Can you give me some information on the writings of the Protoevangelium of James [also known as the "Infancy Gospel of James"]? I know that has to do with proving the hows and whys that Mary was a perpetual virgin. Can you give me some historical background of it and how we as Protestants refute that heretical teaching?
1. Our earliest manuscript of this gospel dates to the third century. However, the text itself probably dates to the middle of the second century. This fact, combined with the fact that the historical James (the brother of Jesus) was put to death by Ananias in 62 A.D., clearly make it a pseudonymous work (i.e. it was not actually written by James, the brother of Jesus).
2. In addition, the work is clearly dependent on the infancy narratives found in Matthew and Luke.
3. Since it was not written by James, the brother of Jesus, and since it clearly contains mythological embellishments and historical inaccuracies, the early Fathers of the church were wise not to include the book in the New Testament canon.
4. Finally, for more information on the criteria of canonicity, please see the section entitled "The Formation of the New Testament Canon" in my article on "Redeeming the Da Vinci Code" here: www.probe.org/redeeming-the-da-vinci-code/. Actually, the entire article has much information that is relevant as background material to your question.
Concerning the doctrine of Mary's perpetual virginity: although Roman Catholics believe that Mary remained a virgin throughout her entire life, this doctrine seems biblically problematic. In Matthew 1:24-25 we learn that Joseph took Mary as his wife, but "had no union with her until she gave birth to a son. And he gave him the name Jesus." The verse seems to clearly imply that Joseph and Mary did have normal sexual relations after the birth of Jesus. And this is confirmed by references to Jesus' brothers and sisters in Matthew 13:55-56.
But could these have been children of Joseph from a previous marriage, as some Roman Catholic teachers have suggested? This does not seem to be a very plausible explanation; indeed, it has a very serious difficulty. As one commentator has observed: "Joseph could not have had children by a previous marriage, as some suppose, for then Jesus would not have been heir to the Davidic throne as the oldest son of Joseph." Hence, the most plausible interpretation of the biblical evidence is that Mary remained a virgin until the birth of Jesus, but afterward conceived and bore other children via normal sexual relations with her husband, Joseph.


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UCF downs Southern 76-60 behind Fall's 18 PTs, 9 boards
PMN Basketball
ORLANDO, Fla. — Tacko Fall scored 18 points shooting 8 of 10 from the field and grabbed nine rebounds, A.J. Davis scored 12 with eight rebounds and seven assists and Central Florida beat Southern 76-60 on Saturday.
The Knights led 34-32 at halftime but went on a 10-2 spurt to start the second half with Davis scoring six of the points. UCF led by double figures for most of the remainder of the game.
Aaron Ray made a pair of free throws and Emmanuel Shepherd hit a layup to bring Southern within 65-56, but the Jaguars went scoreless for more than four minutes and UCF went on a 9-0 run.
Djordjije Mumin added 12 points for UCF (6-3), which had a 38-25 rebounding advantage. The Knights have won four of five at home.
Jared Sam led Southern (2-7) with 13 points and nine rebounds, Eddie Reese and Ray each scored 11 and Shepherd and Richard Lee scored 10 apiece.
The Jaguars are winless on the road.

redpajama_set_name: RedPajamaCommonCrawl


text:
FEC Fines 527 Group $750,000
By Matthew Murray
The Federal Election Commission on Wednesday hit a conservative political group with the agency's third-largest fine ever for its role in attacking Sen. John Kerry (D-Mass.) in the runup to the 2004 presidential election.
The agency fined the Progress for America Voter Fund $750,000 after determining that the group had functioned like a political action committee without registering to become one.
"This settlement demonstrates once again that the commission is serious about enforcing the campaign finance law," said Robert Lenhard, the FEC's Democratic-nominated chairman. "It should now be clear to organizations that want to be active in the 2008 cycle that the activities we saw in this case are prohibited under the law."
Progress for America raised roughly $45 million during the 2004 cycle from Alexander Spanos, Bob Perry, T. Boone Pickens and other prominent Republican donors. The group, which ranked fourth in size among 527s that cycle, used the money to purchase more than $30 million worth of radio, television, direct mail and Internet advertising — some of it questioning Kerry's ability to lead the military.
Such ads may have been allowed, according to the commission's ruling Wednesday, but only if the group had registered as a political action committee.
"If an organization receives contributions or makes expenditures in excess of $1,000, and its major purpose is involvement in campaign activity, it must register with the Commission as a Federal political committee and abide by the contribution restrictions and reporting requirements of the Federal Election Campaign Act," according to an agency explanation of Wednesday's ruling. "Progress for America Voter Fund registered with the Internal Revenue Service as a section 527 organization — a tax exempt group whose function is to influence the selection, nomination, election, or appointment of any individual to Federal, State, or local public office or office in a political organization."
"Through its public statements, activities, and solicitations for contributions, PFA-VF clearly established that it was a Federal political committee during the 2004 campaign," the agency concluded. As the group itself claimed, "it was formed to 'focus primarily on TV and radio in key battleground states serving as [a] counter-balance to liberal 527 committees.'"
The agency fined two liberal and one conservative 527 about $600,000 collectively in December for similar infractions.
Wednesday's FEC decision comes amid rumors that House and Senate Democrats may move this year on legislative fixes to bring outside political groups into the regulated fold. Also, reform groups and some lawmakers will continue to request that the courts require the FEC to regulate all political groups registered under section 527 of the federal tax code, not just groups that register as political action committees with the FEC. Wednesday's ruling, they claim, is not enough.
"We're happy the FEC has taken this action, although it comes two and one half years after we filed the complaint," said Fred Wertheimer, president of Democracy 21. "We certainly will very aggressively pursue the legislative efforts."
"These are ad hoc decisions, they come well after the election is over," Wertheimer continued. "They are case by case so they don't provide a clear regulation for 527s."


After my initial slightly ranty post on Classical Music and Streaming I'm going to do a slightly more practical guide to self releasing in the digital age from a composer's perspective. This is based on the assumption that you are self funding or have received support from an arts council or similar body (for example Creative Scotland, ACE, RVW Trust, NI Arts Council or PRSF). This is an overview of my experience and it might be missing things that I just haven't learnt yet (I still am!), so it is not meant to be exhaustive. Be warned though self releasing is a lot of work. You have to do all of it (or pay someone to) but it does mean you keep all the financial reward.
That's the process in a nutshell but there is a lot more nuance in those points. So below I'm going to try and walk you through.
Though before you go further, follow me on Spotify. You know you want to :).
Ok this is well out of the scope of this blog. I'm assuming if you've found this blog you'll already be writing interesting music. However what you might not have done is register your music with PRS for Music (or your country's equivalent like ASCAP in the USA or IMRO in Ireland). If you are writing your own you should register every piece with PRS the moment you finish it. This enables them to collect royalties on your behalf every time the piece is performed in public. 'Performed' in this case means in a concert, on radio, streamed, on tv etc.
 This is probably the most straight forward part of the process. You've written a piece for string quartet, you book a string quartet and agree a fee. In the UK there is the MU/BPI agreement stipulating minimum fees for various lengths of sessions and how much music can be recorded in that session. In a 3h session you can only record 15 mins of music. If you record more you have to bump up the fee.
So say you've written a 20 min string quartet the players will cost you £960 (£120 x 4 players x 2 3h sessions). Though string quartets are classical the 'classical rates' are for orchestra rather than chamber music. Even if you get through all 20 mins in one 3h session you are still obliged to pay for the two sessions. You can then do almost whatever you want with the music you recorded (in line with the MU/BPI agreement) however there are some extra things that will come up in point 5 like PPL.
You need to book somewhere to record the music and someone to record it. This is where artistic choice comes into the recording process. What kind of acoustic do you want? What kind of recording style do you want? Are there live electronics, how should they be recorded? Mic choices? And numerous other things will influence your choices on where. As for the who I like to use someone who can read music and is an exceptional engineer. This is because he knows what's going on and can be a second pair of ears to pick up any mistakes. I wouldn't suggest you ask Jane from the pub who does live sound every Friday night, you need someone who knows how to mic classical instruments. But find someone you are comfortable working with and is good at what they do. Timothy Cooper has recorded almost everything of mine. A producer might also be useful but I've no experience with that.
Finally make sure your parts are clear. So much recording time can be wasted by unclear parts or notation. Get the music to the players well in advance of the recording so they can get back to you with any questions. 3 hours is not a long time when you are in the studio. Make notes constantly do not think you are going to remember take 34b is better than 32d.
Make sure you pay people and do it promptly! Be someone people want to work for by paying as soon as you can. No excuses!
This part of the process can take as long as you want it to. I've found it food to wait a few weeks from recording session to do this just to come at things with a fresh par of ears. You can do this yourself, if you are proficient in ProTools, or get someone else to do it for you.
 Congratulations you have just recorded, edited and mixed your first recording. You are now a master rights owner!
Now we are coming to a more in-depth part – registering your recordings. If you've already registered the composition with PRS then give yourself a pat on the back, if not why not!? But if not you can hold off a little bit because there are other things to do now.
You are now a master rights owner. This means you own the right to the recording and can exploit it however you feel fit. You might decide to give it away or you might want to make a some money from it. Either way you should register yourself with PPL. They are pretty much the PRS for master rights owners and performers. Whenever a recording is broadcast PPL collects money for the rights owners and the performers. So when you register a recording with them it will also ask you about who performed on the recording so the musicians earn some money whenever the piece is performed, in certain circumstances.
PPL will give you a unique ISRC code. It is made up of four letters followed by a series of numbers. The letters are assigned to you and the numbers you choose, though there is a kind of standard format. The ISRC code is a unique identifier for THAT recording. So every recording of a Bach Partita, even by the same performer and record label, has a unique ISRC code. Once you have the ISRC code go and put it on your PRS registration.
You can also mandate PPL to collect international royalties for you however to do this in Germany you need to ask them for a GVL Label Code. More information on this here.
Now you have everything recorded and registered you want to release it into the world. You have a few options here for self release the main ones I know of are CD Baby, Tunecore, RouteNote and BandCamp.
CD Baby – This is who I use. They charge an upfront fee, single ($9.95) or an album ($49), and take a 9% cut of all of your digital income but don't charge a yearly fee.
Tunecore – An upfront fee of $29.99 for albums and $9.99 for singles, they don't take a cut of your income but they do charge an annual fee of $49.99 for album and $9.99 for singles.
RouteNote – Has two distribution options. The first is completely free where they take 15% of your income or a similar model to Tunecore with $10 single, $20 EP, $30 album and $45 extended album and then $9.99 annually with you keeping all your income. If you use RouteNote use this link and I get a referal bonus. Thanks in advance if you do!
BandCamp – is completely free to put music on but they take 15% of digital sales. They have options where customers can pay more if they want which is nice (I've found people do this quite a lot). However BandCamp do not distribute to iTunes, Spotify, Deezer, Google Play etc. etc.
Make your choice of service, it seems there is little difference between CD Baby, Tunecore and RouteNote apart from the price. I would suggest releasing your music on one of the above AND BandCamp.
Some people do still buy physical copies and physical copies are useful to have to send to the press as well. CD Baby can create them for you (though beware of import tax to the UK. I made that mistake…) but there are other UK based services like Discwizards. I've only used CD Baby but a friend has used Discwizards and said they were good.
One final point, make sure you get your album artwork done and do the right spec. All the above have how to guides on what they need.
 Decide a date to release your music and plan to that. I'd suggest about 2 to 3 months from upload and hitting 'send' to actual release. This gives you time (or more precisely your PR person time) to build a decent campaign around the release. I've also heard that for pieces to be considered on the editorial playlists of Spotify and Apple Music they need to be in their system at least 1 month before release.
Get a good PR person or company. Talk to them about what you want and they will be able to advise on what needs to be done and how much it will cost. They wont be cheap though. Marketing will be the biggest one off expense of the release. Not just for PR but for buying advertising on Google, Facebook and Twitter. PR will (hopefully, but there no guarantee) get you reviews, editorial inches, radio play and playlist space but it needs to be supported by advertising and your own social media efforts. On that note follow me on Twitter and Facebook.
Music marketing is a whole other subject which I'm not going to get into here.
Anyone that follows me on Twitter or Facebook will know I keep banging on about playlists being a force for good because I truly think they are. Yes there are a few issues but I have made more money from my music through playlists than through sales. I'm very open about the amount I'm making and the issues of streaming on my other blog here. So do it!
Once your music is released get yourself registered with Apple Music for Artists and Spotify Artists. This will give you the ability to control your artist page and publish playlists. Though I think you have to be subscribed to Apple Music to do that or you can use Soundsgood who can push your playlists to their Apple Music channel.
There are three ways you can make playlists.
Each of these works differently depending on the service. Cataloguing works well on Apple Music because, as an artist, most of your playlists will be fully indexed. That is if you put a piece by Kajia Saariaho in a playlist and someone searches for Saariaho your playlist will be somewhere in their results. This doesn't work so well on Spotify, at least for search results, because Spotify doesn't index their playlists to the same extent as Apple Music. This opens possibilities in Apple Music to create 'if you like that, you might like this' style playlists. So put music that people will be searching for that has a similar kind of audience to who you think your audience is.
Niche mood or genre playlists give you the opportunity for click bait headings, these work well for Spotify. Think of how people will search for music it could be 'calming music', 'baroque music' or 'modern string quartets'. Spotify seems to only index playlist names (for most playlists) and Apple Music seems to index all playlist names even if it doesn't index the contents of the whole playlist. So your new string quartet would be perfect to put in a playlist of 'modern string quartets'. This could still end up being a massive catalogue playlist put think of the title.
Weekly/Monthly updated playlist. This is something I've started to experiment with and is gaining some success. I see it as curating a concert every week with music that I could never programme together. I try and give each week a different feel. With the weekly playlist I always tag the composers, performers and record labels on Twitter. My hope is that they will retweet it and introduce the playlist and music to new people. This kind of playlist is very community driven. The only way you, as the person releasing music, will make money from a playlist is when someone streams your piece. To get to your piece they will be streaming the music of others as well. So if you are tagged in a playlist share it, shout about it and say thanks.
This is very true when you are included in one of the editorial playlists on any of the services. I have been told they check their social media feeds to see if people are sharing the playlist. Getting on to the editorial playlists is a bit of a mystery, the people behind the playlists don't publish themselves. User generated ones are a little easier to find with a bit of Facebook, Twitter or LinkedIn sleuthing.
Speaking of sharing, share your playlists wherever you can. There are Reddit communities for Apple Music and Spotify. Websites dedicated to playlists like http://mixing.io/, https://www.playlists.am/ and http://playlists.net/and good old social media.
If you don't know how to share a playlist on both Spotify and Apple Music click the '…' and it gives you sharing options.
As a very brief argument in support of streaming. At Classical:Next last week I sat in on a session 'The Current State of the Recording Industry'. There were numerous snippits of info but there were two that were very interesting. 10 years ago the average person bought one or two CDs a year (£10-£20) now they are paying £120 a year for their streaming subscription. The other is that downloads canablise physical sales, but streaming supports downloads.
If you have done all the above, released something people want to listen to, had it on the radio, got it on playlists etc you have to wait at least 6 months to see any money, maybe even a year. PPL only pays out once a year, PRS every 3 months based on this schedule and streaming companies pay out every 3 to 6 months. It has taken me a year to build my streaming income to a point where I am getting a reasonable payment every month (about $100 at the moment) so you will have to wait… Though if you sign up for the artist tools above you can get stats on how your music is doing so you can tweak your marketing efforts. Remember, streaming is a micropayment so don't expect huge swathes of money straight away but it will build up over time if you make the effort.


New Zealand has claimed its first medal at X Games 2015 with Carl Murphy fighting hard for silver in the men's adaptive snowboard cross in Aspen, USA today.
Riders raced head-to-head six at a time in a format which many, including Carl Murphy, have only ever raced at the X Games exhibition races in 2011 and 2012.
A maximum of four riders racing head-to-head is the norm in adaptive snowboard cross. A medal winning run down the burly course which featured jumps, berms, rollers and flat sections would be a matter of getting a fast start out of the gates and staying clear of five other riders.
"The semis didn't quite go the plan," explains Murphy.
The 12 man field was split between two heats of six with the Kiwi racing in heat two and looking to place within the top three in his heat in order to claim a spot in the finals. Hot out of the gates Murphy took the lead with USA's Keith Gable and Canada's Alex Massie right on his heels.
Checking their speed ahead of a tight corner, the three racers ended up tangled together and all three came down. Bouncing straight back up but having to hop up and over the next feature to get back on track and up to speed the race was back on but now with Gable leading, Massie in second and Murphy third and having to put the hammers down in order to qualify for finals. Maintaining his focus, the Kiwi did just that and crossed the finish line safely in third place.
On to the finals and Murphy would once again face off against Gable and Massie as well as long-time rival Mike Shea from the USA.
Gable took the early lead but the Kiwi wasn't giving up and kept up the chase right to the finish.
Gable finished first in 0:57.168 with Murphy a fraction behind in 0:57.449. Canadian Alex Massie took the bronze medal in 1:01.295.
Murphy has had a seven week break from on snow training, spending time at home in New Zealand following the birth of his second child last month.


A conversation between artist, Grzegorz Stefański and Joseph Constable, Assistant Curator at the Serpentine Galleries in London.
Grzegorz Stefański's latest artistic investigation seeks to address the boundaries between bodily gestures and movements and the power they express. His most recent work, choke (2017), canvases the movements of two Brazilian Jiu-Jitsu fighters. Whilst each minuscule movement of the male body might be conceived as an expression of power, Stefański's invasive, slow-motion filming of the interaction between these two fighters raises questions as to what is socially permissible in male-on-male contact. do-over (2016) similarly looks to abstract and displace the male body — where gestures performed by a young musical conductor borderline on violent expressions of power and auto- aggression. The photograph restraint (2016) explores gestures of power, while interrogating the authenticity of images. The image is charged with tension, carrying with it an undercurrent of violence, despite the superficiality of the re-enacted event.
Currently serving as Assistant Curator at the Serpentine Galleries, Joseph Constable holds a Masters degree in Curating Contemporary Art from the Royal College of Art, London, alongside a Masters degree in History of Art and English Literature, from the University of Edinburgh, Scotland.


Today I want to talk about our awesome Easter festivities!
Last week, my kids were on spring break so the Friday before break Ella's class dyed eggs and had an egg hunt!!
She was working on her tye dye egg!
Yes-Ian was in the car with us, but no he would not get in the picture!!
and we dyed Easter Eggs!
so they had green fingers for a few days!
Looks like a few cracked!
I made these yummy cupcakes for our Saturday Festivities!
Mine are not as pretty, but they were good!
First stop Saturday Morning was our church Egg Hunt!!
They kids were divided into age groups!
I went with Ella and Ben went with Ian!
Guess who didn't take any pictures!
Eggs as far as we could see!
I would say she did GOOD!!
Ella LOVES Isabella at church!
They were "Twins" in there jean jackets!
You FREAK out with excitement!
and take a pic, of course!!
The rain had started so we hunted for eggs inside!!
That is Ian with the bag over his head and yes I screamed for him to get it off his head!
Oh, and I swear he has an Easter Basket, but he wouldn't use it because it was holding his candy!!
Watch out Ben....the hunt is on!
After the kids got finished, Ella wanted to hide the eggs for the adults!
and this is what you find on your phone!!
Ella checking out her loot!
I already saw what the Easter bunny brought me"
Sunday Morning we went to church!
All the kids ready to hunt eggs!!
Ian was over egg hunting, but Ella was ready again!
We had the best Easter with Friends and Family!
We are so thankful for our Risen Savior!!


The B52 provides all the support you need for extra power and accuracy. It features a molded sure-grip handle and solid steel frame with an extra-wide fork. Flexible wrist support provides steady, stable support, then folds away for compact storage. The sling is made of surgical-grade tubing and has a rugged release pouch. Shoots 1/4", 3/8" and 1/2" steel or glass shot. Daisy's PowerLine Slingshot Model B52 is appropriate for adults and those over 16 years of age under adult supervision.
Perfect for convincing armadillos and other wandering varmints to relocate a neighbor's backyard. Does take practice, but it gets the job done in a quiet & low profile way.
Bought one of these before a camping trip. Took some practice but after awhile, we were able to shoot the cap of a soda bottle from 25 ft easily. Provided a lot of enjoyment for little cost.


text:
Albemarle (Newtown) Pippin Apple
Date of Issue August 12, 2016
Quantity 1,150,000,000
1-cent, Mail-Use
Denomination Value $0.01
Perforation or Dimension 0.87 x 0.98 in.⁄22.10 x 24.89 mm
Issue Location Kansas City, MO 64108
Postal Administration United States
Coil of 10,000, 1 Design
Original Purchase Price: $100.00
Printer: Ashton Potter (USA) Ltd. (APU)
Printed at: Williamsville, NY
Printing Process: Offset, Microprint
Gum Type: Pressure-sensitive
Paper: Nonphosphored Type III
Layout Number: "P" followed by six (6) single digits
Layout Number Frequency: Plate numbers every 27th stamp below stamp image
Coil of 3,000, 1 Design
No Images Exist for this Layout.
First-day Cover
Quantity Produced - Unknown
On August 12, 2016, in Kansas City, MO, the U.S. Postal Service® will issue a 1-cent Apples mail-use stamp in one design, in a pressure-sensitive adhesive (PSA) coil of 3,000 (782300) and also a PSA coil of 10,000 (780000). The stamp will go on sale nationwide August 12, 2016.
In 2016, the U.S. Postal Service issues Apples, a new one-cent definitive stamp. The stamp design features two apples on a branch surrounded by leaves. The original art for this stamp was illustrated using pen and ink and watercolor.
Also known as the Newtown pippin, the Albemarle pippin apple has deep historical roots. It first appeared in the late 17th century in an area of Queens, New York, formerly known as Newtown. The word pippin indicates that the trees originated from seedlings rather than from grafting - a technique common in the propagation of apple trees.
Savored for their crisp flesh and balanced flavor, these medium-sized, reddish-yellow and green apples soon gained popularity throughout colonial America. In 1755, Dr. Thomas Walker introduced them in Virginia when he returned home from the French and Indian War with a pile of cuttings. Grown on Walker's plantation in Albemarle County, the celebrated New York apple received a new name and wider distribution.
Though harvesting of Albemarle pippins usually takes place in October, they are often considered a late-winter fruit. Unlike many other heirloom apple varieties, these durable apples maintain quality in storage, their initial tartness mellowing over time. By February, the apples still retain their characteristic flavor that makes them difficult to resist. The distinctive aroma and pleasant taste of the Albemarle pippin make it well suited for pie fillings, applesauce, and especially cider.
Art director Derry Noyes designed this stamp with an existing illustration by John Burgoyne.
Black, Cyan, Magenta, Yellow, PMS 7571C Brown, PMS Warm Grey #4
Art Director: Derry Noyes, Washington, DC.
Designer: Derry Noyes, Washington, DC.
Typographer: Derry Noyes, Washington, DC.
Existing Art: John Burgoyne, West Barnstable, MA.
Modeler: Joseph Sheeran.
USPS Postal Bulletin 22447. Copyright: USPS.


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Home > Faith Issues in Film Group
Our group meets at 7pm, on first Tuesdays, eight months of the year. We watch the chosen film on our own, and then gather to discuss it; we're very much like a book club in those aspects. Our meetings often include an introductory worship portion and we end with a time for sharing and prayers. We are always open to new members.
Meetings currently take place by Zoom; please contact ChurchOffice@fprespa.org for the link.
Here is our 2022-23 schedule:
Sept 6 Belfast
Oct 4 Parallel Mothers
Nov 1 Mango Dreams
Jan 3 My Name Is Pauli Murray
Feb 7 Kundun
Mar 7 Lunana: A Yak in the Classroom
April 4 Passing
May 2 The Sound of Metal
Kundun (1997)
Director: Martin Scorcese
Original Score by Philip Glass
Available on YouTube and on DVD at the Palo Alto library
The Tibetans refer to the Dalai Lama as "Kundun," which means "The Presence." The film Kundun tells the story of the first years of the 14th Dalai Lama's life, from his discovery at age 4 through his heart-wrenching decision to leave Tibet at the age of 24. As the film progresses, the boy matures in both age and learning. Four charming actors play him at various ages. Local trivia – the actor who played the 12-year old Kundun attended Jordan Middle School in Palo Alto.
The film portrays the time period when communist China invaded and enforced an oppressive regime upon the peaceful nation of Tibet. It shows the Dalai Lama's commitment to non-violence and his interest in modernizing Tibet. He escaped to India in 1959 and has been living in exile in Dharamsala ever since.
China's leaders hotly objected to Disney's plans to distribute the film and retaliated by banning Disney films and television cartoons. Scorsese and several other members of the production were banned from ever entering China as a result of making the film. Former Disney CEO Michael Eisner later apologized for offending Communist Chinese sensitivities, calling the film "a stupid mistake."
Kundun is filled with faith issues, since it depicts a country where faith is central to every aspect of life.
My Name Is Pauli Murray (2021)
Directors: Julie Cohen, Betsy West
Available on Amazon Prime
Fifteen years before Rosa Parks refused to surrender her bus seat, a full decade before the U.S. Supreme Court overturned separate-but-equal legislation, Pauli Murray was already knee-deep fighting for social justice. A pioneering attorney, activist, priest and dedicated memoirist, Murray shaped landmark litigation–and consciousness–around race and gender equity. As an African American youth raised in the segregated South–who was also wrestling with broader notions of gender identity–Pauli understood, intrinsically, what it was to exist beyond previously accepted categories and cultural norms. Both Pauli's personal path and tireless advocacy foreshadowed some of the most politically consequential issues of our time.
Told largely in Pauli's own words, My Name is Pauli Murray is a candid recounting of that unique and extraordinary journey. The SF Chronicle called it "Jaw-dropping…an extraordinary documentary." The Guardian (UK) said: "A black, queer, gender nonconforming lawyer, civil rights activist, feminist, poet and priest, Pauli Murray (1910-85) was ahead of her time. It is perhaps because of this, and despite her contributions to real social change, her friendship with Eleanor Roosevelt and her influence on people such as Ruth Bader Ginsburg, that she remains a little-known figure in US history. This thorough and informative documentary, from the team behind RBG,shines a light on a brilliant and uncompromising firebrand who paved the way for generations to come."
Mango Dreams (2018)
Directed by John Upchurch, an American; produced and written by Mazahir Rahim
Available on Amazon Prime.
Though filmed in India with Indian actors, the script is all in English, so there are no subtitles to deal with.
The story is about an Indian doctor, Dr. Amit Singh, who has had a successful career but who is now widowed and whose son is living in the U.S. He is in the early stages of dementia, and is haunted by childhood memories of Partition, when all of family were killed. He wants to return to his native place before he dies and randomly hails Salim, an auto-rickshaw driver to take him there. Salim remembers Dr. Singh as the doctor who saved his son's life, so offers to drive him anywhere as a way of repaying his debt. Salim is Muslim and his wife was raped and burned to death by Hindus in the 2002 Gujarat riots.
A good part of the film is their improbable road trip during which Amit and Salim forge an unforgettable friendship and help each other discover the peace they have been longing for. It is a storyline that treats the sides equally, with no implied dominance of one over the other, and thus a refreshing change from the more typical movie treatments of hostile ethnic- relationships framed in terms of star-crossed lovers or sports rivalries.
Parallel Mothers (2021)
Directed by Pedro Almodovar, stars Penelope Cruz, who was nominated for an Oscar
In Spanish, with English subtitles
Available on Amazon Prime, Google Play, Vudu, and at the Palo Alto Library
From a review on Imdb.com: "In Parallel Mothers/Madres Paralelas, all the usual Almodovar ingredients are blended together exquisitely. An unorthodox story about women and motherhood, superb acting from Penelope Cruz, tasteful clothing and interiors, beautiful cinematography and intelligent dialogues with surprising twists. But this time, Almodovar adds a little extra: a subtle attack on the right-leaning political parties in Spain.
The point Almodovar wants to make about Spain is intelligently integrated into the story. It is about death, war and coping with past sins. The contrast with the other themes in the film is striking: we see Cruz, and the other parallel mother, Milena Smit, involved in childbirth, friendship and rethinking their own lives."
Belfast (2021)
Director: Kenneth Branaugh
The film can be streamed on Amazon Prime
The film takes place in Belfast, Northern Ireland, near the start of the Troubles in August 1969. In the opening scenes, we witness nine-year-old Buddy's delight and adventure as he takes in the vibrancy and pace of his neighborhood, a diverse community of Protestants and Catholics. But Buddy soon realizes that he must now learn to live with both the good days of play and the terrible ones of sectarian violence.
Buddy's coming-of-age experiences are rendered with such authenticity that we find ourselves caught up in them: remembering the simple pleasures of playing soccer, trying to make sense of the tension in his home due to his parents' debts, the mystery of religion as the preacher defines the road to heaven and the road to hell, and the joy of music and dance as an expression of community.
This is a beautifully made film that explores the complex characters and relationships in three generations of Buddy's family. It touches on themes of home and change and making sense of the world. It also features Van Morrison music.


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text:
Your Vinyl Store (Oct. 12-18 and Beyond)
New vinyl releases and reissues for this week and months ahead. (Check out Past LP Releases.)
SHARE IT! … |
OCT. 12 RELEASES
"Deep Sea Skiving" (1983 album; blue-colored vinyl) , "Bananarama" (1984 album, featuring "Cruel Summer" and "Robert De Niro's Waiting…"; purple-colored vinyl; See here) , "True Confessions" (1986 album, featuring "Venus"; green-colored vinyl; See here; eBay; Merch; London / UMe)
"Loving the Alien [1983-1988]" (15-LP box set; eBay; Merch; Rhino / Parlophone)
"Say It Live and Loud: Live in Dallas 08.26.68" (1968 album; Download; eBay; Merch; Polydor / UMe)
"Falling Into You" (1996 album, featuring "Because You Loved Me," "It's All Coming Back to Me Now" and "All By Myself"; See here; eBay; Residency Shows, The Colosseum at Caesars in Las Vegas; Epic / Legacy)
"The Dance" (1997 live album) , "Say You Will" (2003 album; eBay; On Tour; Merch; Rhino / Warner)
"I Heard It Through the Grapevine" (1968 album; eBay; Merch; Motown / UMe)
"The Lamb Lies Down on Broadway" (1974 album) , "Genesis" (1983 album) , "Invisible Touch" (1986 album) , "We Can't Dance" (1991 album) , "Calling All Stations" (1997 album; eBay; Merch; Rhino / Atlantic)
"Simply Red 2003-2007" (four-LP box set contains the albums "Home," "Simplified" and Stay," along with an exclusive remixes LP, all on 180-gram red translucent vinyl; See here; Read here; eBay; Demon Music Group)
$3.99 Albums » … $5 Albums » … $6.99 Albums » … $0.69 Song Store » … Band T-Shirts »
"Stunt (20th Anniversary Edition)" (1998 album; with three bonus tracks; On Tour; Rhino / Warner)
"Everybody Else Is Doing It, So Why Can't We? (Deluxe Edition)" (25th anniversary reissue of their 1993 debut album; remastered at Abbey Road under the supervision of band member Noel Hogan, with a second CD of outtakes, B-sides, their debut EP and early cassette demos; See here; eBay; Island / UMe)
"Frank Sinatra Sings For Only the Lonely (60th Anniversary Edition)" (1958 album; double vinyl; stereo mix, mastered by Ron McMaster at Capitol Studios; Hear here; Read here; eBay; Capitol / UMe)
THE ALL-AMERICAN REJECTS
"The All-American Rejects" (2002 album; eBay; On Tour; Merch; srcvinyl)
"Timeless: The All-Time Greatest Hits" (21-song compilation, released in 2017; eBay; Capitol / UMe)
"Live At The Isle of Wight Festival" (two LPs; Aug. 28, 1970, performance includes extended free-form versions of "I'm a Man," "25 or 6 to 4," "Introduction," etc.; eBay; On Tour; Merch; Rhino)
MAC MILLER (26-year-old rapper died from an apparent drug overdose on Sept. 7)
"Swimming" (2018 album; eBay; Merch; Warner)
"Tunnel of Love" (1987 album; See here) , "Human Touch" (1992 album) , "Lucky Town" (1992 album) , "The Ghost of Tom Joad" (1995 album; eBay; Springsteen on Broadway; Merch; Columbia / Legacy)
"The Rocky Horror Picture Show (Music From the Original Soundtrack)" (1975 album; DVD; eBay; Merch; Ode Sounds and Visuals)
"The 20th Century Records Albums (1973-1979)" (nine-LP box set;eBay; Mercury / UMe)
NOV. 2 RELEASES
"Joan Baez" (1960 debut album; eBay; Fare Thee Well Tour 2018; Craft Recordings)
"Enema of the State" (1999 album; Opaque Blue Vinyl; mastered by Kevin Gray of Coherent Audio; See here; eBay; On Tour; Merch; srcvinyl)
"Time In" (1966 album; remastered by Grammy Award-winning engineer Bernie Grundman and pressed on 180-gram audiophile-grade vinyl at Pallas Group in Germany; ORG Music)
"Legacy" (15-LP box set containing the band's seven studio albums, three live albums, and a compilation of singles and B-sides; eBay; Merch; Rhino / Elektra)
"… And Justice for All (30th Anniversary Expanded Edition)" (1988 album; remastered, Deluxe Box Set featuring six LPs, 11 CDs and four DVDs; eBay; On Tour; Merch; Rhino / Blackened Recordings)
"In Search of the Lost Chord (50th Anniversary Edition)" (1968 album; remastered; eBay; Residency, at Encore Theater at Wynn Las Vegas; Merch)
"Songs for Christmas" (2006 album; Hear here; eBay; Asthmatic Kitty)
THE TRAVELING WILBURYS
"Traveling Wilburys Vol. 1" (1988 album; Picture Disc; See here; Craft Recordings)
"The Beatles (The White Album) [50th Anniversary Deluxe Edition]" (1968 album; newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo and 5.1 surround audio; featuring 27 early acoustic demos and 50 session takes; See here; Read here; Vinyl Deluxe Edition, four LPs; eBay; Merch; Apple / Capitol / UMe)
"First Collection 2006–2009" (four LPs collects their debut album, early EPs and rarities; See here; Read here; eBay; Sub Pop)
"American Woman" (1970 album; 180-gram translucent blue audiophile vinyl; Hear here; eBay; On Tour; Friday Music)
"Electric Ladyland (50th Anniversary Deluxe Edition)" (1968 album; six-LP and one Blu-ray box setfeaturing unreleased demos, unreleased concert, 5.1 audio, expanded documentary film, etc.; Read here; eBay; Merch; Experience Hendrix / Legacy)
"Live At The Fillmore East 1970" (triple vinyl edition cut by Alchemy Mastering; eBay; Chrysalis)
"The Complete Cuban Jam Sessions" (five-LP, 35-track box set featuring songs originally released over a span of almost a decade – 1956-1965 – by Cuba's first independent record label Panart, featuring Julio Gutiérrez, Niño Rivera, Cachao and José Fajardo; Hear here; Craft Recordings / Concord)
NOV. 16 RELEASES
"Chris Cornell" (two-LP set covers his years with Soundgarden, Temple of the Dog, Audioslave and his solo works; A&M / UMe)
"We Too Are One" (1989 album) , "Peace" (1999 album; RCA / Legacy)
"Vital Idol: Revitalized" (1987 remix collection is revisited, with new remixes by Moby, The Crystal Method, Paul Oakenfold, RAC, Tropkillaz, Shiba San, Juan Maclean and CRAY; Read here; eBay; On Tour; Merch; Capitol / UMe)
"Every Move You Make: The Studio Recordings" (six-LP box set; See here; eBay; Merch; A&M / UMe)
THE POSIES
"Amazing Disgrace" (1996 album; eBay; Omnivore Recordings)
"Out of the Cellar" (1984 album, featuring "Round and Round"; See here; eBay; On Tour; Merch; Friday Music)
"Beggars Banquet (50th Anniversary Edition)" (1968 album; remastered by Bob Ludwig, transferred from the original tapes to DSD; Read here; eBay; Merch; ABKCO)
"Voodoo Lounge Uncut" (1994 concert on three LPs; eBay; Merch; Eagle Rock)
"The Best of The Runaways" (13-song compilation from 1987; See here; eBay; Merch; Mercury / UMe)
FRANKIE VALLI AND THE 4 SEASONS
"Anthology" (1988 compilation, originally released by Rhino Records; two LPs, 26 songs on 180-gram audiophile vinyl, mastered from the 4 Seasons Partnership tapes by Joe Reagoso with the supervision of 4 Seasons producer Bob Gaudio; Hear here; eBay; On Tour; Merch; Friday Music)
"Solo Anthology: The Best of Lindsey Buckingham" (six-LP box set; See here; eBay; On Tour; Rhino / Warner)
"The CHIC Organization 1977-1979" (five-LP box set features their first three albums, plus Nile Rodgers/Bernard Edwards-produced Sister Sledge album, "We Are Family," as well as 12-inch mixes and 7-inch edits, along with a vinyl reproduction of Chic's first single, a 12-inch promo for "Dance, Dance, Dance [Yowsah, Yosah, Yosah]" that Buddah Records released in 1977 before the band signed to Atlantic; remastered from the original Atlantic stereo tapes by Miles Showell at Abbey Road Studios; On Tour, Nile Rodgers & Chic with Cher; Rhino / Atlantic)
"An American Treasure" (six-LP, 60-song box set of rare and previously unreleased material; first single: "Keep a Little Soul [Outtake, 1982]"; See here; Read here; eBay; Merch; Reprise)
"The Christmas Attic (20th Anniversary Edition)" (1998 album; with a bonus track, "Christmas Jam / Live In Prague"; See here; eBay; Rhino / Atlantic)
"The Rick and Morty Soundtrack" (vinyl box set, with a bonus 7-inch single, "Screaming Sun"; Hear here; Target-Exclusive Vinyl, dark green and pink colored; DVD; eBay; Merch; Sub Pop)
"Sex, Dope & Cheap Thrills" (1968 album "Cheap Thrills," reissued under its original title, featuring 25 unreleased studio outtakes and a previously unreleased live performance of "Ball and Chain," recorded live at Winterland Ballroom on April 12, 1968; Read here; Columbia / Legacy)
"Outside" (1995 album) , "hours …" (1999 album; eBay; Merch; Friday Music)
"Glastonbury 2000" (complete 21-song set from the U.K. festival; See here; eBay; Merch; Rhino / Parlophone)
"Remastered Part I" (four-LP box set, feat. "The Kick Inside," "Lionheart," "Never for Ever" and "The Dreaming") , "Remastered Part II" (three-LP box set, feat. "Hounds of Love," "The Sensual World" and "The Red Shoes") , "Remastered in Vinyl III" (six-LP box set, feat. "Aerial," "Director's Cut" and "50 Words For Snow") , "Remastered in Vinyl IV" (four-LP box set, feat. a new rarities collection of 12-inch mixes, remixes, B-sides and covers; Read here; Rhino)
"The Studio Albums Collection" (seven-LP box set, mastered at half-speed by Miles Showell at Abbey Road Studios; See here; eBay; Merch; Craft Recordings)
"Human's Lib" (1984 album; white vinyl; See here) , "Dream Into Action" (1985 album; green vinyl; eBay; Cherry Red)
ANDY WILLIAMS
"The Andy Williams Christmas Album" (1963 album; 180-gram audiophile translucent blue vinyl; See here; Friday Music)
DEC. 7 RELEASES
"Atlantic Records 1960s Collection" (six-LP box set, featuring five studio albums plus and an LP of rare studio tracks; eBay; Rhino / Atlantic)
"Point of Know Return" (1977 album; 180-gram audiophile gold swirl vinyl; eBay; On Tour; Friday Music)
"Mezzanine (20th Anniversary Edition)" (1998 album; remastered, with eight previously unreleased Mad Professor remixes; See here; eBay; Merch; Virgin / UMe)
TOM PETTY AND THE HEARTBREAKERS
"The Best of Everything – The Definitive Career Spanning Hits Collection (1976-2016)" (four-LP, 38-song set features tracks by the Heartbreakers, Petty's solo work and Mudcrutch; eBay; Merch)
"My Ride's Here" (his final album, from 2002; Hear here; eBay; Ship to Shore Media)
JAN. 11 RELEASES
KAREN DALTON
"The Karen Dalton Archives Box" (four-LP, four-CD, one-DVD box set; Read here; Megaphone)
Tags: albums, Bananarama, Celine Dion, David Bowie, Fleetwood Mac, Genesis, James Brown, LPs, new music, new releases, Simply Red, vinyl


This discussion group is for the Anthony Bourdain No Reservations Los Angeles (CSV Format) POI project file. Please report any coordinate/address corrections and or updates, eatery closings, etc. Also, feel free to provide comments about the POI. If you prefer, you may email any changes directly to the Project Lead (which currently is me) rather than post below.


Paul Seger grew up as a missionary child in Nigeria. After graduating from Appalachian Bible College and Faith Baptist Bible College, he served as assistant pastor at Community Baptist Church in Reidsville, North Carolina. In 1975, Paul and his wife, Joan, were accepted as missionaries with Biblical Ministries Worldwide. For seventeen years Paul planted churches among the European population in South Africa. He was involved in the process of starting three churches and training pastors through the Church Ministries Institute. In March 1994, he became the General Director of Biblical Ministries Worldwide. He and his family relocated to BMW's International Office in the Atlanta area. His son Ryan and daughter Joanna have finished college and also live in the Atlanta area.


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Profile of British developer M4
In my recent Resident Evil Gaiden article for Retro Gamer (hi-res scans in this Biohaze forum topic) I profiled the developers behind the game, but due to dwindling space these weren't able to used in the article itself. So they won't go to waste, I'm posting them here. The above photo is from their office during better times.
Here's a web archive of their old website.
M4 was a British developer formed in 1995 by Tim Hull. Primarily known for handheld titles, it was comprised of several former BITS development staff. Although they formed to create new titles, paying the bills necessitated working with licences. Three of their biggest titles, Bounty Hunter (PC), Stuntpigs (Next Gen) and Space Cadets (GBA) never made it to market. Though Space Cadets was actually completed.
As Tim Hull explained in the RG article: "Sadly no original M4 titles made it to the shelves. Bounty Hunter, Space Cadets and Stuntpigs were all games we really wanted to bring to market. The later two are still held by us in Stuntpigs Ltd a dormant company. Who knows maybe one day they will rise."
With backups of everything still with Tim, there is a chance that in the future we'll see one of these unreleased M4 games.
The question then is: WHERE ARE THE DISBANDED TEAM NOW?
Elliot Curtis
Creative Producer
Making Fun Games
Elliot now runs an indie development company called Making Fun Games. They produce browser games for PC and are currently expanding their most popular games onto other platforms, including mobile and X360.
www.makingfungames.com
[Sketcz's note: I've checked out the website and it's got a nice selection of totally free browser games! I tend to dismiss them, because most browser games I see people playing are terribly uninteresting – but I had a go on Outbreak 2012 on the MFG website, and it's actually pretty damn awesome. It's a 2D side-scrolling survival horror with an interesting mouse-based combat system and some great atmosphere. Definitely worth checking out! There's also a diverse range of other games on there.]
[Elliot in RG article: Bounty Hunter was in production when I joined M4 and it really was stunning. As for Stuntpigs - the best game never made. I think it was just ahead of its time... Space Cadets though, that was actually completed and it was a really good game. It was different though and it really worked best multi-player. It's typical - generally publishers don't like to risk money on original stuff, especially when there's cartridges to pay for.]
Stefan Barnett
Artist / Game Designer
Rice Media
Is in Birmingham where he's working as an Artist/Game Designer on iPhone games.
[FROM RG ARTICLE: I worked as a traditional model-maker on Pepperami adverts, In the theatre with sets, and props and also in Childrens books. I was thrown in right in at the deep end with Resident Evil: Gaiden being my first project]
Head of Development
PlayStation Home
Tim Hull
Globaltimoto
One man on a motorcycle around the world in a quest for gameplay.
Kieron Wheeler
I'm not entirely sure what Kieron is doing, to be honest. I liaised with Tim and I don't recall being told where he moved on to. Perhaps some form of top secret project?
As I've always said, it's important to know who makes your games, never mix up the publisher with the developer, and if you like a game, take a look at the credits to see who made it, since they seldom get the attention they deserve (unless they're someone like Kojima or Molyneux), and they've probably made other great games you might not know about.
Posted by Sketcz at 9:01 AM
Labels: British, developer interviews, M4, resident evil, Retro Gamer
british developers are a dieing breed, which is a shame because they are always so damn good!
noiseredux May 17, 2011 at 11:38 AM
awesome, sketcz! Great piece. And good call on the whole pub vs dev thing... I always try to pay more attention to the developer than publisher.
ryan May 17, 2011 at 9:11 PM
I definitely agree with the developer needing attention. But a good publisher shouldn't be disregarded. I tend to think of publisher's like record labels. If the people running them have good taste, then you can usually trust what games they will publish. Recent examples are XSeed, NIS, Atlus for me.
Digest Vol. 1: Strider and Bionic Commando
Konami Shooters
Sega Arcade Classics
Untold History of Japanese Game Developers Vol. 1


On November 2nd, Swedish progressive metal legends OPETH will release their new live album Garden of the Titans: Live at Red Rocks Amphitheatre via Moderbolaget Records/Nuclear Blast Entertainment. Captured for DVD, Blu-Ray and Vinyl formats during their performance on May 11th, 2017 at the legendary Red Rocks Amphitheatre in Denver, CO, this concert showcases the unique beauty of both classic and new OPETH tracks.
Side A contains the haunting live version of the band's classic "Ghost Of Perdition", while the previously released "Sorceress (Live)" can be found on Side B.
Video footage for Garden of the Titans: Live at Red Rocks Amphitheatre was overseen by The Deka Brothers (CARPENTER BRUT, THE PRODIGY) and audio was mixed by David Castillo (KATATONIA, BLOODBATH). All versions feature the masterful artwork of revered artist Travis Smith (NEVERMORE, KATATONIA, TESTAMENT).
Sorceress was released in September 2016. For the band's first effort for Nuclear Blast via OPETH's imprint label Moderbolaget Records, the group returned to Rockfield Studios in Wales, also home to pivotal releases from and JUDAS PRIEST, where the Swedes had tracked Pale Communion in 2014 with Tom Dalgety.


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Included in the Box Echo Spot, power adapter/cable (6 ft.), and quick start guide.


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To Save the Mediterranean Sea, Its People are Uniting
Together for the Med
The White Sea, the Great Sea, the Middle Sea. Earth's largest enclosed waterbody has been known by many names since the first settlements in 9000 BC. The Mediterranean Sea is bordered by over 20 countries across three continents and is home to more than 15,000 islands.
For millennia its serene turquoise waters have seen the exchange of both goods and traditions, fusing together cultures and shaping civilizations throughout history.
It is also one of the largest marine biodiversity hotspots on earth, hosting up to 18 percent of all identified marine species. An astonishing feat considering that the Mediterranean Sea represents less than one percent of the global ocean surface area.
The types of habitats found on the seabed are richly diverse. Mediterranean seascapes range from vast seagrass meadows and vibrant reefs of coralline algae to deep-sea ecosystems reaching as far down as 5,267 meters (or 17,280 feet) in an area known as the Calypso Deep.
Dating back to the times of ancient Greece, prosperous sea trade and thriving fishing communities lured large crowds to the swelling coastal cities. And over the ages, fishing activities continued to intensify with the advancement of navigation systems and improved maritime infrastructure.
Even today, the ocean is intertwined into the very fabric of Mediterranean life. Fishing, in particular, remains at the heart of Mediterranean traditions, providing a livelihood for around 785,000 people in an industry estimated to be worth $9.4 billion. But just as the Mediterranean Sea has influenced civilizations over the centuries, 4,000 years of maritime and fishing activity have altered the ecology of the region. As a result, a once-abundant reservoir of marine life is now in crisis.
Marine habitats and species in the Mediterranean were and still are impacted by overfishing, says Charlène Minster, manager for the Mediterranean Programme and Impact & Sustainability Unit at the MAVA Foundation.
Modern-day challenges have made things increasingly more difficult for a once-prosperous fishing empire. The spread of invasive species, climate change, and recent rising fuel costs are taking their toll on the Mediterranean fishing communities. Surpassing these threats are the effects of centuries of overexploitation.
For decades, fishers have been hauling up increasingly smaller catches on average, forcing them to abandon historic fishing grounds in search of new, richer pastures. The movement of activity is jeopardizing some of the Mediterranean's most critical marine habitats, and, as a result, its once-celebrated marine biodiversity is at risk.
According to the State of Mediterranean and Black Sea fisheries report, published in 2020 by the General Fisheries Commission for the Mediterranean, 75 percent of assessed fish stocks are still fished outside sustainable limits.
More difficulties come with the rising numbers of vulnerable species, such as sea turtles, being captured by accident (known as bycatch). And then there is the increase in conflicts between fishers and marine mammals, mostly due to dolphins preying on fish from nets and damaging fishing gear (known as depredation). In fact, populations of marine mammals have taken a serious hit, falling by 41 percent. And more than 53 percent of sharks in the Mediterranean are at risk of extinction due to overfishing. Not only is this a major challenge for marine conservation, but these events often result in substantial losses of income for fishers already struggling in the current economic climate.
"If we want to make a positive impact in the Mediterranean, we must first decrease fishing efforts on high-trophic species such as swordfish, mitigate impacts of fisheries on seagrass and other habitats, and reduce negative interactions between fishers and vulnerable marine species," explains Minster.
This can only be achieved by developing strategies and technical solutions that strengthen no-take zones and marine protected areas (MPAs) and by tackling the complex issues around bycatch and dolphin depredation, she adds. It was in response to these urgent needs that Together for the Med (TGFM) was born.
Launched in 2017, the TGFM initiative is perhaps one of the most ambitious in the region's history. Funded by the MAVA Foundation and co-led by the IUCN Mediterranean and BlueSeeds, TGFM has successfully mobilized almost 50 partners on a joint mission to connect the countries bordering the Mediterranean Sea. "Only by working together can we restore marine biodiversity and benefit the region's fishing communities," says Yaprak Arda, marine program officer at the IUCN Med.
History has often shown civilizations using the Mediterranean Sea as a platform for conflict. The Romans, in particular, benefited from their proximity to the sea in the 1st century, conquering much of Europe and many coastal nations in North Africa and Western Asia.
Fortunately, things are quite different now, adds Arda. "Mediterranean nations all have a common goal, which is focused on the sea and how we can ensure sustainability, economic health, and food security for the future. We can't achieve this alone; we must work together."
Situated in various locations across the Mediterranean, TGFM has brought together a dynamic group of local NGOs, regional associations, international organizations, private companies, research centers, and national representatives.
As a collective, they have launched 16 high-impact projects that aim to prevent bycatch, mitigate conflicts between marine mammals and fishers, monitor marine life and fish stocks, share scientific knowledge, help design marine protected areas, promote sustainable seafood consumption, and foster responsible marine entrepreneurship.
Each organization is benefiting by being part of the TGFM network, says Auriane Petit, project officer at BlueSeeds. "It can be a real struggle for smaller organizations to find funding, build up resources, and connect with experts willing to support their work over the long term. This is where the TGFM comes in. We help partners avoid duplication of efforts, provide opportunities to engage in new projects, and increase their ability to expand their work into new locations and communities that need help."
Collaboration is Key
On Sardinia, the second-largest island in the Mediterranean, the MedSea Foundation is leading a project to restore Posidonia oceanica seagrass meadows, a priority marine habitat for the island and wider region.
Seagrass is often referred to as the "lungs of the sea", but their value within the marine environment has been largely under-appreciated until relatively recently. Its often-vast marine meadows are hugely important for supporting commercial fisheries and biodiversity. In fact, seagrass is widely considered to be the third most valuable ecosystem in the world, estimated to be worth over $19,000 per hectare per year.
In the Mediterranean, seagrass meadows host around 20 percent of marine life and protect the coast from erosion. But years of irregular anchorages and trawling have damaged the fragile marine prairies in many areas in the region, including the Sinis MPA located off Sardinia's central-western coast.
The MedSeaGrass project was hoping to develop environmental engineering solutions to help with the seagrass restoration work inside the Sinis MPA, says Petit. "At the same time, another project was developing a tool to make it easier for MPA managers to collect mooring fees. Together, they co-constructed the BlueMooring tool and raised awareness about the issues among boaters."
After launching the new platform in January 2022, created in collaboration with BlueSeeds and funded by MAVA, boaters visiting the site can now book their own buoy. Part of the payment will be donated to support the conservation of Sardinia's seagrass meadows. For the staff of the Sinis MPA, another partner in the MedSeaGrass project, the platform also provides a handy tool for mapping all the activities that take place in the vast marine quadrant.
"This is just one example of the kind of concrete synergies that the pooling of resources and the connections of our network have allowed," adds Petit.
Initiating Change
The TGFM initiative has achieved much since its launch, but perhaps its greatest outcome is bringing together this diverse group of partners and projects under one umbrella, says Arda.
"Together, our voices are louder, and we can make a real difference to the Mediterranean people and marine life."
Marine protected areas are an important tool for the protection of marine biodiversity and restoring commercially important fish stocks. A study by the University of Plymouth in 2021 found that well-managed sites can result in a four-fold increase in the abundance and diversity of fish populations.
International negotiations are well underway to increase the global marine coverage of MPAs to 30 percent by 2030. But, as it stands today, only 8.33 percent of the Mediterranean Sea is protected, and 0.04 percent is strictly protected. While the expansion of MPAs is crucial, without adequate human resources and funding, there is a real risk of these new sites becoming so-called 'paper parks.' A report by Oceana in 2020 found that an astonishing 96 percent of Europe's MPAs allowed destructive activities within its borders, and some sites were left unmanaged for up to 11 years.
Recognizing these challenges, most, if not all, of the TGFM projects are dedicated to making real policy changes and advocating for stronger protection measures, says Minster. One of the group's larger projects is working to create new MPAs and to establish no-take zones in over 25 locations all over the Mediterranean.
Several TGFM projects aim to improve the productivity of the Mediterranean Sea for future generations. By working closely with fishers and other marine stakeholders, partners on the 'MedPath' project are helping fishing communities better understand the importance of ocean resource management and promoting sustainable fishing practices. Other projects target fish trades, consumers, and markets at local and national levels to improve practices across environmental, social, and economic aspects.
TGFM partners are also working directly with national governments and regional fishing commissions to reduce overexploitation in fisheries and mitigate bycatch of seabirds, sea turtles, cetaceans, and elasmobranchs (including sharks, rays, and skates). The team behind the 'MedBycatch' project—counting 17 international partners—has been promoting synergies and joining resources to tackle incidental catches of vulnerable species in waters off the coast of Morocco, Tunisia, Turkey, Italy, and Croatia.
It's been a busy five years, says Arda. "We couldn't have accomplished so much if we were working in isolation. Each organization understands how best to work with their national governments and local communities, and the unique challenges facing their own region. But by uniting, we are starting to see positive changes that can be felt throughout the Mediterranean."
Establishing a Blue Legacy
MAVA's investment in the Mediterranean Basin has been substantial, with over 420 million CHF since 1994. But now, after 28 years as a key funder of conservation, the MAVA Foundation will be closing its doors this December, creating a major funding gap for biodiversity.
The initiative has strategically set the ground for further work in the region. But the Mediterranean will need more engagement from new and existing funders for partnerships like Together for the Med to continue its important work in the future, says Minster. "Together for the Med has shown the importance of working collaboratively over large regions and the impact such partnerships can have on marine conservation."
The Mediterranean Sea remains one of the world's most overfished seas, and thus there is a crucial need for initiatives like this to continue beyond MAVA's existence, she adds. "We are extremely proud of what our partners have achieved collectively, and we truly hope that the legacy we are leaving behind will continue to be built on by further conservation initiatives."
This initiative doesn't just offer hope for marine biodiversity in the Mediterranean Sea. By uniting nations and bringing coastal communities together from across the ocean, it opens a historic trade route for the exchange of a new kind of commodity: blue solutions and policies that could help shape new sustainable traditions. And for the 480 million people living in the Mediterranean region, this could mean all the difference in achieving food security and a more prosperous future for generations to come.
By: Together by the Med


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winter oak
How to take back our streets: lessons from 10 months of resistance in France
Posted on September 16, 2019 September 16, 2019 by winter oak
This is a translation of the article 'Comment reprendre nos rues' from the Cerveaux Non Disponibles website. They can be followed on Twitter via @CerveauxNon
Over ten months, the Gilets Jaunes movement has managed again and again to surprise: to surprise the authorities, the police, the media, public opinion. And even the GJs themselves! Apart from determination and a burning desire for change, what has really changed the landscape of social struggle in France is the new reality of totally decentralised and autonomous actions. Blockades, occupations, demonstrations, disorder. So many possibilities that can no longer be found in the standardised world of trade unions, opposition parties, NGOs and other well-established structures.
As protests step up again after the summer of 2019, the field of possibilities seems even more vast. Much more vast than the authorities and the media are saying. But if we are to make waves again, perhaps even bigger ones, we need to think about strategies of struggle, whether that be for the demos which lie ahead or for other kinds of actions. Here are some suggestions and observations which could usefully be developed and fleshed out. Please note that these suggestions are from a clearly insurrectional, even revolutionary, perspective. Since so many GJs (and other citizens) have been calling and hoping for this for several months now, let's dare to think about it calmly. A sort of manual for "acting like a primitive and planning like a strategist", as recommended by the poet and resistance fighter René Char.
This has always been the case but is becoming more and more blatantly obvious in France: it is important, even crucial, to take to the streets in pretty large numbers if we are to succeed in staging actions which actually bother the authorities. This does not mean that any huge demo is, per se, a success. The climate marches have shown us over recent months that you can have tens of thousands (or more) in the streets and still not bother the government and the economic powers. On the other hand, if you want to overwhelm an increasingly aggressive police presence, which directly engages you and is increasingly mobile (with motorbikes), you need thousands of people.
The moments that have really scared the authorities over these last months have always been when the balance of power in the streets has tipped towards the GJs because of their numbers. Even with the massive human and material resources at their disposal, the police were unable to control the anger of thousands of protesters, in different parts of town, for the duration of several hours.
The most striking example of this was surely during Acte 23 of the revolt (Ultimatum 2). Following the authorities' impotence during the first Ultimatum of March 16, they mobilised a huge police presence to prevent any disorder. The Ultimatum page posted, at the last minute, several meet-up points. The GJs who went to these points were, unfortunately for them, met by dozens of riot cops. Nothing could be done. Except that on that same day, there were so many GJs in Paris that a big "authorised" demo got underway at Bercy. There, again, the police had seen this coming and decided to split the demo up into lots of small sections which they could control more easily. But this didn't work because the march was so huge and determined, to the extent of breaking through several police lines to regroup.
Finally, taking to the streets in large numbers is also a way to protect those who have decided to take action (and not necessarily violently, but in civil disobedience). By their presence, with their bodies, thousands of protesters, even without taking direct action themselves, can help to make a protest really effective and a problem for the authorities. This is how the "front of the demo" emerged a few years back in France. We could also take the example of the revolt in Hong Kong, where this strategy has been taken to an incredible level and where the presence of "basic" protesters is essential for the front-line protesters.
One of the major challenges for the weeks ahead is therefore to achieve turn-outs of the same massive size (or greater) than in November and December. And this is completely possible. Virtually nobody who took part in at least one act of the GJ protests has today been won over by the government. If some of them have disappeared from the streets, it's due to weariness and/or fear (of police brutality and arrests) rather than because of any change in their opinion on the social and economic situation. Indeed, the numbers of potential resistance fighters are surely even greater than last year. GJs only have to look around themselves: who today is satisfied with Macron and his world? Who isn't aware of the climate and social crisis? Each of us has to persuade our friends and loved ones to get out into the streets for the upcoming protests.
PLEASURE AND IMAGINATION
What is most striking about GJ demos today is their repetitive, unchanging quality. But what actually made the movement a success was its capacity to create, to be innovative with its occupations of streets and towns. New songs, new ways of mobilising, new economic blockades (eg: the Champs Elysées). It even had its own language distinct from the norms of social struggle: you can make fun of the succession of "acts" and "ultimatums", but the GJs have created their own calendar, their own battle terrain and their own way of gathering. When they occupied the roundabouts, everyone found that peculiar. Same thing when they took over motorway toll booths. And same thing again when they decided to head into town centres every Saturday. And when the new songs came along, it was like a minor victory. The creation of a new space for self-expression, exchange and action.
Those in power have always tried to blinker the population and make it think that nothing is possible, apart from expressing your anger through elections or institutionalised struggles (trade unions, political parties, NGOs..) But the reality is very different. Life is a huge playing field. And so are towns and cities.
Nothing annoys the authorities more than people who enjoy coming together and resisting. They do all they can to make protests unpleasant, whereas they can provide the chance for meeting people, for feeling alive, for having fun… Everything they will never know in their comfortable little bourgeois lives. It is therefore important to bring joy, madness, fire and life into the streets. To smash their dream of greyness, to enjoy ourselves but also so that other citizens want to join us. So that they understand that what is happening is not just about burning cars or banks. So that the revolution has its heart not in destruction, but in encounters, complicity, exchange and constructivity.
LESS TELEPHONE, MORE SOLIDARITY
It is important to have photos and videos of what is going on in the streets, notably at the most insurrectional moments and especially when police are being violent, to bear witness to these realities which the authorities try to conceal. But today too many people have got into the habit of whipping out their phone for every burning dustbin or, worse, for the smallest police charge. These people are still part of the movement, in solidarity with it, yet they don't realise that by filming with their phones they are quitting the ranks of protesters who are capable of actually doing something. They are physically present but can no longer take action. They become spectators. How many videos have we seen of someone being maltreated by the police where nobody is helping them, although dozens of protesters are filming what's happening? This isn't about passing judgement and awarding good or bad scores. Each person is free to do whatever they want, not least on a demo. And it is totally understandable to want to film a crunch moment. But you need nevertheless to analyse the phenomenon in a general way and see what it implies for the protest as a whole. And from that vantage point we have to acknowledge the problems with this tendency and be aware that it serves the interests of the authorities because it makes the protest less pro-active and less cohesive. Not forgetting that the videos are sometimes used in evidence against protesters accused of misdemeanors.
It is therefore time to put away your phone and actively take part in the next protests. This could take various forms: singing, running, graffiti, banner-making, keeping other protesters informed, suggesting actions. So many things that the brain stops doing when it sees the protest via the screen of a phone.
DIVERSITY AND RESPECT FOR PRAXIS
It is important to consider the place and degree of combative action on protests which see themselves as insurrectional. This question is highly complex and sensitive because nobody has the right to set out a precise limit to the moral rightness of combative actions. We all refuse to go along with the framing imposed by society which regards all illegal action as immoraL. It goes without saying for many of us that a Fouquet's restaurant on fire is no worse than a boss who lays someone off to increase his profits. But this doesn't mean that smashing or burning is necessarily appropriate for the struggle and for advancing the revolutionary cause.
While we should take care not to condemn a protester who has broken the law, we should also not veer off in the opposite direction and applaud, de facto, all acts of damage or violence. At some moments, in some places, vandalising street furniture or shops or attacking the police can turn out to be strategic mistake and play into the hands of the authorities.
Damage or violence are in no way a yardstick for assessing the success or otherwise of a protest. In either way. Offensive actions are merely tools to reach goals which are more significant than the immediate outcome of a torched car or a ransacked bank.
In a society governed by images and appearance, where the authorities rely on illusion to persuade us that they have everything under control and that there is no alternative, these offensive actions make sense when they help shatter that illusion. It works when whole areas of Paris seem to have slipped out of the authorities' control despite the deployment of thousands of cops and troops. But to achieve this, it is necessary to create the conditions conducive to such a situation.
It must also be borne in mind that offensive action and rebellion can take very subversive forms without necessarily being violent. Thousands of people on the Paris ring road, on the tracks at a station or occupying a government building can also hurt the powerful.
So let's refuse to label protesters as violent or non-violent. Only those who fear change have a vested interest in this totally artificial separation. This classification (stigmatisation) is merely a tool for domination. Violence is not immoral in itself. Even the history books sing the praises of resistance fighters who fought evil. Fought in its true sense. In the violent sense.
ADAPTING TO REAL TIME
In the face of the new strategies for "maintaining law and order" with highly mobile and aggressive police units, it is more than ever necessary for protesters to pay attention and adapt rapidly to situations. In Hong Kong when the police line becomes too dangerous in front of them, the protesters don't just stay put. Very quickly, the demo moves elsewhere. It is very difficult to take decisions collectively in these situations, especially in a totally horizontal movement without leaders, but it works. And often it is better to take the decision and move rather than remain static for fear of making a mistake.
We should also bear in mind that sometimes confrontation with the cops does not make strategic sense. When the balance of power is clearly tilted in their favour, it is sometimes better to think about alternative solutions which allow protesters to continue to occupy the space, to blockade, to be on the offensive. The police are not our objective. They are the tool of the authorities which can stop us from reaching our objectives. Focusing on them can sometimes stop us from creating more beautiful and constructive moments of struggle.
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A new website has been launched which challenges "to the core" the thinking of the industrial capitalist system. It presents the ideological alternative of an "organic radicalism" which it sources from a wide range of thinkers, past and present. This philosophy, it says, is based on the idea of a living community, a social organism […]
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Grafton cautious on UK economy as profits rise 16%
Grafton Group, the builders merchanting and DIY group, delivered 16 per cent profit growth in the first half of the year though it warned that recent "softer trends" in the UK economy, its main market, are likely to be sustained for the remainder of the year.
Pre-tax profit rose to £75.4 million (€82.1 million) from £68.4 million for the same period last year, outpacing 9 per cent sales growth, which had been helped by euro strength against sterling.
The group said that its key UK merchanting business's adjusted operating profit before property gains increased by 6.8 per cent to £50.1 million as it benefited from restructuring last year, where it closed 47 branches of its plumbing, heating and contracts business.
The division's UK trade-only Selco Builders Warehouse business, which is geared towards small jobbing builders, continued to expand during the reporting period.
"Recent softer trends in the UK economy are likely to be sustained over the remainder of the year," Grafton said. "The strength of housing starts should support house building activity while the residential RMI (repair, maintenance and improvement) market is expected to be broadly flat with continuing competitive pricing conditions."
Irish merchanting operating profit rose by 44.14 per cent to £15.4 million, with strong sales growth in a recovering economy aided by currency benefits. Merchanting earnings also expanded in the Netherlands and Belgium, according to the company.
The group's retail segment, comprised of the Woodie's DIY stores in Ireland delivered 53.2 per cent operating profit growth to £4.7 million.
"Seasonal product categories including plants and shrubs, law mowers and pressure washers performed strongly and Woodie's continued to develop its kitchens business from dedicated showrooms in half of its estate," it said.
five × four =


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About Moorfields
Moorfields Dubai Healthcare City
Moorfields Abu Dhabi
General Eye Conditions
Moorfields Eye Hospital Dubai invests in the world's most advanced, fastest fine beam laser eye correction technology
Home / Press Releases/ Moorfields Eye Hospital Dubai invests in the world's most advanced, fastest fine beam laser eye correction technology
[:en]15 December 2013 (Dubai, United Arab Emirates): Moorfields Eye Hospital Dubai, the first overseas branch of the world renowned Moorfields Eye Hospital in London, has invested in the most advanced technology used for laser refractive surgery for vision correction, providing improved performance for patients in terms of speed, precision, safety and comfort, and often allowing faster visual recovery. Patients can also benefit from a special offer on vision correction surgery until the end of the year. The Schwind Amaris 750S uses an exceptionally small diameter laser beam with a customised ablation map, which matches the shape of the patient's cornea. The resulting vision for the patient can be an improvement on pre-treatment eyesight with glasses or contact lenses. Moorfields, in Dubai, is among the first private hospitals in the Middle East to invest in the new technology. The Schwind Amaris 750S is the leading technology for laser treatment and operates with a very fast repetition rate: 750 tiny light flashes per second shape the corneal surface quickly resulting in patient comfort and better vision correction, correcting one dioptre (a measure of the optical power of a lens) of myopia within 1.5 seconds, and eight dioptres are removed within 13 seconds.
Dr Edmondo Borasio, Consultant Corneal and Refractive Surgeon at Moorfields Eye Hospital Dubai, said: "Patients should only have this eye correction treatment done once and so they want to have the safest and most effective treatment. The Amaris 750S really is the state of the art in laser vision correction – very fast and accurate, whilst providing information of the cornea on screen in real time. It is especially valuable for patients who have complications from other eye diseases and for those who have a complication following previous surgery. Moorfields is a referral centre for the management of complications following previous refractive surgery. The new technology, which is very compact and patient friendly, is already operational and the patient results have been very good."
Clinical studies have documented the treatment quality achieved with the Schwind Amaris technology, with visual acuity of 10/10 (100 percent) or better achieved in nearly all cases. This means that a high percentage of treated patients could see even better than before treatment with their glasses or contact lenses. The study also shows that patients had improved contrast vision.
The Schwind Amaris 750S has two energy levels, a high energy level rapidly removes around 80 percent of the tissue to be removed and then a gentler beam removes the remaining 20 percent, creating the smooth surface required for improved vision. Since the patient's eyes can involuntarily move for milliseconds while fixating on the laser light, the Schwind Amaris 750S compensates for this with its advanced 6 dimensions eye tracker that monitors the position of the eye with approximately 1050 measurements per second and detects all these eye movements and compensates for them, instantly.
Moorfields is currently offering patients (minimum age 21) a saving of up to AED2,500 on vision correction surgery – subject to terms, an initial assessment and the treatment administered – until 31st December 2013.
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Kennedy Health and Social Care are seeking a Band 5/6 Social Worker for a temporary full-time role with a Primary Care & Older People team based in Belfast. The post is Monday - Friday, 9am - 5pm and will be for 5 months initially.
Kennedy Health and Social Care are recruiting for this role as we are proud top tier suppliers of Agency Social Workers to the largest public health service in Northern Ireland.
* As a top tier agency supplier for social work/social care support roles - our candidates will benefit by being the first to know about new vacancies, the chance to be considered for more desirable opportunities as well as being the preferred professional choice by the organisations we represent.
* Hold recognised Professional Social Work qualification.
* Hold appropriate NISCC registration.
* Hold a full current driving license valid for use in the UK and have access to a car.
* Be willing to undergo Enhanced Access NI check Please note that a criminal record will not necessarily be a bar to obtaining a position. This will depend on the nature of the position and circumstances of the offences.
For this role, Kennedy Recruitment is acting in the capacity of an employment business.
Kennedy Recruitment is an equal opportunities employer and a Corporate Member of the Recruitment and Employment Confederation (REC).
Kennedy Recruitment adheres to all current employment legislation.


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Az európai vidra, vagy gyakran csak röviden vidra (Lutra lutra) - a menyétek családjába tartozó - részben vízben élő ragadozó emlősállat. A szabad természetben ritkán lehet látni, mert a Kárpát-medencében szinte kizárólag éjszakai életet él.
Az ujjai közötti úszóhártyák és áramvonalas teste egyaránt a gyors úszást segíti elő. Testtömege: 3–14 kg. Testhossza: 46–82 cm.

Előfordulása
Nyugat-Európától Északkelet-Szibériáig és Koreáig, Kis-Ázsiában, a Himalája régiójában, Dél-Indiában, Kínában, Japánban, Indokínában, Szumátrán, Jáván és Északnyugat-Afrikában él.

Általában az édesvizek környékén él, Nyugat-Európában és Skandináviában a tengeröblökben, Dél- Délkelet-Ázsiában a mangrove-mocsarakban, a bizonytalan helyzetű közel-keleti állomány (fél)sós mocsarakban is megtalálható.

Alfajai

 Lutra lutra angustifrons
 Lutra lutra aurobrunneus
 Lutra lutra barang
 Lutra lutra chinensis
 Lutra lutra hainana
 Lutra lutra kutab
 Lutra lutra lutra
 Lutra lutra meridionalis
 Lutra lutra monticolus
 Lutra lutra nair
 Lutra lutra seistanica

Életmódja
Magányosan él a párzási időszak és a kölykeit vezető nőstény kivételével. Nem alszik téli álmot. Vackát víz fölé hajló fák tövében, maga ásta kotorékban készíti, de olykor megtelepszik vízparthoz közeli borzvárban, nádasban is. A kotorék bejárata a víz alatt is nyílhat, de ez a vélekedésekkel ellentétben nem általános.

Tápláléka változatos lehet, de döntően halakból, emellett kétéltűekből, rákokból, esetleg pézsmapocokból , újszülött mezei nyulakból és egyéb rágcsálókból, gerinctelen állatokból - kagyló, nagyobb, vízben élő rovarok, rovarlárvák - áll. Az elfogyasztott halak mérete, faja adott vízterülettől függ, de általában a kisebb, úszás közben könnyen elfogyasztható, tömeges fajokat zsákmányolja. Esetenként jóllakottan, játékból is halászik.

Idejének csak kis részét tölti a vízben vadászattal és játékkal, döntő részben - a többi emlős ragadozóhoz hasonlóan - a vízparton, vackában pihen, alszik. Többször megfigyeltek télen egész vidracsaládokat, amint a vízparton "szánkóztak". Jó magasra felmásztak a parton, aztán a hasukon csúsztak le a lejtőn. Zsírréteg nem védi a kihűléstől a vízben, csak bundájának víztaszító tulajdonsága, zsírossága és tömöttsége. Egy négyzetcentiméternyi bőrfelületre 50 000 szőrszál jut. Körülbelül 10 méter mélységbe és 1-2 percig merül maximálisan.

Természetes ellenségei - róka, nagyobb ragadozó madarak - inkább csak a kölyköket veszélyeztethetik.

Szaporodása
Kitüntetett párzási időszak általában nincs, azonban a környezeti feltételek miatt előfordulhat szezonalitás, a kölykök születése ilyenkor a táplálékban bővebb időszakhoz kötődik.
A nőstény 62 napi vemhesség után 1-4 (5), leggyakrabban 2 kölyköt hoz világra.
A kölykét 3 hónapig szoptatja, de hosszabb ideig, akár több, mint egy évig is együtt maradhatnak. 2-3 éves korukban válnak ivaréretté. A nőstény esetleg csak két évenként nevel kölykö(ke)t. A hím nem vesz részt a köly(k)ök felnevelésében. Potenciális életkora tíz év felett van, de természetes élőhelyein ennél jóval kisebb a várható élettartama.

Természetvédelmi helyzete

Az európai vidra egész kontinensünkön veszélyeztetett faj, több nyugat-európai országban, illetve egyes jellemző élőhelyein ki is pusztult. Jó néhány helyen próbálkoznak a visszatelepítésével, visszatelepülésének segítésével. Egyes területeken (Németország, Brit-szigetek középső része) ez mérsékelt sikerrel is járt.

A faj korábbi visszaszorulásának okai nem tisztázottak részleteiben, de a táplálékállatok mennyiségének csökkenésén, az élőhelyeinek átalakításán, a közúti forgalom növekedésén, a műanyag alapanyagú hálók és varsák elterjedésén felül minden bizonnyal a szennyezőanyagok (PCB-k, DDT, egyéb halogénezett szénhidrogének és egyes nehézfémek) is hozzájárultak ehhez.

Magyarországon kiemelkedően sok vidra él Európa más országaihoz képest, elsősorban a Dél-Dunántúl halastavainál.

Fokozottan védett faj. Hazai veszélyeztető tényezői a vizes élőhelyek pusztulása (a Kiskunság és Nyírség kiszáradása, a halastavak számának csökkenése, a vízpartok lebetonozása, parti növények irtása), vízközeli autóutak építése (gyakran elgázolják őket) és egyes, vidrákról alkotott tévhitek ("nagyon sok halat eszik, gyorsan elszaporodik"). Hazánkban a szennyezőanyagoknak kevesebb szerepe van a veszélyeztető tényezők között, de mivel a vidra a vízi tápláléklánc csúcsán álló élőlény, potenciális veszélyforrásként ez is felsorolható.
1995-ben az Alapítvány a Vidrákért vezetésével országos mozgalom indult a vidrák megmentésére és a populáció megfigyelésére.

Állatkertekben korábban gyakrabban tartották, mint manapság. Napjainkban fogságban elsősorban közeli rokonát, az ázsiai törpevidrát tartják. Magyarországon például a Szegedi Vadasparkban, a Jászberényi Állat- és Növénykertben és a Gyöngyösi Állatkertben láthatjuk. Ezen kívül fogságban a Lábod-Petesmalmi Vidraparkban találkozhatunk még vele idehaza.

A Vadonleső Program keretein belül, az európai vidra lett az év emlőse 2020-ban. Forrás: https://balatoni-nyar.hu/hirek/az-europai-vidra-lett-az-ev-emlose/ A Vadonleső Program hetedik éve választ meg egy védett, vagy fokozottan védett, többnyire közösségű jelentőségű őshonos emlősfajt.

Képek

Jegyzetek

Források

 National Geographic Magyarország cikke
 A veszprémi állatkert honlapja
 Charlie Bood: A természet csodái 1. Interprint KFT 1990.

További információk
 A magyar vidra Hollandiában kezdett új életet

Vidraformák
Emlősfajok
A Kárpát-medence emlősei
Magyarország emlősei
Magyarországon fokozottan védett állatok
Európa emlősei
Ázsia emlősei

redpajama_set_name: RedPajamaWikipedia


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GOVERNOR LINGLE RELEASES $1 MILLION FOR ENERGY EFFICIENCY IMPROVEMENTS AT STATE PARKS
HONOLULU – Governor Linda Lingle has released $1 million that will enable the Department of Land and Natural Resources (DLNR) to implement energy and water efficiency and conservation improvements at state parks.
As part of DLNR's ongoing efforts to upgrade and modernize state parks and other outdoor recreational facilities statewide, the department will use the funds to design renewable energy sources to power park facilities such as water system pumps, sewer system pumps, booster pumps, trail lighting and rental cabins and kitchens.
The funding will allow DLNR to continue to replace and retrofit existing lighting fixtures and lamps, replace aging and inefficient appliances and water heaters, install water efficient fixtures, and implement energy and water conservation measures.
The funds will also be used to design renewable energy sources for facilities at various state parks and Mauna Kea State Recreation Area on Hawaii. Construction of a pilot project may include one or more of these parks as funding will allow.
In fiscal year 2009, state parks expended over $300,000 for electricity costs and close to $460,000 for water and sewer costs.
"The shift to renewable energy sources and energy efficient lighting and appliances, coupled with water conservation and efficiency measures will result in costs savings that are needed to fund park operations and ongoing maintenance," said DLNR Director Laura H. Thielen.
The energy efficiency improvements are part of the Lingle-Aiona Administration's continuing efforts to make State office buildings and facilities more energy efficient in order to reduce electricity costs and decrease Hawaii's dependence on imported fossil fuels. This effort to lead by example supports the Hawaii Clean Energy Initiative, which aims to have 70 percent of Hawaii's energy come from clean sources by the year 2030, including 40 percent from renewable energy and 30 percent through energy conservation measures.
Laura H. Thielen
Director, DLNR
Lenny Klompus
Senior Advisor – Communications
Russell Pang
Chief of Media Relations


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Military, Training
Training News June 2010
By Staff Writer | June 1, 2010
Ernie Stephens in the HotSeat
R&W Editor-at-Large Ernie Stephens approaches downtown Manhattan in a simulated Eurocopter AS365 Dauphin using the HotSeat Heli Sim.
HotSeat Chassis recently sent a demo unit for its new low-cost helicopter trainer—Heli Sim—to Rotor & Wing's offices in Rockville, Md. Editor-at-Large Ernie Stephens, who formerly served as a police sergeant and chief pilot and is currently flying for the Maryland State Police (MSP), put the simulator through its paces, using—among other rotorcraft—the Eurocopter AS365 Dauphin. The Dauphin is currently in service with MSP. While firing up the Heli Sim and adjusting the settings, Stephens was quick to point out that the virtual rotorcraft "sounds like a Dauphin," including the "winding noise coming from the back." The instruments for the AS365 all responded like an N1 or N2 variant of the helicopter, Stephens said, adding that the displays are "accurate down to the test switches for the [emergency] fire bottles." Constructed around a steel tubular frame, Heli Sim comes with Flight Link Cyclic III Plus, a collective with throttle, foot pedals, flatscreen display and six-speaker surround sound.
"They got the instruments right. They got the sounds and graphics down as well," Stephens said while taking the Dauphin through a number of scenarios, including scenic views of downtown New York City and Washington, DC. —By Andrew D. Parker, Managing Editor
AAMS Establishing SMS Academy
The Association of Air Medical Services (AAMS) has unveiled plans to host a five-day training event in June that will focus on safety management systems (SMS) for EMS helicopter operators. The AAMS Safety Management Training Academy is scheduled for June 13–17 at the Oglebay National Training Center in Wheeling, W.V.
S-92 Sim Receives JAA Approval
Frasca International and Bristow Helicopters have obtained dual Joint Aviation Authorities (JAA) certification for its Sikorsky S-92 full flight simulator (FFS). The Frasca-built device is approved under Level B FFS and Level III FTD standards. The simulator is stationed at the Bristow Academy in Aberdeen, Scotland. A Eurocopter EC225 FFS is scheduled for delivery in mid-2010.
Air Evac Team Dons NVGs
Night vision goggle (NVG) training is nearly complete for pilots and crew of the Kirksville (Mo.) Air Evac Lifeteam, which is adding the equipment to assist with night operations. The training courses include classroom and hands-on instruction in the air. The EMS unit is deploying ITT Technologies ANVIS-9 NVGs. The goggles will "greatly enhance our nighttime operations in the areas we serve where low-light conditions are present," explains Doug Busch, base pilot supervisor at the Kirksville location.
Bristow, Florida Tech Partner
Titusville, Fla.-based Bristow Academy has inked an agreement with the Florida Institute of Technology to offer a joint training program starting in fall 2010. The initiative will provide helicopter flight training for students, and the organizations anticipate the program will draw interest from eligible military veterans under the post-9/11 GI Bill.
CAE Contract Includes German Helo Training
As part of C$50 million in agreements with military operators around Europe, CAE will supply maintenance for the German Army Aviation School's two UH-1D, two CH-53 and eight Eurocopter EC135 simulators. CAE Germany will support the German Army's training programs for a total of six years under the deal.
ASU Gives Night Vision Awards to Five Operators
AMTC Active With New Helicopter Orders
Leonardo Delivers AW169 for HEMS Operations in the UK
Common Mistakes in Training (and Flying)