
Creator, Elie Chouraqui, comments: "I am thrilled and honored that my show, "Les Dix Commandements" (The Ten Commandments) with the gorgeous music by Pascal Obispo, has finally been adapted for New York, the capital of musicals. After playing it in France, Europe, and Asia, America is a lifetime achievement. I must thank David Serero for his enthusiasm, strength, and unquenchable desire to bring this musical to Broadway."
Elie Chouraqui is a French filmmaker born in 1950. Among others, he is known for the films Ô Jerusalem, Harrison's Flower, starring Andie MacDowell, Adrien Brody, Gerard Butler, and Brendan Gleeson; Man on Fire with Joe Pesci, Scott Glenn, and Jonathan Price. And several French film classics starring iconic French actors, such as Jean-Hughes Anglade, Christophe Lambert, Richard Anconina, Charlotte Gainsbourg, and many more.
Pascal Obispo is one of the most successful singer/songwriters in the genre of French pop, who released numerous commercial blockbuster albums, scored Top Ten hit singles with regularity, embarked on multiple sold-out concert tours, wrote songs for a musical of his own creation, and collaborated with a long list of French pop stars. The lead single of The Ten Commandments, "L'envie d'aimer," was also recorded in English by Celine Dion.
"The Maximum Pain" is performed by Lawrence Neals, with background vocals by Lisa Monde, Mackenzie Tank, and Kristyn Vario. English adaptation and production are by David Serero. The music is composed by Pascal Obispo, and the original French lyrics are written by Lionel Florence and Patrice Guirao.
The Maximum Pain is available to listen to on:
YouTube: https://youtu.be/JJ8wAxkFbGs
Spotify: https://open.spotify.com/track/5El2zq7t64kbaJ7XwCNoqX?si=92afc56325c34da3
iTunes: https://music.apple.com/us/album/the-maximum-pain-from-the-ten-commandments/1591325748
posted in Commentary, Current Affairs, Events, Let's Go, Performance, Songbook
LET'S GO: 'THE MIKADO' FROM THE NEW YORK GILBERT & SULLIVAN PLAYERS, AMERICA'S PREEMINENT GILBERT & SULLIVAN REPERTORY ENSEMBLE · Dec 18th
(via Sean Katz, Katz PR)
The New York Gilbert & Sullivan Players, America's Preeminent Gilbert & Sullivan Repertory Ensemble, Presents
The Mikado
Novel Production of Enduring Classic
At The Kaye Playhouse at Hunter College
December 27, 2019 through January 5, 2020
(New York, NY – November 25) Since its founding in 1974, the New York Gilbert & Sullivan Players (NYGASP) has presented more than 2,000 performances of the Gilbert & Sullivan masterpieces throughout the United States, Canada and England, captivating audiences of all ages. America's preeminent Gilbert & Sullivan Repertory Ensemble, continues its 45th season with its novel production of The Mikado, one of the most enduring musicals in theatrical history.
With 8 family friendly performances after Christmas, this production, which premiered to critical acclaim in December of 2016, will run at The Kaye Playhouse at Hunter College, 68th Street between Park and Lexington Avenues, Dec. 27, 2019 through Jan. 5, 2020. Annual favorite special events include multi-generational Bring Your Grandparents Day (Dec. 30 – with pre and post show attractions) and Family Overture presentations before Saturday matinées (Dec. 28, Jan. 4 – musical introduction and plot summary made entertaining and free to all ticket holders).
The New York Times describes this production of The Mikado as "a comic gem" with "handsome designs, sharp acting and impressive singing."
First performed at London's Savoy Theatre in 1885, The Mikado pokes fun at topical aspects of Victorian society, but Gilbert & Sullivan cleverly cloak their satirical barbs behind a charming love story set in an imagined town in Japan, and NYGASP continues the time honored tradition of topical updating for a modern audience. You're sure to recognize someone on the "Lord High Executioner's" comical list of people who "never would be missed".
The show abounds with absurdity and astounding wit, clever wordplay, memorable tunes and endearing characters. The romantic love story follows Nanki-Poo, the son of the Mikado (the Japanese emperor), who has fled his father's court in disguise as a "Wand'ring Minstrel" to avoid marrying Katisha, an elderly suitor, and to find and marry his own beloved, the delicious maiden Yum-Yum, one of "Three Little Maids From School". Yum-Yum, however, is the ward of Ko-Ko, the "Lord High Executioner", and has become betrothed to him against her will. As usual in a Gilbert & Sullivan imaginative plot, the tangled web unravels and everyone (well, almost everyone) lives happily ever after.
The NYGASP production features an original prologue that introduces the audience to the real life characters of the D'Oyly Carte Opera Company, which originated The Mikado in 1885 London, and emphasizes the work's satire of human foibles and excesses that transcend generational and national bounds. The comic opera will feature original choreography and direction by NYGASP Associate Stage Director David Auxier, who also authored the show's prologue, and Assistant Direction by Broadway performer/director Kelvin Moon Loh.
The show's cast includes: dynamic bass David Wannen in the title role; clever patter man David Macaluso as Sullivan and Ko-Ko; blustering Matthew Wages as Richard D'Oyly Carte and pompous Pooh-Bah; creative David Auxier as author Gilbert and town leader Pish-Tush; charming John Charles McLaughlin as romantic hero Nanki-Poo, formidable Caitlin Burke as lovelorn and overbearing Katisha; beautiful soprano Sarah Caldwell Smith as self-aware Yum Yum; Rebecca Hargrove as maiden sister Peep-Bo, and mellifluous mezzo Amy Maude Helfer as adventurous Pitti-Sing.
The production will showcase scenery designed by Anshuman Bhatia, costumes by Quinto Ott and lighting by Benjamin Weill. The Mikado is produced by NYGASP Executive Director David Wannen.
NYGASP has been hailed as "the leading custodian of the G&S classics" by New York Magazine and has created its own special niche in the cultural mosaic of New York City and the nation. According to the Company's Founder/Artistic Director/General Manager Albert Bergeret, NYGASP's mission is "giving vitality to the living legacy of Gilbert & Sullivan." He further adds that "everyone loves The Mikado and our new production, with its celebrated premise of imagination, keeps the revered story alive and colorful." As for his own participation in the storied production Bergeret states "I'm delighted to once more be involved in elevating the humor and musical values of this evolving and very theatrical production, while alternating on the conductor's podium with my colleague, Joseph Rubin, as part of NYGASP's commitment to the future development of the Company".
Performances:
Friday, Dec. 27, 2019 — 7:30 PM
Saturday, Dec. 28, 2019 — 2 PM* & 7:30 PM
Sunday, Dec. 29, 2019 — 3 PM
Monday, Dec. 30, 2019 — 3 PM**
Saturday, Jan. 4, 2020 — 2 PM* & 7:30 PM
Sunday, Jan. 5, 2020 — 3 PM
*Family Overture – Sat., Dec. 28 & Sat., Jan 4, at 12:45 PM (prior to the 2PM show) – Musical introduction and plot summary made entertaining for the entire family. Free to all ticket holders.
**Bring Your Grandparents Day – Monday, Dec. 30, at 1:45 PM – Respect your elders with a pre-show Family Overture and a backstage tour after the performance.
Orchestra: $95
Balcony: $50
Rear Balcony: $25
*Please note there is no elevator to the balcony*
Special Discounts: 50% off for children 12 and under accompanied by an adult. 10% off for seniors 65 and older.
Order Online: www.nygasp.org
Purchase in Person: The Kaye Playhouse Box Office, 68thStreet between Park and Lexington Avenues. (Box Office Hours: Monday-Friday 12 PM-7PM)
Photo: Carol Rosegg
posted in Commentary, Current Affairs, Events, Let's Go
LET'S GO: 'SUGIMOTO BUNRAKU SONEZAKI SHINJU' (OCTOBER 19–22, 2019 AT LINCOLN CENTER'S FREDERICK P. ROSE HALL) · Oct 19th
The Love Suicides at Sonezaki
U.S. production premiere
October 19–22, 2019 Rose Theater, Jazz at Lincoln Center's Frederick P. Rose Hall
At the turn of 18th-century Japan, a clerk and a courtesan committed suicide in the forest of Tenjin. The Love Suicides at Sonezaki, a tragic play based upon these events, was banned after its 1703 premiere for more than two centuries. For this U.S. production premiere, renowned artist Hiroshi Sugimoto presents a bold, contemporary interpretation of the classic drama using bunraku puppet theater with music by Living National Treasure Seiji Tsurusawa and video by Tabaimo and Sugimoto. The puppets, imbued with life, captivate audiences with their lively movements rivaling the eloquence of actual human beings.
"Sugimoto breathed souls into the lifeless wooden puppets."
– Le Monde
posted in Current Affairs, Events, Let's Go
LET'S GO: THEATRE FOR A NEW AUDIENCE PRESENTS "THE EMPEROR," A PARABLE ABOUT POWER, FEATURING KATHRYN HUNTER AND TEMESGEN ZELEKE, SEPTEMBER 9-30 · Aug 14th
Adapted by Colin Teevan
From the book by Ryszard Kapuściński
Directed by Walter Meierjohann
Co-Produced by the Young Vic, HOME, and Les Théâtres de la Ville de Luxembourg
"A resonant and troubling metaphor for the great melancholy of power." — The Guardian
Theatre for a New Audience (TFANA; Jeffrey Horowitz, Founding Artistic Director) kicks off its 2018-2019 season with the U.S. premiere of The Emperor, featuring virtuosic shape-shifting actor Kathryn Hunter and Ethiopian musician Temesgen Zeleke, founder of Krar Collective. Walter Meierjohann directs this parable about power in decline—an adaptation by Colin Teevan of Ryszard Kapuściński's celebrated and controversial 1978 book of the same title, about the downfall of Ethiopian emperor Haile Selassie. With two performers onstage,The Emperor explores political power by foregrounding the stories of those operating under it, from Selassie's many servants (including his pillow-bearer, purse-bearer, and dog-urine wiper), to government bureaucrats, to students opposing Selassie's rule. Performances of this co-production from the Young Vic, HOME, and Les Théâtres de la Ville de Luxembourg run September 9-30 at Polonsky Shakespeare Center (262 Ashland Place), TFANA's home in the Brooklyn Cultural District.
The Emperor marks Hunter, Teevan and Meierjohann's return to TFANA following their acclaimed Young Vic production of Kafka's Monkey (based on Kafka's "A Report to an Academy"), which came to TFANA in 2013. Once again, they present an engaging theatrical adaptation anchored by Kathryn Hunter's riveting storytelling abilities.
Hunter—who has also played at TFANA as a memorable Puck in A Midsummer Night's Dream (directed by Julie Taymor) and in The Valley of Astonishment (directed by Peter Brook and Marie-Hélène Estienne)—is a remarkable artist. The first British actress to play King Lear in a professional production, she transforms to create the physical shapes and inner hearts of characters she plays—female, male, animal, or spirit. When the play made its world premiere at the Young Vic in 2016, the "tiny, nimble, crackle-voiced" Hunter was praised for "her particular mixture of gravity and irony" (The Guardian), and, in a tour-de-force performance of 10 characters in loyal service to the Emperor, for being "probably…genuinely the only performer alive who could possibly pull [her shows] off." (Time Out) "Tremendous musician" (The Guardian) Temesgen Zeleke, a former student of legendary Ethiopian jazz artist Mulatu Astatke, was praised for "beautifully reinforc[ing] the shifts in mood with his krar and pedal-drum" (The Independent), and as an actor and singer embodying various aspects of insurgency.
Jeffrey Horowitz, TFANA's Founding Artistic Director, says, "The Emperor raises important issues that extend beyond the production. TFANA is presenting this extraordinary work of art in part as an invitation to our audiences to engage in the complex conversations that this parable of power elicits. Our hope is that the dialogue will be as illuminating as the artistry on stage."
Kapuściński, who many considered a candidate for the Nobel Prize during his lifetime, cagily used The Emperor to illuminate corruption and avarice in his native country, communist Poland. Today, as adapted and performed by this acclaimed theatrical team, the material just as strongly illuminates our world's continuing and disturbing fascination with despotism. A series of panels will contextualize the production and the questions it provokes, and will be held on September 15, 22, and 29.
The cast of The Emperor is Kathryn Hunter (Southwark Playhouse's Cyrano de Bergerac; TFANA: A Midsummer Night's Dream, The Young Vic's Kafka's Monkey) and Temesgen Zeleke (leader of Krar Collective). The creative team includes Walter Meierjohann, Director (HOME's Artistic Director, Theatre; In the Red and Brown Water at the Young Vic, TFANA: The Young Vic's Kafka's Monkey); Colin Teevan, Adaptor (The Bee starring Kathryn Hunter, Duke of York's Doctor Faustus, TFANA: The Young Vic's Kafka's Monkey); Ti Green, Design (RSC Swan's Dido, Queen of Carthage, Watford Palace/Bolton Octogon's I Capture the Castle); Imogen Knight, Movement (West End: The Birthday Party; Royal Court Theatre'sNuclear War, National Theatre's Amadeus) Mike Gunning, Lighting (West End: Alice's Adventures in Wonderland, Alice's Adventures Underground ); Paul Arditti, Sound (The Young Vic's The Inheritance and The Jungle, National Theatre's Macbeth); Louis Price, Video (HOME's The Funfair, the Barbican's Unleashed); Dave Price, Music (National Theatre's From Morning to Midnight; Royal Shakespeare Company's Cymbeline, A Soldier in Every Son); Kathryn Hunter, Creative Associate; and Cat Robey, Assistant Director.
Performance Schedule, Ticketing, and Other Information
Performances of The Emperor will take place in the evenings, September 9, 11-16, 18-21, 25-28, and October 2-5 at 7:30pm; matinees on September 22, 23, 29, 30, and October 6 and 7 will take place at 2pm.
Panels will be held Saturday, September 15 at 5:30 (before the evening performance), Saturday, September 22 (after the matinee performance), and Saturday, September 29 (after the matinee performance).
Theatre for a New Audience is committed to economically accessible tickets and offers tickets at a range of prices for The Emperor.
$20 New Deal: all Performances. Age 30 and under or full-time students of any age. May be purchased online, phone, or at the box office, in advance or day-of, with valid ID(s) proving eligibility required at pickup.
$20 Brooklyn Pass: all Performances. Members of local Brooklyn non-profit organizations through Brooklyn Pass program.
$28 TDF: selected performances.
$60: all performances with a TFANA subscription.
Special Discounts: TFANA offers special discounts available by joining TFANA mailing list at www.tfana.org.
$90-$100: all performances.
$125 Premium Seats: all performances.
Polonsky Shakespeare Center is located at 262 Ashland Place, Brooklyn.
WARS OF THE ROSES: HENRY VI & RICHARD III, DIRECTED AND ADAPTED BY AUSTIN PENDLETON, AT HB STUDIO, 124 BANK STREET · Aug 5th
AUSTIN PENDLETON DIRECTS AND ADAPTS A NEW STAGE VERSION OF SHAKESPEARE's GREATEST VILLAIN IN
WARS OF THE ROSES: HENRY VI & RICHARD III
STARRING PENDLETON AS HENRY VI and MATT de ROGATIS AS RICHARD III
PERFORMANCES BEGIN AUGUST 1st at THE 124 BANK STREET THEATRE
OPENING SET FOR SATURDAY, AUGUST 4TH
Tony nominated theatre luminary Austin Pendleton directs and adapts a new stage version of Richard III, Shakespeare's greatest villain, in WARS OF THE ROSES: HENRY VI & RICHARD III, which begins performances August 1st at the 124 Bank Street Theatre. The play combines texts from William Shakespeare's Henry VI Part 3 and Richard III, to create a version, which has never been seen before. The production stars Pendleton as Henry VI and Matt de Rogatis as Richard III, while giving a fascinating take on one of history's most notorious villains. The opening is set for Saturday, August 4th at 7PM. WARS OF THE ROSES: HENRY VI & RICHARD III will play a limited engagement through August 19th. Tickets are $25, for tickets and further information visit www.proveavillain.com.
With the two texts combined, director Austin Pendleton's WARS OF THE ROSES: HENRY VI & RICHARD III explains how Richard III evolved into the events that shaped his tyranny. In the text of Henry VI, Part 3, Richard performs the role of a subjugated good brother while secretly behaving with bloodthirsty abandon. Killing Henry, Richard then declares himself severed from his family and brotherhood and stands alone in his quest for the crown. In the text of Richard III he is now the central character of the play stopping at nothing to become king, while keeping his subjects and rivals under his thumb.
"What's always fascinated me about Richard III is how he became to be the way that Shakespeare so brilliantly portrays him in the play named after him" says Mr. Pendleton. "I believe the answer to all of this is clearly dramatized by Shakespeare in Henry VI, Part 3, the play that leads up to Richard III. So when Matt de Rogatis, whose exciting Hamlet I'd seen a couple years ago, came to me with the idea of Richard III, my first thought was to align the two plays. I am very excited about WARS OF THE ROSES: HENRY VI & RICHARD III. With a great deal of judicious cutting we to managed to get a swift and compact script and thus we can track the development of this troubled and terrifying Richard from a young man searching for love and acknowledgement to the monster that became King Richard III," he continued.
Joining Austin Pendleton and Matt de Rogatis in the cast are: Jim Broaddus, John Constantine, Milton Elliott, Debra Lass, Johanna Leister, Rachel Marcus, Pete McElligott, John L. Payne, Carolyn Groves, Greg Pragel and Michael Villastrigo.
Lighting is designed by Steven Wolf and "Project Runway's" Maya Luz is the costume consultant.
Austin Pendleton's Broadway directing credits include Spoils of War, The Little Foxes (Tony Nomination), John Gabriel Borkman, The Runner Stumbles and Shelter. Off-Broadway, he has directed Hamlet, Ivanov, Three Sisters (Obie Award) and Uncle Vanya (CSC), Vieux Carre, and Toys In The Attic (Pearl) Fifty Words (MCC) and Between Riverside and Crazy. He directed the London production of Detroit at the National Theatre and has directed many productions regionally including Say Goodnight Gracie at Steppenwolf, and Fathers and Sons, Beach House, The Master Builder, Miss Julie and The Dance of Death at Long Wharf. As a playwright, he has written Orson's Shadow, Uncle Bob and Booth. He has most recently appeared in New York in Dress of Fire, City Girls and Desperados, Delta in the Sky With Diamonds, The Workshop, Consider the Lilies, The Sea Gull and King Lear. He made his NY debut in 1962 in Oh Dad, Poor Dad …, directed by Jerome Robbins, In 1964 he made his Broadway debut, again directed by Mr. Robbins, as Motel the Tailor in the original cast of Fiddler on the Roof. Since then he has appeared on Broadway under the direction of Alan Arkin in Hail Scrawdyke (Clarence Derwent Award); Mike Nichols in The Little Foxes in a cast which included Anne Bancroft, George C. Scott, Margaret Leighton, Beah Richards, E.G. Marshall, Maria Tucci and Richard Dysart; Morton da Costa in Doubles; James Lapine in The Diary of Anne Frank with Natalie Portman and Linda Lavin. Next season he will appear in Choir Boy at MTC on Broadway. Off-Broadway he appeared in the title role in The Last Sweet Days of Isaac and won an Obie Award. He has appeared in about 250 movies, including "My Cousin Vinny," "What's Up Doc," "Wall Street 2: Money Never Sleeps," "The Front Page," "Catch -22," "The Muppet Movie," "Mr. and Mrs. Bridge" and "Short Circuit." He wrote the libretto for A Minister's Wife. Mr. Pendleton is the recipient of the 2007 Drama Desk Special Award as "Renaissance Man of the American Theatre"
Matt de Rogatis was most recently seen as Roy in the critically acclaimed Off-Broadway revival of James McLure's Lone Star at the Triad. Before that, he played Frederick Clegg in the American premiere of The Collector at 59E59 Theaters and the title role of Hamlet at the 13th Street Repertory Theatre. Other New York Credits include The Elephant Man in The Exhibition, Charlie Gordon in Flowers for Algernon, Stanley Kowalski in A Streetcar Named Desire, and Ken in Red, which was revived and uniquely staged in Chelsea at The Jim Kempner Fine Art Gallery.
The playing schedule for THE ROSES: HENRY VI & RICHARD III is as follows: Wednesdays through Saturdays at 7PM, with Sunday matinees at 3PM through August 19th. There is one Saturday matinee on August 4th at 2PM. Tickets are $25 and can be purchased by visiting www.proveavillain.com
Photo: de Rogatis and Pendleton: Chris Loupos.
Press: Glenna Freeman PR.
posted in Current Affairs, Events, Let's Go, Uncategorized


text:
Personal Loan Eluru, 21 January 2020 from UCO Bank
Advance Salary Loan from UCO Bank in Eluru
Eluru is a small city in the Indian state of Andhra Pradesh. It also functions as the district headquarters of the West Godavari district as well as the Mandal headquarters of the Eluru Mandal in the Eluru revenue division. The city lies beside the Tammileru river. The city is well known for its carpets, wool-pile and hand woven products. Eluru has a population of more than 2 lakh people and experiences a hot and humid climate. Eluru Municipal Corporation is the civic body governing Eluru, which includes the census towns of Sanivarapupeta, Tangellamudi, Satrampadu, Gavaravaram, parts of Komadavole and Eluru villages. Eluru has been known for rug weaving since the 17 century - an art derived from the weavers of Iranian descendants. The thriving wool-pile and carpet industry boosts the citys economy. The eco-friendly carpets are exported to various countries. Buddha Park at Eluru is a popular tourist destination. The Kolleru Bird Sanctuary is home to many native and migratory birds. Fr. Silvio Pasquali Memorial Convent at Duggirala contains a replica of the ?Holy Land? of Israel, which is definitely worth a visit.
Low interest rate Premium Bike Loan in Eluru, 21 January 2020 from UCO Bank
the UCO Bank was founded in 1943 in Kolkata. It is a major government-owned and commercial bank of India also known as the United Commercial Bank. Its total business was ? 4.55 lakh crore during FY 2013-14. It was ranked 1860 on Forbes Global 2000 List by 2014 data. According to the Brand Trust Report 2014, a study conducted by Trust Research Advisory, the Bank was ranked 294th among Indias most trusted brands. It was a difference of 796 ranks considering its previous position among Indias most trusted brands in the Brand Trust Report 2013. The bank had 4,000 additional service units, 49 zonal offices across India as of 30 March 2017. Outside India, it has two offices in Singapore and Hong Kong. The corporate office of UCO bank is on BTM Sarani, Kolkata. Shri Ghanshyam Das Birla, an influential industrialist, got the idea of establishing a commercial bank with the Indian capital during the Quit India movement of 1942, and as a result, the United Commercial Bank Limited was incorporated. The bank was started in Kolkata with an issued capital of ?2 crores and a paid-up capital of ?1 crore. The Board of Directors of UCO Bank included notable personalities of India alongside Shri Ghanshyam Das Birla as its chairman. The bank opened 14 branches simultaneously across India. Presently Mr.Ravi Krishan Takkar is the chairman and MD of UCO Bank.


text:
module EventMachine
    module GServer
        module Listeners
            class Connection < EM::Connection
                include EventMachine::GServer::Utils
                attr_accessor :logger, :server, :separator, :default_error_resp

                def unbind
                    server.connections.delete(self) unless server.nil?
                end

                def do_work(request)
                    'OK'
                end

                def receive_data(data)
                    log(:debug, "Received: #{data.inspect}.")
                    (@buffer ||= '') << data
                    offset = 0
                    requests = []
                    last_index = nil

                    #
                    # parse requests
                    #
                    if @separator
                        while index = @buffer.index(@separator, offset)
                            requests << req = @buffer[offset..index-1]
                            offset = index + @separator.size
                            last_index = index
                        end
                    else
                        requests << @buffer
                    end

                    #
                    # Process each request
                    #
                    requests.each do |req|
                        process(req)
                    end

                    #
                    # Remove processed requests from buffer.
                    #
                    if @separator
                        unless last_index.nil?
                            last_offset = last_index + @separator.size
                            @buffer = @buffer[last_offset..-1]
                        end
                    else
                        @buffer = ''
                    end
                    log(:debug, "Left on @buff: #{@buffer.inspect}") unless @buffer.empty?
                end

                private

                def process(request)
                    EM.defer do
                        resp = ''
                        begin
                            resp = do_work(request)
                            resp << @separator unless @separator.nil? || resp.end_with?(@separator)
                            log(:debug, "Replying with #{resp.inspect}.")
                            send_data(resp)
                            resp
                        rescue Exception => e
                            error_msg = "#{e.class}: #{e.message}"
                            backtrace = e.backtrace.join("\n")
                            log(:error, error_msg)
                            log(:error, backtrace)
                            log(:error, "Replying with #{@default_error_resp.inspect}")
                            send_data('internal error'+CRLF)
                        end
                    end
                end
            end
        end
    end
end

redpajama_set_name: RedPajamaGithub


A company "Varitus" is engaged in wholesale and retail trade in copper, zinc, aluminium and stainless steel. Non-ferrous metals and their products used in construction, manufacturing industry, car and food industries. The company offers a wide range of roof and facade systems, copper, titanium zinc, aluminium, brass tin rolls as well as rainwater harvesting systems from copper, titanium zinc, stainless steel, aluminium and their accessories. It can also offer tinsmith tools, tin machines – profiling, bending machines, small forming machines. The offered materials and products are attractive due to their quality and time-tested durability.


COLUMBUS, Ohio - Despite the fact that distance runners swear by them, a new study from The Ohio State University Wexner Medical Center finds compression tights don't help runners go farther or faster.
The study, presented at the American College of Sports Medicine's (ACSM) annual meeting, shows that although compression tights greatly reduce muscle vibration, they don't reduce muscle fatigue when compared to running without the tights.
"When your muscle vibrates, it induces a contraction that uses energy, so the theory was that less muscle vibration would translate to less fatigue," said Ajit Chaudhari, who led the study and is an associate professor of physical therapy, orthopedics, mechanical engineering and biomedical engineering at The Ohio State University Wexner Medical Center. "However, the reduced vibration was not associated with any reduction in fatigue at all. In our study, runners performed the same with and without compression tights."
Although the results showed that the compression tights did not reduce fatigue in runners, Chaudhari says there may be other benefits. If runners feel better while wearing compression tights, that's enough to keep using them.
Additional research will focus on other aspects of compression tights and the possible benefits to runners in regards to performance and workout recovery.
This study was supported by a research grant from Nike, Inc.


text:
package pl.arapso.scaffoldings.scala.eximee.form1

trait Form {
  def name: String

  def components: Graph[Component]

}

trait Graph[T >: Component] {

}

trait StartNode extends Node {

}

trait EndNode extends Node {

}

trait Node {

}

trait Component {
  def name: String
  def fields: List[Field]
}

trait Field {

  def name: String

  def value: Value

}

trait Value {
  def value: String
  def validators: List[Validator]
  def services: List[Service]

}

trait Validator {

}

class Service {

}


text:
package apple.accelerate.struct;

import org.moe.natj.c.StructObject;
import org.moe.natj.c.ann.Structure;
import org.moe.natj.c.ann.StructureField;
import org.moe.natj.general.NatJ;
import org.moe.natj.general.Pointer;
import org.moe.natj.general.ann.Generated;
import org.moe.natj.general.ann.NUInt;

@Generated
@Structure()
public final class BNNSVectorDescriptor extends StructObject {
    private static long __natjCache;

    static {
        NatJ.register();
    }

    @Generated
    public BNNSVectorDescriptor() {
        super(BNNSVectorDescriptor.class);
    }

    @Generated
    protected BNNSVectorDescriptor(Pointer peer) {
        super(peer);
    }

    @Generated
    public BNNSVectorDescriptor(@NUInt long size, int data_type, float data_scale, float data_bias) {
        super(BNNSVectorDescriptor.class);
        setSize(size);
        setData_type(data_type);
        setData_scale(data_scale);
        setData_bias(data_bias);
    }

    @Generated
    @StructureField(order = 0, isGetter = true)
    @NUInt
    public native long size();

    @Generated
    @StructureField(order = 0, isGetter = false)
    public native void setSize(@NUInt long value);

    @Generated
    @StructureField(order = 1, isGetter = true)
    public native int data_type();

    @Generated
    @StructureField(order = 1, isGetter = false)
    public native void setData_type(int value);

    @Generated
    @StructureField(order = 2, isGetter = true)
    public native float data_scale();

    @Generated
    @StructureField(order = 2, isGetter = false)
    public native void setData_scale(float value);

    @Generated
    @StructureField(order = 3, isGetter = true)
    public native float data_bias();

    @Generated
    @StructureField(order = 3, isGetter = false)
    public native void setData_bias(float value);
}


text:
1636: The Saxon Uprising — Snippet 69
by Drak Bibliophile | Mar 14, 2011 | 1632Snippet, Snippets | 20 comments
Dresden, capital of Saxony
Jozef Wojtowicz had never worked so hard in his life. Thankfully, he'd been blessed with a naturally strong and sturdy frame, so he was able to bear up under the heavy labor long enough to start getting in better condition. But all that really meant was that he was burdened with still more work.
The city's defenders maintained and even strengthened the fortifications, despite the relentless Swedish bombardment.
That was no doubt how the future history books would depict the situation he found himself involved in. His thoughts on the matter were dark, dark, dark. In the pantheon of liars, he ranked historians second only to outright swindlers — without the excuse of honest greed as a motivation.
Here was the truth behind those innocuous-sounding words, he'd come to discover.
Truth One. In a siege, able-bodied men fall into two categories — and the definition of "able-bodied" is loose to begin with. There are soldiers, who stand guard on the ramparts vigilantly watching for any sign of enemy action. That is to say, do nothing more strenuous than rub their hands to ward off the chill. And there are civilians, whom said soldiers dragoon into doing all of the work.
Truth Two. The work involved in "maintaining and even strengthening the fortifications" consists of nine parts staggering under the weight of rocks and other rubble, and one part staggering under the weight of water casks needed to keep said able-bodied civilians from collapsing while carrying out the other nine parts of the labor.
Truth Three. Rocks come in only two sizes. Too big to carry without great strain, or, if they are on the smallish side, too many to carry without great strain.
Truth four. Shovels were invented by Moloch.
Truth five. Picks were invented by Ba'alzebub.
Truth six. Wheelbarrows were invented by Belial.
Truth seven. The notion that there would someday be an end to toil and suffering was invented by Satan himself.
Truth eight. Beware of Polish compatriots —
"Hey, Joe!"
Wojtowicz was jolted out of his gloomy mental recitation of the Great Truths. Carefully, so as not to lose his balance under the weight of the basket of stones he was carrying, he turned to see who had shouted at him.
Ted Szklenski, as he'd thought. "What is it?"
Szklenski hooked a thumb over his shoulder. "They want to see you in the castle." The huge form of the Rezidenzschloss loomed behind him.
Jozef frowned. He did not like the sound of this. So far, he'd managed to remain reasonably inconspicuous — in large part, by staying away from the Rezidenzschloss, which was the center of CoC activity and held their headquarters.
On the positive side, he had a legitimate excuse to put down the basket.
That took a few seconds, and would have taken longer if Szklenski hadn't lent him a hand.
"Who wants to see me?"
Szklenski shrugged. "Got no idea. I'm just passing along the message from Waclaw."
Waclaw — his last name had turned out to be Walczak — was the leader of the Polish CoC contingent in Dresden, insofar as the term "leader" could be applied to the group at all. Even Polish CoC members tended to have a liberum veto attitude toward the principles of majority rule.
Under these circumstances, though, Jozef couldn't just ignore the summons. That would draw more attention than anything else.
Besides, no one would expect him to carry rocks to the Residenzschloss. At the moment, Jozef was willing to risk outright crucifixion for that blessing.
He had to wander around the corridors for most of an hour before he finally found Walczak. In the process he got completely lost twice. He'd never been in the huge building before. Like many palaces which dated back hundreds of years, the structure was a composite; haphazard in much of its design and complex to boot. The original castle had been a Romanesque fort built around the year 1200 — over four centuries ago. Toward the end of the fifteenth century, the famous master builder Arnold von Westfalen extended it considerably. A century later, a new addition was constructed, this one in the Renaissance style. At no point along the way did anyone seriously try to remove what already existed. The back-breaking labor involved would have been insane. Only idiot Poles stupid enough to come to Dresden…
He finally spotted Waclaw.
Naturally, Waclaw chided him for being late.
When Walczak ushered Jozef into the large chamber on the top floor facing the river, Wojtowicz's worst fears were realized.
Richter herself, looking up from a large table where various maps were spread and studying him intently for several seconds.
"He's the one I was telling you about, Gretchen," said Waclaw.
Stabbed in the back. Ever the story of poor Poland. Who needed enemies when Poles had themselves?
"You're szlachta, yes?" That came from Richter. It was more of a statement than a question.
Jozef made one last desperate attempt to weasel out of his fate. "Yes, but so what? Two of the other Poles here in Dresden are szlachta also."
One stab in the back deserved another. He pointed at Walczak. "He's one of them."
Richter shook her head. "Yes, I know. But Waclaw doesn't have any military experience. Like most szlachta, his family has four pigs where his lowly commoner neighbors have only three. We Germans would say they're putting on airs, but what do we know?"
Waclaw was grinning. Jozef was tempted to grin himself. Richter's sarcastic depiction of the state of affairs for most of Poland's so-called nobility was accurate enough. Where most countries had a small aristocracy — that of the Germanies was no more than five percent of the population; that of England, an even smaller three percent — no fewer than one Pole in ten counted themselves part of the szlachta. Inevitably, that formal claim fell afoul of economic reality. Most szlachta families really weren't much if any wealthier than the peasants among whom they lived.
But he resisted the temptation, easily enough. There was peril lurking here somewhere, like a leviathan beneath the waves.
"Neither does the other szlachta, Radzimierz Zawadski," Richter continued. "But he and Waclaw both think you probably do. They say you're from a better class, associated with one of the magnates."
That was always the problem with running into fellow Poles. From subtleties of dress, carriage, speech — who knew, exactly? — they could deduce things about another Pole that a foreigner would miss entirely.
There was no point trying to deny it. Jozef decided he'd skirt as close to the truth as he possibly could.
"Yes, that's true. The Koniecpolskis, as it happens. But I'm from one of the bastard offshoots of the family." He shook his head. "I'm no hussar, I can tell you that."
Richter continued to study him. Her eyes were a naturally warm color, a sort of light brown that wasn't quite hazel. But they didn't seem the least bit warm, at the moment.
Not cold, either. Just…dispassionate, the way a student of natural history might examine a curious-looking and possibly interesting new insect.
"I didn't expect you to be," she said. "We wouldn't have any use for a hussar anyway."
For the first time, she smiled. It was thin affair, with no more in the way of warmth than her gaze. "We're likely to have a better use for horses before winter is over than putting a hussar on top of one. And to do what, anyway? Sally out of the gates and smite the foe? All one of him against fifteen thousand? No, better to keep the horses for food, if we need them."
robert	on March 14, 2011 at 1:09 AM
Is it daylight savings time? Did someone forget to spring ahead?
Why do you suppose Gretchen wants a Polish aristo with a military past?
Bret Hooper	on March 14, 2011 at 1:29 AM
@1 Robert: I don't know, but I hope we will find out soon.
Peter	on March 14, 2011 at 1:33 AM
Maybe she's going to put him in charge of a negotiating delegation. that'd be hilarious.
Richard	on March 14, 2011 at 2:26 AM
Last year the snippits came out an hour later durring daylight savings time. I wonder if Eric lives in one of those places that don't change.
Joel	on March 14, 2011 at 2:36 AM
I think Arizona and Hawaii are the only states where the time does not change. Sedona sounds like a good place for an author to live.
IIRC, EF lives in northeastern Indiana.
@4 Richard: Oops, typo: I meant northwestern Indiana, not far from Chicago.
ET1swaw	on March 14, 2011 at 5:04 AM
And Indiana doesn't do daylight savings time.
Well Jozef didn't lie: he is from a bastard offshoot of the Koniecpolski / Opalinski family; he's Koniecpolski's bastard-born nephew! (and his spymaster) Just his luck he'll be sent to the CoC Opalinski (who knows Jozef's identity and politics).
Tim Helbing	on March 14, 2011 at 6:40 AM
#7 – Actually only Arizona doesn't follow DST anymore, we joined the rest of the world a few years ago. Now if you ask the time zone that's another question…
Stanley Leghorn	on March 14, 2011 at 6:51 AM
7@ Do we know his politics? Is he not the one who has been pushing his uncle to do something against the Sjem? OTOH, he IS the person responsible for the information that allowed the Poles to pummel G2A. If THAT gets out, he will be over the wall as a cannon shot.
Drak Bibliophile	on March 14, 2011 at 10:09 AM
On the "time issue", there's something wacky about the site provider so the time has always been off.
Denny	on March 14, 2011 at 12:40 PM
Speaking as a native Hoosier, we've been doing DST for several years now. Not enough to stifle the grumble among the oldsters or arguments whether we adopted the right time zone, however.
Mike	on March 14, 2011 at 9:46 PM
Hey Drak – two random questions: 1) From what I can figure out the release date for this book is Tuesday March 29th, correct? 2) If correct, will there be snippets up through Monday, March 28th, or will it stop at Friday, March 25th? Just curious…
Drak Bibliophile	on March 14, 2011 at 10:19 PM
Well the release date is currently the 29th and normally I'd post the final snippet on the 30th.
However, I have enough snippets to post thru the 6th so that's what I'll be doing.
Ken	on March 15, 2011 at 1:51 PM
Do we know what book the next snippet will be from?
robert	on March 15, 2011 at 3:45 PM
@15 Ken. Yeah. One hopes that there will be snippets from Eric's next book, alternately titled "Cleaning Up the Ox's Mess" and from Weber's next book(s): "How Firm A Foundation" and/or "A Rising Thunder."
Drak Bibliophile	on March 15, 2011 at 3:53 PM
I'll have to check with Eric but IIRC the next snippets will be of David Drake's newest book (sequel to Legion of Fire).
@Drak, 14 – if you have the snippets for through the 6th and you'd normally stop on the 30th… why not just give us a few days of double snippets? Or are you wanting to make the snippets last until you can start snippeting David Drake's book?
summertime	on March 15, 2011 at 4:47 PM
Drak, what does "IIRC" mean?
Summertime, IIRC means "if I remember correctly". [Smile]


text:
Home » Housing » US Real Estate » Real Estate » Mortgage » FHFA launches new refinancing program for low-income homeowners
FHFA launches new refinancing program for low-income homeowners
By Mike Wheatley | April 30, 2021
TwitterFacebookLinkedInBuffer1PinterestCopyReddit
Low-income homeowners who may have missed out on last year's refinancing boom are to be given a second chance, the Federal Housing Finance Agency has said.
This week, the FHFA announced an upcoming program for low-income homeowners with government-backed mortgages to refinance at a lower rate in order to reduce the amount they have to pay back each month.
FHFA said the program is aimed at single-family homeowners with a mortgage backed by Fannie Mae or Freddie Mac. It said that borrowers who refinance using the program could save as much as $100 to $250 per month on their loan repayments.
Borrowers must earn 80% or less of the median income for the area they live to be able to qualify. Other conditions stipulate that borrowers must be up to date on their mortgage payments, with no missing payments over the previous six months. In return, the FHFA said credit standards have been eased for applicants and that some fees have also been waived.
FHFA Director Mark Calabria said that last year saw a big spike in home loan refinancing as interest rates fell to record lows. But, he said, more than two million low-income families were unable to take advantage of the trend because they didn't earn enough.
"This new refinance option is designed to help eligible borrowers who have not already refinanced save between $1,200 and $3,000 a year on their mortgage payment," Calabria said.
The FHFA program requires lenders to provide a minimum 50-basis point reduction in the applicant's interest rate. In addition, it also provides up to $500 credit from the lender for an appraisal if the applicant is not eligible for an appraisal waiver, the FHFA said.
The program is expected to launch by the summer.
Mike Wheatley
Mike Wheatley is the senior editor at Realty Biz News. Got a real estate related news article you wish to share, contact Mike at [email protected]
Latest posts by Mike Wheatley (see all)
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2 comments on "FHFA launches new refinancing program for low-income homeowners"
Leopoldine Gartner says:
Quick question, when are lenders ready to take applications for the newly announced refinance program?
Appreciate, thank you.?
Mike Wheatley says:
It's not clear yet, they just said around summer time. Watch this space 😉