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Report Released On Indigenous Australians Affected With Varying Cancers
Posted on 16 March 2018 . Tags: AIHW, Indigenous Community
Australian Institute Of Health And Welfare
Indigenous Australians Affected By Cancers Associated With Preventable Risk Factor
Indigenous Australians are 1.4 times as likely to die from cancer as non-Indigenous Australians
Aboriginal and Torres Strait Islander Australians are more likely to die from cancer than non-Indigenous Australians and Indigenous Australians are more likely to be diagnosed with cancers associated with preventable risk factors, according to new analysis released today by the Australian Institute of Health and Welfare (AIHW).
Web report, Cancer in Aboriginal and Torres Strait Islander people of Australia, shows that in 2009–2013, about 6,400 new cases of cancer were diagnosed in Indigenous Australians which is an average of 1,280 new cases each year.
Cancer was slightly more common in Indigenous Australians than non-Indigenous (1.1 times as common), with notable variations in the types of cancer experienced.
"Cancers that are associated with preventable risk factors are more common among Indigenous Australians, suggesting that in many cases, improvements may be possible." AIHW spokesperson Justin Harvey said.
For example, lung cancer is the most commonly diagnosed cancer in Indigenous Australians, while it was fourth most common for non-Indigenous Australians.
"Differences may be related to higher rates of risk factors such as smoking and alcohol consumption, poorer access to health-care services and lower uptake of screening and diagnostics testing." Mr. Harvey said.
Types of cancers most commonly diagnosed and the likelihood of being diagnosed when cancer is more advanced may be factors in the higher cancer death rates seen among Indigenous Australians. Indigenous Australians were 1.4 times as likely to die from cancer as non-Indigenous Australians.
Lung cancer was the leading cause of cancer death in both Indigenous (57 deaths per 100,000 persons) and non-Indigenous Australians (31 deaths per 100,000 persons).
"In 2007–2014, Indigenous Australians diagnosed with cancer had a 50% five-year relative survival rate, whereas for non-Indigenous Australians this rate was 65%." Mr. Harvey said.
"Five-year survival has improved for both Indigenous and non-Indigenous Australians; however, improvements have been greater for non-Indigenous Australians, rising by 8 percentage points since 1999–2006, compared with 4 percentage points for Indigenous Australians."
For Indigenous Australians diagnosed with cancer, those with thyroid cancer had the highest five-year survival (92%), followed by prostate cancer (86%) and breast cancer in females (81%). This is consistent with the results seen for non-Indigenous Australians.
Cancer incidence and survival data presented come from the states and territories where 90% of Indigenous Australians live (New South Wales, Victoria, Queensland, Western Australia and the Northern Territory).
Cancer mortality data presented come from the states and territories where 88% of all Indigenous Australians live (New South Wales, Queensland, Western Australia, South Australia and the Northern Territory).

redpajama_set_name: RedPajamaCommonCrawl


To Add a Voice MailBox.
Programming Help and Support is available over the internet or by phone. Please email any technical questions that you have to contact us or you can buy live technical support through this site.
Hours of Business: Monday-Friday 8:00am-5:00pm. To order live technical support, please buy the amount of technical minutes that you will need. Please also indicate the time and telephone number in which you would like our technical team to call you. Payments are billed to your Visa/MasterCard/Amex or Discover Card.
The Norstar 6x16 Phone System is a great choice for any small business or busy household. With the capacity for 6 outside lines and 16 phone stations, the 6x16 is a feature-rich system that will give your organization years of trouble-free use. While the 6x16 has many sophisticated features commonly found only on more expensive phone systems, the system is still extremely easy to use -- the system actually tells you how to do things via the LCD display on each Norstar phone terminal. Requires a 6x16 software cartridge for operation, and is compatible with the M7000 series of phones.
The Norstar Modular 8x24 phone system is an easy-to-use yet feature-rich digital phone system. Fully expandable, it will grow as your business grows. Trunk and Station Modules can be added in the future to add to the capacity of the system.
This expandable system is designed to meet the high growth potential of small and medium sized businesses. The basic 8x24 KSU expands easily by simple self contained add-on trunk and station modules. Any combination of six modules can be added to the KSU to a combined maximum of 128 total ports. An expansion card is required to add modules to the 8x24 KSU. Expansion cards come in either 2 module expansion or 6 module expansion. This expansion card plugs directly into the KSU. The trunk and station modules then connect to the expansion card with a single plug in cable. Station Module 0x16 provides for the addition of 16 station ports. The Trunk module 12x0 provides for a maximum of 12 trunk ports. The trunk module by itself does not provide trunk access. Trunk cards 4x0 go into the trunk module (maximum 3 trunk cards) per trunk module.
The Norstar Compact 3x8 DR5.1 phone system is a feature-rich system in a small package. Features 3 outside lines and the capacity for up to 8 phone extensions. Perhaps the best part about this system is the built-in Caller-ID system that displays the CLID information on the LCD of your Norstar voice terminal. Compatible with the M7000 series phones.
Norstar 3X8 simplifies communications and prevents "dropped" and "abandoned" calls. Transferring calls is easy. Simply announce the call and send it. If the other line is busy or unanswered, the call returns to you. Tones and Music on Hold assure callers to your company that they haven't been forgotten or disconnected. And with Held Line Reminder, you don't forget that important caller is holding. Discriminating Ringing makes it easy to distinguish between internal and external calls and respond appropriately. Paging enables you to quickly locate a co-worker by making an announcement through Norstar phones, auxiliary speakers or both. The Conference feature lets you quickly bring a third person into a conversation. And, if you're unsure how to use this feature, check your LCD Window for step-by-step instructions.
The Norstar Compact ICS (CICS) is a powerful business phone system that can accommodate the demanding needs of a busy office. The CICS is compatible with all Norstar digital phones, and comes packaged with an innumerable amount of standard features.
The Compact ICS can be configured from 4 trunks and 8 stations to 8 trunks and 24 stations. The control unit has two universal slots, one of which is populated when shipped with a 4 Line LS/DS Analog Trunk Cartridge. The remaining universal slot may be populated by either a second LS/DS Analog Trunk Cartridge; a 4 Line Caller Identification Trunk Cartridge; or, any of the ISDN BRI interface cartridges (2 port U, 4 port U or 4 port S/T). The control unit is equipped with 16 TCM digital station ports and one analog station port. There is an additional expansion slot which may be populated by either the Combination Services Cartridge (giving both expansion from 16 to 24 stations, and clock control when digital trunking is being utilized), or the Services Cartridge (giving only clock control when digital trunking is being utilized).
The Norstar Modular ICS (MICS) telephone system is a fully expandable and flexible system that will not only be a workhorse in your office, but also has the capacity to expand as your needs grow. It will grow in both size as functionality, so your initial investment is always protected.
Voice Mail, Call Center Applications, integrated mobility, Internet access, ISDN and Desktop CTI are just a few of the options that can be added to your system for greater service to your business. All additions to the system integrate seamlessly into the operation of the MICS.
However, just because this system has robust features, doesn't mean that simplicity is sacrificed; the Modular ICS retains Norstar's trademark easy-to-use design.
Entering Administration for the 308,616 and 824 control units.
Administration access code: Feature * * 2 3 6 4 6 which also is Feature * * A D M I N. If asked for a password enter the same 2 3 6 4 6. To get out of programming, just press the release button (RLs). Programming is easier using the M7310 set.
Feature * * 8 4 6 3 which is T I M E. Password is 2 2 7 4 2 which is B A S I C OR A D M I N which is 2 3 6 4 6.
Example: To change the Time & Date Press (next) until you see Time & Date. Then (show) Then (change) Then (change) again, change it if you need to, Then (next) again until you see what you need to change. For example; only the hour needs to be changed for day light savings time. Just press (next) until you come to the (Hour). Then Change it. Then press release (RLs) when your done.
In this example, you are changing the time to 1:30 p. m.
NOTE: Press the dial pad button to enter the hour. Use two digits for all hours. The clock in the display will show either one or two digits.
NOTE: The display will prompt you to enter A.M. or P. M. Press CHANGE and OK to select P.M.
NOTE: If you are only changing the time and not the date, Press Rls to end your session.
> Press the dial pad to enter the year.
Press the dial pad to enter the month.
Use numbers for the months: 01 January; 12 is December.
Press Rls to end your Session.
· Press a number on the dial pad to choose the contrast level you like best.
· Press 1 2 3 4 or NEXT . You hear the selected ring for two seconds.
· Repeat until you hear the ring you prefer, Then press HOLD or OK.
· Press FEATURE * 8 0 . The telephone rings.
· Press the volume up or down to adjust volume.
· Press the memory button that you want to program.
· Press FEATURE plus the feature code (from page 7) on the dial pad.
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Yes. Shopnortel.com purchases your out of service, discontinued and defective equipment from all major manufacturers (Nortel, Avaya, Mitel, Panasonic, NEC and many more). Simply email us at service@shopnortel.com a list of the equipment you have to offer, as well as the condition and we will give you a purchase price for your equipment as soon as possible.
· F78 for a pause.
· Enter the appropriate telephone number on the dial pad.
· Enter the intercom number of the extension.
· Press the button. The microphone is turned off.
· Press the button again to turn the microphone back on.
· Press the < Handsfree Mute> Button. The Telephone's internal microphone and speaker are automatically turned on.
· Press the button and hang up the receiver.
· To return to a regular call, lift the receiver.
· You can redial the last external number you dialed by press FEATURE 5 .
· Dial the extension number you are transferring the call to.
· You may press the Rls button now or wait for the extension to be answered.
· If no one answers the extension, you can reconnect to the caller by pressing.
FEATURE # 7 0 .
You can talk to two people at once.
· Make sure you have two calls, one active and one on hold.
· Press the appropriate button to retrieve the held call.
· Press the line button of the party you wish to remove from the call. The other call will be automatically put on hold.
· Press Rls the call is disconnected.
· Press the line button of the held call to speak to the remaining person.
IMPOTANT: Maximum of 16 characters. Use the dialpad to select the letters Press the # to advance to the next letter and # # to enter a Comma.
This is a Directory Override. Press Yes means the mailbox owner's name always plays in the company Directory.
This establishes whether a message notification appears on the Norstar display.
Repeat steps 5 through 15 to add another mailbox or press Rls to quit.
NOTE: The password must be four to eight digits long and CAN NOT start with a zero.
7 At the sound of the tone, record your name.
13 At the sound of the tone record your greeting.
Press PLAY to listen or RETRY to redo.
press Rls to end session.
**This is also the same procedure to change a name and other admin options Instead of pressing Reset at the Password prompt you press Next till you reach the item you need to change.
NOTE: The login pass code is the same for all FEATURE 983 Function.
NOTE : To enable CCR TREE repeat 1 through 9 and in step 10 enter the tree number "1" . The display will show "TREE ENABLE" then change to show "CCR tree: <1> Press OK. The CCR will now answer incoming calls.
1.1.1.5 To make changes to the CCR Tree, the tree must be disable first.
NOTE: If you enter a two digit path number, the display will show INFO not MENU.
At the tone record your message. Press RETRY to re-record your message.
13 Press OK to end your recording.
NOTE: The represents the path number you entered in step 10.
Repeat steps 10 through 15 for each path you want to change.
10 At the sound of the tone record the greeting.
11 Press OK to end your recording.


1. Orson Welles was born on May 6, 1915.
2. As a filmmaker, his three greatest pictures, in order, are Touch of Evil (1958), Citizen Kane (1941) and The Magnificent Ambersons (1942).
3. Ah, yes, but Citizen Kane tops many lists as the greatest film of all time (with Welles filling the top slot on many directing lists). The fictional story of a megalomaniac newspaper magnate (loosely based on William Randolph Hearst) and innocence lost is indeed a masterpiece . . . albeit a dated one. Newspaper magnates? Not in this century, bub.
4. John Houseman wrote in his 1972 memoir Run-through that the deeper he, Welles and Herman Mankiewicz took the script into the heart of Kane, the more the identity of Welles was exposed. "Between young Kane and young Welles, there is more than a surface likeness; in the dramatized person of Charles Foster Kane, 'Champagne Charley' was finally able to realize extravagances that far exceeded anything achieved in life by Richard Welles and his precocious son," Houseman wrote.
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6. Just spitballing here: Kane is the first mockumentary.
7. Some cinephiles regard it as the first film noir. Lighting was used as a storytelling device, as Kane's decency was bathed in lightness and his corruption was shrouded in darkness.
8. The scenes of Kane as a boy are dreamlike, as if they were shot inside the snow globe the expired Mr. Kane drops after whispering . . .
10. The film's attention to detail–from the sets, makeup and costuming to the use of miniatures and Bernard Herrmann's sophisticated musical score–are incredible. Kane was definitely unlike any American picture of its era.
14. Welles' sophomore picture, The Magnificent Ambersons, was adapted from Booth Tarkington's Pulitzer Prize-winning novel about social change in turn-of-the-century Indianapolis.
15. Three-quarters of the way into my first viewing of Ambersons years ago, I was convinced I was watching the best movie I had ever seen. But then it . . . well . . . read on.
16. Welles is not in Ambersons, but he narrates what may be his most personal picture, looking back at the days of his youth and an America he would never be able to visit again. It has a warmer feel than Kane; it's more lyrical, more nostalgic.
18. Could that be what inspired Chris Rock to drop the mic and walk offstage?
19. Ambersons perfected sound montage or voices overlapping one another as they do in real life (and in Robert Altman films). Information that is lost to clashing dialogue is more than made up for in the emotional cues the sonic storytelling technique exposes.
20. Welles set an Amberson family ball scene in deep focus with expressionistic lighting contrasts that threw most of the characters into silhouette. Those shadowy figures, along with their gestures and overlapping word clues as they move in and out of frame (and our ears), brought a stark realism you really didn't see in American films before.
21. Ambersons was in production when World War II broke out in December 1941.
22. Less than two months later, Welles was off to a war-related mission in Latin America.
23. That resulted in the documentary It's All True.
24. Ambersons' original 131-minute cut was entrusted to editor Robert Wise, but the film tested poorly with audiences, and RKO brass deemed it too long and gloomy.
25. With the cat (Welles) away, the studio re-edited Ambersons, cut it down to 88 minutes and slapped on a phony happy ending.
27. Ambersons was dumped in theaters as part of a double bill with Mexican Spitfire Sees a Ghost.
28. Doesn't that title sound like the loose plot of every telenovela since?
29. "It was a much better picture than Kane–if they'd just left it as it was," Welles once told his longtime friend Peter Bogdanovich, an actor, cinema writer and director (The Last Picture Show; Paper Moon; What's Up, Doc?) in their legendary 1970s interviews.
30. Hoberman: "But even still, The Magnificent Ambersons is a pretty sensational movie." No argument here.
31. Like a fountain of youth, an original cut of Ambersons is rumored to be in Brazil, left by Welles.
33. Discouraged by a string of box-office failures, Welles left America in 1948 for Europe and Africa, where he hoped to work as an independent producer/director.
34. His first project was to adapt Shakespeare's Othello, with Welles starring as the Moor prince in Venice.
35. The picture would go on to take three years to shoot. During that span, there were three Desdemonas and four Iagos.
36. Welles had to keep stopping production to find more money, and then he had to reshoot scenes.
37. Some critics argued Paul Robeson's stage performance of Othello in the 1930s and '40s, which was steeped in the racism the actor really endured, should have prevented white actors from playing the title role.
38. Whitey don't listen. Others have ranked as the best screen versions of Othello Welles' 1952 release and the 1965 version starring Laurence Olivier (although the 1995 film with Laurence Fishburne finishes third).
39. In Othello: A Contextual History, author Virginia Mason Vaughan argues Welles shot his version through a lens of "patriarchy," diminishing Desdemona (Suzanne Cloutier) to be nothing more than a fleshy prop in the masculine clash between Othello and Iago. As further evidence, she points to Filming Othello, the 1978 making-of documentary that included Welles, Micheál Mac Liammóir (Iago) and Hilton Edwards (Brabantio) sitting around a table talking about the project, but not Cloutier, who was presumably available and could have lent a female perspective. "In Welles' art, as in his life, the female was an object to be discussed, not a subject to speak for herself," Vaughan writes.
40. French critics loved Welles' Othello. It was the grand prize winner at Cannes. British and American critics? Not so much. They really hated the soundtrack.
41. Naturally, it's now considered a classic. Pfft . . . critics.
43. There are two stories about how Welles wound up directing Touch of Evil.
44. One has him purposely taking a bad script, based on Whit Masterson's novel Badge of Evil, and rewriting it and directing it to prove he could make great art out of weak source material. The other version has Charlton Heston only agreeing to play honest Mexican drug-enforcement official Miguel "Mike" Vargas for Universal if Welles, who'd been hired only to play crooked, one-legged police Captain Hank Quinlan, also directed.
45. Yes, Chuck Heston played a Mexican. Don't it make Cheech Marin's brown eyes blue?
46. Quinlan nostalgically visits a brothel run by Tanya (Marlene Dietrich), who barely recognizes the hobbling load with a pasted-on Karl Malden nose.
49. Touch of Evil is composed of ugly people, ugly settings and an ugly story. . . . Uh, did I mention . . . Oh, never mind.
50. The lighting, editing and ways the camera moves keep you riveted.
51. The clash of dark comedy and hardball grittiness in films such as Touch of Evil would be celebrated . . . a little more than a decade later in the American cinema of the 1970s.
52. Just spitballing here: O.W. was waaaay ahead of his time.
53. In fact, he could sell no wine before its time.
54. Ack! Almost forgot: The three-minute, 20-second tracking shot opening Touch of Evil represents one of the most amazing scenes ever put to film.
55. Among the last film noirs from the early-1940s to the late '50s, Touch of Evil is even more relevant today given our border wars.
56. Did somebody say modernize and remake? Actually, you can see touches of Touch of Evil in FX's brilliant and equally suffocating series The Bridge (which has a, get this, Mexican playing the lead Mexican cop).
57. Welles submitted a rough cut of Touch of Evil that no longer exists.
58. The studio, claiming Welles abandoned the project, cut from and added to the rough cut, getting it down to a 98-minute version.
59. "His films are shot by an exhibitionist and edited by a censor," Francois Truffaut once said of Welles.
60. Welles screened the studio version, hated it, and then wrote a 58-page memo to Universal's head of production detailing what needed to be done to make the film work.
61. The studio ignored the memo and released the 98-minute film in theaters in 1958 as the B-movie in a double bill whose A-movie was The Female Animal starring Hedy Lamarr.
63. Universal discovered it held a 108-minute print in its archives and in 1976 released that version in cinemas and on video as the "uncut and restored" Touch of Evil.
64. It was actually a preview version.
65. Using all available footage, including some that Universal had shot after Welles left because his original footage was gone, film editor Walter Murch restored Touch of Evil in an attempt to fulfill the master's wishes from his memo. It was released in 1998.
66. Welles began shooting on the film-within-a-film The Other Side of the Wind in 1970, completing principal photography on what was to be his final movie in 1976.
67. An original line producer on the shoot was Frank Marshall, who graduated from Newport Harbor High School in 1964 alongside fellow future filmmaker and Oscar nominee Greg MacGillivray. Marshall met Bogdanovich at a birthday party for the daughter of director John Ford, a friend of his father's, in 1967. Marshall volunteered to work on Bogdanovich's first film, Targets, which became his apprenticeship in film production.
68. In 1970, Bogdanovich offered Marshall a position on The Last Picture Show, and he would go on to double as location manager in Archer City, Texas, and as an actor in the seminal film. Under Bogdanovich's guidance, Marshall worked his way up from producer's assistant to associate producer on five more films. He is now a major Hollywood producer (Raiders of the Lost Ark, Back to the Future, The Sixth Sense) who founded Amblin Entertainment with his producer wife, Kathleen Kennedy, and Steven Spielberg.
69. In The Other Side of the Wind, John Huston stars as a temperamental film director battling with Hollywood executives to finish a movie. (Sound familiar?) Susan Strasberg, Lilli Palmer, Dennis Hopper and Bogdanovich played supporting roles.
70. Welles based Huston's character on Ernest Hemingway, who threw a chair at Welles during a whiskey-soaked scuffle in 1937–four years before the release of Citizen Kane.
71. In The Other Side of the Wind, Huston's character dies at his 70th birthday party, and his final hours are recounted in a collage of still photos, as well as 8 mm, 16 mm and 35 mm color and black-and-white film shot at the celebration, plus scenes from his unfinished comeback movie.
72. Marshall has said Welles' young film crew would sneak into a movie lot or a drive-in, posing as university film students if anyone demanded production permits. They often invoked Welles' name to requisition props such as a human skeleton or a Porsche.
73. Welles supplied his own Oscar statuette, won for Citizen Kane, for Huston to brandish in The Other Side of the Wind.
74. Of course, Huston could have brought one of the two he won in 1949 for The Treasure of the Sierra Madre.
75. Welles worked on the film the rest of his life.
76. He financed what was to be his cinematic swan song through a combination of TV roles and investors, including Mehdi Bushehri, brother-in-law of the shah of Iran and an investor in Iranian-French production company L'Astrophore.
77. After clashing with Welles over the direction of the project, Bushehri took control of more than 1,000 negative reels–18 or 19 hours of footage–which were stored in a Paris warehouse through last year.
78. In 1975, Welles smuggled a 41-minute work print of The Other Side of the Wind out of France in a van and had it shipped to California, where he lived with his longtime companion, actress/screenwriter/director Oja Kodar.
79. George Orson Welles died on Oct. 10, 1985. He was 70. Had he lived to this upcoming May 6, he would have been 100.
80. Bogdanovich tried for years to get The Other Side of the Wind finished and released.
82. For years, the competing rights of stakeholders–Kodar, Welles' daughter Beatrice and L'Astrophore–prevented Bogdanovich from honoring his friend's wish.
83. Even a $3 million deal with Showtime was torpedoed.
84. When it was discovered less than a year ago that Kodar had in her possession the work print in Primosten, on the Adriatic coast in Croatia, where she now resides, Bogdanovich's pal Marshall and Royal Road production company's Filip Jan Rymsza convinced her, Beatrice Welles and L'Astrophore to let them finish The Other Side of the Wind the way Welles intended in time to release it on May 6, 2015, and to show it at Cannes (May 13-24).
87. Marshall, who is overseeing editing, expressed confidence it would be completed, without additional shooting, by May 6.
89. Alas, there has been word in recent weeks that The Other Side of the Wind will not be ready for Cannes, let alone a May 6 release.
90. Original Wind producer and Welles biographer Joseph McBride, who has been consulting on the project, now says it will screen later this year.
91. But celebrating 100 years of the master marches on. To help mark the Orson Welles Centennial, the Newport Beach Film Festival screens Othello at 11 a.m. on April 26 at Island Cinema.
92. At 1:15 p.m. on the same day, Oliver Parker's Fade to Black will be shown at Island Cinema.
93. The 2006 Serbian-Italian-American production stars Danny Huston–yes, John's son–as Welles, who travels to Italy in an attempt to recover from his marriage to Rita Hayworth and restart his career in the late 1940s. But he is drawn into intrigue, politics and the murder of an actor on his set in this fictional drama. Diego Luna, Paz Vega and Christopher Walken co-star.
94. Around 3:15 p.m. (after Fade to Black, uh, fades to black), the film festival hosts "Orson in Exile," an in-depth discussion about Welles' "lost years" away from Hollywood and in Europe. Welles historians and special guests are promised.
95. The fest had not released names as this story went to bed.
96. Meanwhile, Bogdanovich appears in writer/director Scott Ehrlich's "comedic musical" Pearly Gates, which makes its world premiere at the festival at 7:15 p.m. on April 26 at Triangle Square Cinemas in Costa Mesa and at 3 p.m. on April 27 at Big Newport.
97. The cast also includes Lainie Kazan, Illeana Douglas and Uzo Aduba, the Emmy-winning "Crazy Eyes" of Orange Is the New Black.
98. Besides acting in Pearly Gates and helping with the restoration of The Other Side of the Wind, Bogdanovich has been promoting a film he directed, She's Funny That Way, which is about an aspiring actress (Imogen Poots) who says she is a muse but works as a call girl. Owen Wilson plays one of her sugar daddies and Jennifer Aniston is a therapist in what's been called a modern tale done in the style of Hollywood's old screwball comedies.
99. By the way, the 1992 book This Is Orson Welles, which is by Welles, Bogdanovich and Chicago Reader film writer Jonathan Rosenbaum and is based on the directors' many conversations with one another, is an essential read for Orsonphiles.
For more info, call (949) 253-2880, email info@newportbeachfilmfest.com, or go to newportbeachfilmfest.com or facebook.com/newportbeachfilmfest.


text:
Light and Health Research Center
ADRD
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Short Video Series
Let's Talk About Light and Health
A View from Mount Sinai
Education / A View from Mount Sinai
Video Blog Series
The Light and Health Research Center (LHRC) at Mount Sinai in partnership with the Lighting Agora has launch a new video blog "vlog" series beginning in January 2022. Each vlog will feature information focused on diverse areas of lighting research including human health, transportation safety, energy, plant health, new technologies, and other exciting areas of exploration in light.
Host: Dan Frering
Video Editor: Charles Jarboe, MS
Episode 1: Intro to the LHRC
In the initial episode, host Dan Frering introduces the viewer to their new laboratory and state-of-the-art research center near Albany, New York as we get a sneak peek at what will include a fully equipped photometry laboratory, human-subjects research capabilities, a design and application workshop, and space to host conferences, seminars, and other educational programs. In addition to laboratory research, the LHRC frequently conducts field research aimed at better understanding the application of light in a wide range of real-world settings. The episode closes with Dan interviewing Director Mariana Figueiro, PhD on the move to Mount Sinai and moving forward.
Episode 2: Lighting for Pedestrian Safety
Traffic crashes involving pedestrians have been rising at an alarming rate over the past several years and have increased dramatically since the onset of the COVID-19 pandemic. In this episode we discuss some possible reasons for this increase and the role that lighting can play in improving visibility of pedestrians and potentially decreasing pedestrian injuries and deaths along streets and roadways at night.
Episode 3: Daylight Savings Time
There is currently some controversy over the twice-yearly switch to and from Standard Time and Daylight Saving Time. In this episode we explore the pros and cons of keeping one uniform time (either Standard Time or Daylight Saving Time) throughout the year in the US, and provide some helpful advice on dealing with the time change.
Find More Tips
Episode 4: Satellite Imagery
While satellite imagery is improving and provides more exact information about the characteristics of light at night as seen from space, this episode explores the question of whether or not satellite imagery can provide useful information about the impacts that this nighttime light might be having on peoples' health and on the environment.
Episode 5: Lighting to Support Students' Sleep
Sleep disorders are a growing problem among middle and high school students. This episode of A View from Mount Sinai explores the reasons for this and the role of light in promoting healthy sleep patterns for teenage students.
Episode 6: Light Measurement Apps
In this month's episode of A View from Mount Sinai, Dan Frering discusses the accuracy of smart phone apps in measuring light levels in various types of lighting applications.
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text:
Zagreb, 14 November 2022
THIRD QUARTER OF 2022
In September 2022, as compared to August of the same year, the number of persons in employment in crafts and trades and free lances decreased by 4.0% and the number of women by 4.7%.
The increase in the number of persons in employment was recorded in seven activities, ranging from 0.1% (Human health and social work activities) to 18.4% (Mining and quarrying). A decrease in the number of persons in employment was recorded in 12 activity sections, ranging from 0.7% (Information and communication) to 16.0% (Accommodation and food service activities).
The comparison of the number of persons in employment by counties shows that it increased in seven counties, ranging from 0.2% in the counties of Koprivnica-Križevci, Osijek-Baranja and Vukovar-Sirmium to 0.6% in the County of Zagreb. A decrease was recorded in 12 counties, ranging from 0.1% in the County of Varaždin to 14.1% in the County of Lika-Senj. The number of persons in employment in the County of Karlovac and the City of Zagreb remained at the level of August 2022.
VII VIII IX IX 2022
VIII 2022 VIII 2022
VII 2022
Total 215 022 214 129 205 478 96,0 99,6
Women 92 689 92 347 87 963 95,3 99,6
Men 122 333 121 782 117 515 96,5 99,5
VII VIII IX VII VIII IX VII VIII IX
Women 99 101 94 99 101 94 - - -
G Wholesale and retail trade repair of motor vehicles and motorcycles 23 492 10 965 23 440 10 958 22 350 10 352
Unclassified according to activities 247 99 246 101 236 94
N Administrative and support service activities 176 99 186 108 175 100
P Education 15 9 16 10 17 9
K Financial and insurance activities 19 11 18 11 16 9
O Public administration and defence; compulsory social security 17 10 16 9 16 8
Unclassified according to activities 1 1 1 1 - -
I Accommodation and food service activities 1 044 584 1 007 559 756 427
M Professional, scientific and technical activities 99 51 101 53 107 52
P Education 10 4 9 3 9 3
O Public administration and defence; compulsory social security 18 10 18 11 17 8
P Education 8 5 8 5 10 6
Unclassified according to activities 3 - 4 1 4 1
C Manufacturing 1 019 369 1 002 356 929 322
Unclassified according to activities 10 2 9 2 9 2
I Accommodation and food service activities 2 610 1 260 2 565 1 236 2 018 951
L Real estate activities 106 50 106 52 96 46
N Administrative and support service activities 1 039 509 1 042 515 932 471
S Other service activities 1 298 1 009 1 281 997 1 264 985
B Mining and quarrying 8 3 8 3 48 33
Unclassified according to activities 22 9 24 10 27 9


The competition is open to all young people so whether you're new to climbing, or already have some experience, this could be just the competition for you.
There are three regional rounds in seven BMC areas followed by a Grand Final where the top three in each category from each BMC area, and from Scotland and Ireland, take part.
Mountaineering Scotland hold their own Youth Climbing Series with two areas: Scotland North and Scotland South. The top 3 in each category in the Scottish Final go through to the Grand Final.
Mountaineering Ireland run their own Youth Climbing Series and the top 3 in each category from the final go through to the Grand Final.
This decision means that only results from Round 1 and Round 3 will count towards the Grand Final. We will also be relaxing Rule 2.9.4 and we will be allowing qualification for the final by a competitor who only competes in one round.
The BMC would like to offer its sincere apologies to Jake Buzzard and his family regarding the scoring error which took place at the final round of the Peak and Midlands YCS.
The matter has been fully investigated and the BMC has taken steps to ensure such occurrences are not repeated in the future.
There are five categories and each is split into boys and girls. The categories are called Youth A, B, C, D and E and follow the IFSC system (International Federation of Sport Climbing) system.
To be eligible for the Grand Final it is necessary to take part in at least two regional rounds in the Area that a climber lives. If a series is not organised in their region climbers may enter the series in the region nearest to them.
Hi ant idea when the outstanding venues will be finalised?
Would be very grateful if the BMC would explain what the point of the YCS is. It used to be a way of getting into the regional and national training days, but they don't exist anymore. You could argue that it is a way of getting into the Development Squad, but as this year's selection has shown, you didn't even have to get through to the finals to get an invite to selection event and doing well in it doesn't mean anything, so what is the point?
At least in England and Wales you only have 3 rounds and you know who is going to the final. In Scotland, not only do they have 3 separate rounds for the North and South, they then have a full weekend meet (2 full days) for the top from the North and South for the organisers to decide who they think should go to the final...no criteria has been set by them for this....the kids have no idea if its a postcode lottery......so for the ones complaining down south, at least with the BMC you know where you stand....and your closing date is fixed ....unlike ClimbScotland.
Can you take yourself out of the series and get refunded if you signed up but can't go anymore?
Does anyone know what sort of grade the climbs/problems will be for the Youth E group? My 7 year old really wants to enter so would be good to have an idea so we can work on similar grades at our local wall.
Can't find the results from Plymouth.
We are the results of the competitions posted?
Southwest results normally take a few weeks for some reason. They got the venue wrong this time and it's all a bit of a shambles.
Can someone tell me where the money goes? £70 for three comps is a big income for the BMC yet they still rely on volunteers to do all of the work. Maybe they spend the money on the upkeep of the natural crags? I have decided that there will be loads of new holds appearing at (shall we say) Stanage - courtesy of the BMC.
I think these competitions are simply a way for the BMC to make a bit of money without putting anything back in.
I am sure that the BMC person overseeing the youth comps must be aware that the results have still not been posted. I don't suppose they can do something to help.
What is the link to get the current YCS 2018 results?
Hi--any idea when the results will be posted on-line? Thank you! Great day.
You Know, I kind of got this funny feeling that I was in Exeter last Saturday but everyone told me that I was in Plymouth.
Now I know I was in Exeter.
Please be aware that in the North East and Yorkshire region that Leeds Wall, according to their Facebook update, reset their wall in preparation for the YCS round 2 on 26/03/2018. This is 5 days prior to the competition. Can the BMC youth coordinators please confirm if this is standard practice? Will youth climbers be kept off these routes this week otherwise they will have a clear advantage over those travelling to the wall.
What is happening to the rounds as one of them has been cancelled?


text:
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Government » Departments » Police Department » Programs
Reserve Officer Program
The Glendale Police Department is seeking qualified candidates for its Reserve Officer Program. Becoming a Reserve Police Officer is a fulfilling way of serving your community while becoming a part of the exciting world of law enforcement.
In 2009, the Glendale Police Department Reserve Forces Unit celebrated 42 years of service to the City of Glendale. Our Reserve Forces Unit has achieved a high degree of professionalism and is respected state wide for its' accomplishments. The program is routinely reviewed by other police agencies who have used it as a model to better their own Reserve Force Units. Our Reserve Officers pride themselves in being more productive, more active, and better trained than many other reserve officer programs. It is definitely one of the most effective and organized programs existing within the State of California.
Why does the Glendale Police Department have a Reserve Police Officer Program?
What is a Reserve Police Officer?
What are the minimum requirements to become a Glendale Reserve Police Officer?
What is the selection procedure?
How do you apply?
What happens after you pass the selection process?
What happens when you graduate from the Academy?
How often does the Glendale Police Department test for Reserve Police Officers?
The primary purpose of the Reserve Police Officer Program is to provide the community with an auxiliary unit of trained, competent police officers. These officers supplement our regular personnel and can be used in the event of an emergency when manpower is critical.
Community involvement and, most of all, support are two vital elements in the operation of any law enforcement agency. A successful Reserve Police Officer Program, being made up of citizen volunteers from within the community, stands as a symbol of the Glendale Police Department's commitment to partnership and teamwork in combating crime.
A Reserve Police Officer is a citizen volunteer who devotes his or her valuable time and effort towards creating a safer community.
Reserve Police Officers wear the same uniform and badge that full-time police officers wear. On a part-time basis, they perform many of the same duties and functions that a full-time officer does.
2008 Reserve Officer Statistics
In 2008, the Glendale Police Reserve Officers provided 3,339 hours of service to the Glendale Police Department. The majority of these hours were provided on a voluntary basis. This represented a savings to the Glendale Police Department of over $100,000. Over 1,750 hours were devoted to working patrol. Our Reserve Officers were very productive, accounting for over 79 misdemeanor arrests, over 25 felony arrests, over 70 moving citations, and over 40 parking citations.
To be considered for appointment as a Glendale Reserve Police Officer, you must meet the following minimum requirements:
Minimum of 20 years of age.
High School Graduation or Equivalent (GED or CHSPE)
Valid Class 3 Drivers License - With Good Driving History.
POST Standard
Hearing:
Non-impaired.
Height/Weight:
In proportion.
United States citizen or proof of application for citizenship having occurred at least one year prior to application.
Good moral character with good driving, credit, and employment history.
As shown by our minimum requirements, the Glendale Police Department maintains a high standard when selecting personnel for its Reserve Officer Program. The Reserve candidate must complete a selection process which is composed of six phases - each of which is pass/fail.
Initial application.
Written examination of general skills. (Reading comprehension and spelling).
Physical Agility Test: (PASS/FAIL) - This Physical Agility Test includes: a 99 yard obstacle course, a 165 pound body drag, a six foot chain link fence climb, a six foot solid fence climb, and a 500 yard run.
Oral interview. (Questioning from a panel of 2 or 3 police officers)
Background Investigation: All finalists will be subjected to a comprehensive background investigation. A polygraph will be required.
Medical/Psychological Examinations: Candidates who successfully pass the background investigation and are conditionally offered a position will be required to successfully complete an extensive medical and psychological examination prior to appointment.
Note: Candidates must pass all phases of the testing process to be further considered.
Residence: Candidates hired into this position are required to live within a 40 mile radius of the Glendale Civic Center.
An application for Reserve Police Officer can be obtained on the Join GPD website. Applications can also be picked up in person at the City of Glendale Human Resources office located at 613 E Broadway, Room #100, Glendale, CA 91206. For answers to questions regarding the Reserve Forces Unit, please contact the Reserve Coordinator at 818-548-3154.
Upon completion of the selection process, you will attend the Los Angeles County Sheriff's Reserve Academy. The Reserve Academy is a (20) week course of instruction designed to prepare you for the role of Reserve Police Officer. The Academy demands that the candidate devote his or her Tuesday evening, Thursday evening, and all day Sunday during this rigorous 20 week period. Although the Academy is attended on a "part-time" basis, there is nothing "part-time" about the level and intensity of the academic and physical training. The level of instruction is similar to that of the full-time police academy and demands a great deal of time and devotion from the Reserve Recruit.
Upon completion of the Academy, the new Reserve Officer will enter a (50) week training program while assigned to full-time police training officers. After successful completion of the training program the Reserve Officer is required to donate 20 hours per month to the department. Reserve Officers can work a variety of assignments within the organization, such as uniform patrol, investigations, gangs, traffic, bicycle and foot patrols. Reserve Officers are also required to attend one training meeting monthly.
Reserve Officers are compensated for court appearances and may be eligible for a uniform allowance.
The Glendale Police Department accepts applications for the position of Reserve Police Officers on a continuous basis. The testing process is ongoing.
For the community minded man or woman who wants to accept the challenge, becoming a Reserve Police Officer is a highly rewarding means of serving the community while being a part of the Glendale Police Department family and the exciting world of law enforcement.


The PowerShot SX740 HS spans across a focal range equivalent to 24-960mm in contrast to a traditional 35mm lens together with a variable aperture of f/3.3 to f/6.9.
Canon has refreshed its PowerShot compact line with a new superzoom camera, the PowerShot SX740 HS. "Alongside the super zoom lens, the SX740 also comes with a 20-megapixels 1/2.3" BSI-CMOS sensor. Time-lapse footage can also be captured at a 4K resolution and, as is now often the case on 4K-enabled cameras, 8MP stills can also be extracted from 4K recordings. Shutter speeds range between 15 seconds and 1/3200 second.
There's a 3-inch tilting LCD display which can be bent to be used at any angle and can even face forward allowing users to capture self-portraits easily. The PowerShot SX740 HS also includes 5-axis stabilisation.
Other functional changes include a slightly narrower sensitivity range of ISO 100 to 3200 instead of 80 to 3200, revised flash range, a mode dial that now has a Food mode setting in place of the SX730's Creative Shot mode, the removal of Story Highlights from the rear 4-way rocker/control dial, a new Feature Assistant mode for beginners, and an improved Auto Lighting Optimizer which helps minimize blown-out areas in your images. Rs 27,370) and will go on sale later during the year.


Environmental Impact Study and mitigation measures design of the construction project drafting.
The exceptional historical, geomorphological and ecological characteristics in Despeñaperros, together with its location among two different territorial units, make it an interesting study case in the field of ecological connectivity. Despeñaperros is a gorge carved by Despeñaperros River, it is located in the province of Jaen and it is a historical strategic transit place between Central Iberian and Andalusia since Neolithic.
Despeñaperros Natural Park is the smallest natural park of Andalusia (slightly higher than 7500 hectares) but their singularities make it worthy of protection and it is also part of the ecological Natura 2000 network. The most emblematic animal species of the Iberian Peninsula Among are present in the study area: Iberian lynx (Lynx pardinus), Iberian wolf (Canis lupus) and Spanish imperial eagle (Aquila adalberti).
4 Design and implementation of signals, speed reduction elements, reflective mirrors, perimeter clearing, soundtracks, etc.


text:
Systematic random sampling of the comet assay
Darragh G McArt, Gillian R Wasson, George McKerr, Kurt Saetzler, Matt Reed, Vyvyan Howard
The comet assay is a technique used to quantify DNA damage and repair at a cellular level. In the assay, cells are embedded in agarose and the cellular content is stripped away leaving only the DNA trapped in an agarose cavity which can then be electrophoresed. The damaged DNA can enter the agarose and migrate while the undamaged DNA cannot and is retained. DNA damage is measured as the proportion of the migratory tail' DNA compared to the total DNA in the cell. The fundamental basis of these arbitrary values is obtained in the comet acquisition phase using fluorescence microscopy with a stoichiometric stain in tandem with image analysis software. Current methods deployed in such an acquisition are expected to be both objectively and randomly obtained. In this paper we examine the randomness' of the acquisition phase and suggest an alternative method that offers both objective and unbiased comet selection. In order to achieve this, we have adopted a survey sampling approach widely used in stereology, which offers a method of systematic random sampling (SRS). This is desirable as it offers an impartial and reproducible method of comet analysis that can be used both manually or automated. By making use of an unbiased sampling frame and using microscope verniers, we are able to increase the precision of estimates of DNA damage. Results obtained from a multiple-user pooled variation experiment showed that the SRS technique attained a lower variability than that of the traditional approach. The analysis of a single user with repetition experiment showed greater individual variances while not being detrimental to overall averages. This would suggest that the SRS method offers a better reflection of DNA damage for a given slide and also offers better user reproducibility.
https://doi.org/10.1093/mutage/gep020
10.1093/mutage/gep020
http://uir.ulster.ac.uk/22130/1/McArt_2009_Systematicrandomsampling.pdf
http://uir.ulster.ac.uk/22130/2/preview.png
http://mutage.oxfordjournals.org/cgi/content/abstract/24/4/373
Dive into the research topics of 'Systematic random sampling of the comet assay'. Together they form a unique fingerprint.
Comet Assay Chemistry 100%
Sampling Chemistry 61%
Agarose Chemistry 58%
Sepharose Medicine & Life Sciences 47%
DNA Medicine & Life Sciences 41%
Fluorescence Microscopy Chemistry 18%
Reflection Chemistry 14%
McArt, D. G., Wasson, G. R., McKerr, G., Saetzler, K., Reed, M., & Howard, V. (2009). Systematic random sampling of the comet assay. Mutagenesis, 24(4), 373-378. https://doi.org/10.1093/mutage/gep020
McArt, Darragh G ; Wasson, Gillian R ; McKerr, George ; Saetzler, Kurt ; Reed, Matt ; Howard, Vyvyan. / Systematic random sampling of the comet assay. In: Mutagenesis. 2009 ; Vol. 24, No. 4. pp. 373-378.
@article{8ae34d2c92914280bf6000558b35cc2a,
title = "Systematic random sampling of the comet assay",
abstract = "The comet assay is a technique used to quantify DNA damage and repair at a cellular level. In the assay, cells are embedded in agarose and the cellular content is stripped away leaving only the DNA trapped in an agarose cavity which can then be electrophoresed. The damaged DNA can enter the agarose and migrate while the undamaged DNA cannot and is retained. DNA damage is measured as the proportion of the migratory tail' DNA compared to the total DNA in the cell. The fundamental basis of these arbitrary values is obtained in the comet acquisition phase using fluorescence microscopy with a stoichiometric stain in tandem with image analysis software. Current methods deployed in such an acquisition are expected to be both objectively and randomly obtained. In this paper we examine the randomness' of the acquisition phase and suggest an alternative method that offers both objective and unbiased comet selection. In order to achieve this, we have adopted a survey sampling approach widely used in stereology, which offers a method of systematic random sampling (SRS). This is desirable as it offers an impartial and reproducible method of comet analysis that can be used both manually or automated. By making use of an unbiased sampling frame and using microscope verniers, we are able to increase the precision of estimates of DNA damage. Results obtained from a multiple-user pooled variation experiment showed that the SRS technique attained a lower variability than that of the traditional approach. The analysis of a single user with repetition experiment showed greater individual variances while not being detrimental to overall averages. This would suggest that the SRS method offers a better reflection of DNA damage for a given slide and also offers better user reproducibility.",
author = "McArt, {Darragh G} and Wasson, {Gillian R} and George McKerr and Kurt Saetzler and Matt Reed and Vyvyan Howard",
doi = "10.1093/mutage/gep020",
journal = "Mutagenesis",
McArt, DG, Wasson, GR, McKerr, G, Saetzler, K, Reed, M & Howard, V 2009, 'Systematic random sampling of the comet assay', Mutagenesis, vol. 24, no. 4, pp. 373-378. https://doi.org/10.1093/mutage/gep020
Systematic random sampling of the comet assay. / McArt, Darragh G; Wasson, Gillian R; McKerr, George; Saetzler, Kurt; Reed, Matt; Howard, Vyvyan.
In: Mutagenesis, Vol. 24, No. 4, 2009, p. 373-378.
T1 - Systematic random sampling of the comet assay
AU - McArt, Darragh G
AU - Wasson, Gillian R
AU - McKerr, George
AU - Saetzler, Kurt
AU - Reed, Matt
AU - Howard, Vyvyan
N2 - The comet assay is a technique used to quantify DNA damage and repair at a cellular level. In the assay, cells are embedded in agarose and the cellular content is stripped away leaving only the DNA trapped in an agarose cavity which can then be electrophoresed. The damaged DNA can enter the agarose and migrate while the undamaged DNA cannot and is retained. DNA damage is measured as the proportion of the migratory tail' DNA compared to the total DNA in the cell. The fundamental basis of these arbitrary values is obtained in the comet acquisition phase using fluorescence microscopy with a stoichiometric stain in tandem with image analysis software. Current methods deployed in such an acquisition are expected to be both objectively and randomly obtained. In this paper we examine the randomness' of the acquisition phase and suggest an alternative method that offers both objective and unbiased comet selection. In order to achieve this, we have adopted a survey sampling approach widely used in stereology, which offers a method of systematic random sampling (SRS). This is desirable as it offers an impartial and reproducible method of comet analysis that can be used both manually or automated. By making use of an unbiased sampling frame and using microscope verniers, we are able to increase the precision of estimates of DNA damage. Results obtained from a multiple-user pooled variation experiment showed that the SRS technique attained a lower variability than that of the traditional approach. The analysis of a single user with repetition experiment showed greater individual variances while not being detrimental to overall averages. This would suggest that the SRS method offers a better reflection of DNA damage for a given slide and also offers better user reproducibility.
AB - The comet assay is a technique used to quantify DNA damage and repair at a cellular level. In the assay, cells are embedded in agarose and the cellular content is stripped away leaving only the DNA trapped in an agarose cavity which can then be electrophoresed. The damaged DNA can enter the agarose and migrate while the undamaged DNA cannot and is retained. DNA damage is measured as the proportion of the migratory tail' DNA compared to the total DNA in the cell. The fundamental basis of these arbitrary values is obtained in the comet acquisition phase using fluorescence microscopy with a stoichiometric stain in tandem with image analysis software. Current methods deployed in such an acquisition are expected to be both objectively and randomly obtained. In this paper we examine the randomness' of the acquisition phase and suggest an alternative method that offers both objective and unbiased comet selection. In order to achieve this, we have adopted a survey sampling approach widely used in stereology, which offers a method of systematic random sampling (SRS). This is desirable as it offers an impartial and reproducible method of comet analysis that can be used both manually or automated. By making use of an unbiased sampling frame and using microscope verniers, we are able to increase the precision of estimates of DNA damage. Results obtained from a multiple-user pooled variation experiment showed that the SRS technique attained a lower variability than that of the traditional approach. The analysis of a single user with repetition experiment showed greater individual variances while not being detrimental to overall averages. This would suggest that the SRS method offers a better reflection of DNA damage for a given slide and also offers better user reproducibility.
U2 - 10.1093/mutage/gep020
DO - 10.1093/mutage/gep020
JO - Mutagenesis
JF - Mutagenesis
McArt DG, Wasson GR, McKerr G, Saetzler K, Reed M, Howard V. Systematic random sampling of the comet assay. Mutagenesis. 2009;24(4):373-378. https://doi.org/10.1093/mutage/gep020


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text:
Q: Python Selenium won't print anything The program won't print anything
from selenium import webdriver
from selenium.webdriver.common.by import By
import time

driver = webdriver.Chrome("C:\Program Files (x86)\chromedriver.exe")

driver.get('https://www.amazon.co.uk/s?rh=n%3A15488758031&language=en_GB&brr=1&rd=1')
kaste = driver.find_element(By.CLASS_NAME, 'sg-col-inner')
saites = kaste.find_elements(By.CLASS_NAME, 'a-link-normal s-underline-text s-underline-link-text s-link-style a-text-normal')

for saite in saites:
    adrese = saite.get_attribute('href')
    print(saite.text)

I tried it with titles and links, nothing prints. I get output:
The thread 'MainThread' (0x1) has exited with code 0 (0x0).
The program 'python.exe' has exited with code 0 (0x0).
I was expecting it to print the link.

A: Try find by xpath
saites = kaste.find_elements(By.XPATH, "//h2[contains(@class, 'a-size-mini')]//a[contains(@class, 'a-link-normal')]")

A: The problem is this line
saites = kaste.find_elements(By.CLASS_NAME, 'a-link-normal s-underline-text s-underline-link-text s-link-style a-text-normal')

By.CLASS_NAME expects only one class name and you've sent it four. Convert it to a CSS selector and it will work. In CSS selector syntax, a class name is prefaced with a "." so a class="a-link-normal" becomes .a-link-normal.
saites = kaste.find_elements(By.CSS_SELECTOR, '.a-link-normal.s-underline-text.s-underline-link-text.s-link-style.a-text-normal')

Rather than hitting the page twice, you can also combine your two locators into one,
driver.get('https://www.amazon.co.uk/s?rh=n%3A15488758031&language=en_GB&brr=1&rd=1')
saites = driver.find_elements(By.CSS_SELECTOR, '.sg-col-inner .a-link-normal.s-underline-text.s-underline-link-text.s-link-style.a-text-normal')

for saite in saites:
    adrese = saite.get_attribute('href')
    print(saite.text)

A: You were close enough. To print the links you have to induce WebDriverWait for visibility_of_all_elements_located() and using List Comprehension you can use either of the following locator strategies:

*

*Using CSS_SELECTOR:
driver.get('https://www.amazon.co.uk/s?rh=n%3A15488758031&language=en_GB&brr=1&rd=1')
WebDriverWait(driver, 20).until(EC.element_to_be_clickable((By.CSS_SELECTOR, "input#sp-cc-accept"))).click()
print([my_elem.get_attribute("href") for my_elem in WebDriverWait(driver, 20).until(EC.visibility_of_all_elements_located((By.CSS_SELECTOR, "a.a-link-normal.s-underline-text.s-underline-link-text.s-link-style.a-text-normal")))])

*Using XPATH:
driver.get('https://www.amazon.co.uk/s?rh=n%3A15488758031&language=en_GB&brr=1&rd=1')
WebDriverWait(driver, 20).until(EC.element_to_be_clickable((By.CSS_SELECTOR, "input#sp-cc-accept"))).click()
print([my_elem.get_attribute("href") for my_elem in WebDriverWait(driver, 20).until(EC.visibility_of_all_elements_located((By.XPATH, "//a[@class='a-link-normal s-underline-text s-underline-link-text s-link-style a-text-normal']")))])

*Console Output:
['https://www.amazon.co.uk/sspa/click?ie=UTF8&spc=MToyOTM5NTQzMzA0NzAzNjMxOjE2Nzc5Njc4NDI6c3BfYXRmX2Jyb3dzZToyMDEyMDI5MTA5MDM5ODo6MDo6&url=%2FBluetooth-headphones-wireless-separable-automatic-black%2Fdp%2FB09YTDNLLZ%2Fref%3Dsr_1_1_sspa%3Fbrr%3D1%26qid%3D1677967842%26rd%3D1%26s%3Delectronics%26sr%3D1-1-spons%26sp_csd%3Dd2lkZ2V0TmFtZT1zcF9hdGZfYnJvd3Nl%26psc%3D1', 'https://www.amazon.co.uk/sspa/click?ie=UTF8&spc=MToyOTM5NTQzMzA0NzAzNjMxOjE2Nzc5Njc4NDI6c3BfYXRmX2Jyb3dzZToyMDA2NzQxOTExNjUwNzo6MDo6&url=%2FBetron-Earphones-Headphones-Definition-BlackBerry-Black%2Fdp%2FB00I3LTQ9O%2Fref%3Dsr_1_2_sspa%3Fbrr%3D1%26qid%3D1677967842%26rd%3D1%26s%3Delectronics%26sr%3D1-2-spons%26sp_csd%3Dd2lkZ2V0TmFtZT1zcF9hdGZfYnJvd3Nl%26psc%3D1', 'https://www.amazon.co.uk/sspa/click?ie=UTF8&spc=MToyOTM5NTQzMzA0NzAzNjMxOjE2Nzc5Njc4NDI6c3BfYXRmX2Jyb3dzZToyMDA4NzQxMzgyNzc5ODo6MDo6&url=%2FSoundMAGIC-E50-Headphones-Microphone-Comfortable-Black-Red%2Fdp%2FB09YH4H5L4%2Fref%3Dsr_1_3_sspa%3Fbrr%3D1%26qid%3D1677967842%26rd%3D1%26s%3Delectronics%26sr%3D1-3-spons%26sp_csd%3Dd2lkZ2V0TmFtZT1zcF9hdGZfYnJvd3Nl%26psc%3D1', 'https://www.amazon.co.uk/Apple-AirPods-Pro-2nd-generation/dp/B0BDJ37NF5/ref=sr_1_4?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-4', 'https://www.amazon.co.uk/Apple-Airpods-Charging-latest-Model/dp/B07PZR3PVB/ref=sr_1_5?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-5', 'https://www.amazon.co.uk/Apple-EarPods-with-Lightning-Connector/dp/B01M1EEPOB/ref=sr_1_6?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-6', 'https://www.amazon.co.uk/Bluetooth-Headphones-Cancelling-Btootos-Waterproof-Black/dp/B0BCKHQGJN/ref=sr_1_7?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-7', 'https://www.amazon.co.uk/Sony-WH-1000XM4-Cancelling-Wireless-Headphones-Black/dp/B08C7KG5LP/ref=sr_1_8?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-8', 'https://www.amazon.co.uk/Bluetooth-Headphones-Cancelling-Earphones-Waterproof-Black/dp/B0B63LNZBW/ref=sr_1_9?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-9', 'https://www.amazon.co.uk/Samsung-Wireless-Earphones-Manufacturer-Warranty-Mystic-Black/dp/B0BDGK6FTB/ref=sr_1_10?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-10', 'https://www.amazon.co.uk/Sony-WF-1000XM4-Wireless-Cancelling-Headphones-Black/dp/B095DNPH4R/ref=sr_1_11?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-11', 'https://www.amazon.co.uk/FAMOO-Bluetooth-Headphones-Waterproof-Earphones-Black/dp/B0B9SSMH7Z/ref=sr_1_12?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-12', 'https://www.amazon.co.uk/sspa/click?ie=UTF8&spc=MToyOTM5NTQzMzA0NzAzNjMxOjE2Nzc5Njc4NDI6c3BfbXRmX2Jyb3dzZToyMDA3NTY5NjAyNjMwNzo6MDo6&url=%2FBetron-Headphones-Definition-Tangle-Free-Replaceable-Red-Mic-Control%2Fdp%2FB00N771OH6%2Fref%3Dsr_1_13_sspa%3Fbrr%3D1%26qid%3D1677967842%26rd%3D1%26s%3Delectronics%26sr%3D1-13-spons%26sp_csd%3Dd2lkZ2V0TmFtZT1zcF9tdGZfYnJvd3Nl%26psc%3D1', 'https://www.amazon.co.uk/sspa/click?ie=UTF8&spc=MToyOTM5NTQzMzA0NzAzNjMxOjE2Nzc5Njc4NDI6c3BfbXRmX2Jyb3dzZToyMDA2NzQxODcwNjIwNzo6MDo6&url=%2FBetron-Microphone-Type-Smartphones-connectivity-Black%2Fdp%2FB07ZP76C8K%2Fref%3Dsr_1_14_sspa%3Fbrr%3D1%26qid%3D1677967842%26rd%3D1%26s%3Delectronics%26sr%3D1-14-spons%26sp_csd%3Dd2lkZ2V0TmFtZT1zcF9tdGZfYnJvd3Nl%26psc%3D1', 'https://www.amazon.co.uk/sspa/click?ie=UTF8&spc=MToyOTM5NTQzMzA0NzAzNjMxOjE2Nzc5Njc4NDI6c3BfbXRmX2Jyb3dzZToyMDExNjI1NTI0NjE5ODo6MDo6&url=%2FCASCHO-Bluetooth-Headphones-Waterproof-Earphones-Black%2Fdp%2FB0BDQYTLF5%2Fref%3Dsr_1_15_sspa%3Fbrr%3D1%26qid%3D1677967842%26rd%3D1%26s%3Delectronics%26sr%3D1-15-spons%26sp_csd%3Dd2lkZ2V0TmFtZT1zcF9tdGZfYnJvd3Nl%26psc%3D1', 'https://www.amazon.co.uk/TOZO-Bluetooth-Wireless-Headphones-Waterproof-Black/dp/B07J2Z5DBM/ref=sr_1_16?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-16', 'https://www.amazon.co.uk/Bluetooth-Headphones-Cancelling-Earphones-Waterproof-white/dp/B0B65B14L1/ref=sr_1_17?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-17', 'https://www.amazon.co.uk/JBL-Wave-200TWS-Wireless-Headphones-Black/dp/B09HGGV5R5/ref=sr_1_18?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-18', 'https://www.amazon.co.uk/Sony-WF-C500-Wireless-Headphones-Built-Black/dp/B09FKGJ1CB/ref=sr_1_19?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-19', 'https://www.amazon.co.uk/Headphones-Bluetooth-Cancellation-Waterproof-Earphones-white/dp/B0BFPQDXSG/ref=sr_1_20?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-20', 'https://www.amazon.co.uk/IKG-Bluetooth-Headphones-Earphones-Waterproof-White/dp/B0B9FPD2WB/ref=sr_1_21?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-21', 'https://www.amazon.co.uk/Bluetooth-Headphones-Cancelling-Waterproof-Earphones-Black/dp/B0BGXJ6LJZ/ref=sr_1_22?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-22', 'https://www.amazon.co.uk/Wireless-Headphones-Bluetooth-Cancellation-Earphones-white/dp/B0BJCTH4NH/ref=sr_1_23?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-23', 'https://www.amazon.co.uk/Wireless-Headphones-Soundcore-Bluetooth-Playtime/dp/B099DP3617/ref=sr_1_24?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-24', 'https://www.amazon.co.uk/sspa/click?ie=UTF8&spc=MToyOTM5NTQzMzA0NzAzNjMxOjE2Nzc5Njc4NDI6c3BfbXRmX2Jyb3dzZToyMDExODIwODg1Njk5ODo6MDo6&url=%2FCASCHO-Bluetooth-Headphones-Waterproof-Earphones-Rose-gold%2Fdp%2FB0BKSZ27WB%2Fref%3Dsr_1_25_sspa%3Fbrr%3D1%26qid%3D1677967842%26rd%3D1%26s%3Delectronics%26sr%3D1-25-spons%26sp_csd%3Dd2lkZ2V0TmFtZT1zcF9tdGZfYnJvd3Nl%26psc%3D1', 'https://www.amazon.co.uk/sspa/click?ie=UTF8&spc=MToyOTM5NTQzMzA0NzAzNjMxOjE2Nzc5Njc4NDI6c3BfbXRmX2Jyb3dzZToyMDExODUxMjU3Mzk5ODo6MDo6&url=%2FBetron-Earphones-Headphones-Definition-BlackBerry-Red-Control-Mic%2Fdp%2FB00NEYPWL6%2Fref%3Dsr_1_26_sspa%3Fbrr%3D1%26qid%3D1677967842%26rd%3D1%26s%3Delectronics%26sr%3D1-26-spons%26sp_csd%3Dd2lkZ2V0TmFtZT1zcF9tdGZfYnJvd3Nl%26psc%3D1', 'https://www.amazon.co.uk/sspa/click?ie=UTF8&spc=MToyOTM5NTQzMzA0NzAzNjMxOjE2Nzc5Njc4NDI6c3BfbXRmX2Jyb3dzZToyMDEwMjI4ODM3NTc5ODo6MDo6&url=%2FJVC-HA-Z66T-Z-Bluetooth-Lightweight-Resistance-Green%2Fdp%2FB0B9C4DSFK%2Fref%3Dsr_1_27_sspa%3Fbrr%3D1%26qid%3D1677967842%26rd%3D1%26s%3Delectronics%26sr%3D1-27-spons%26sp_csd%3Dd2lkZ2V0TmFtZT1zcF9tdGZfYnJvd3Nl%26psc%3D1', 'https://www.amazon.co.uk/CASCHO-Bluetooth-Headphones-Waterproof-Earphones-Rose-gold/dp/B0BKSZ27WB/ref=sr_1_28?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-28', 'https://www.amazon.co.uk/CASCHO-Bluetooth-Headphones-Waterproof-Earphones-Black/dp/B0BDQYTLF5/ref=sr_1_29?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-29', 'https://www.amazon.co.uk/Soundcore-Wireless-Customized-Waterproof-Bluetooth-Black/dp/B08KDZ2NZX/ref=sr_1_30?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-30', 'https://www.amazon.co.uk/Bose-QuietComfort-Cancelling-Personalized-Cancellation-Triple-Black/dp/B0B4PSQHD5/ref=sr_1_31?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-31', 'https://www.amazon.co.uk/Soundcore-AI-Enhanced-Bluetooth-Easy-Pairing-Lightweight-Black/dp/B09DXW29JB/ref=sr_1_32?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-32', 'https://www.amazon.co.uk/Wireless-Bluetooth-Headphones-Earphones-Waterproof-Midnight-Black/dp/B0BFL83X8S/ref=sr_1_33?brr=1&qid=1677967842&rd=1&s=electronics&sr=1-33']

redpajama_set_name: RedPajamaStackExchange


Scott Farrar is a true master and veteran of visual effects, and has been working at ILM for decades. As visual effects supervisor for Michael Bay's Transformers, his job was to turn robots into cars with a seamless imagination. And when you work for a perfectionist such as Bay, you'd better know your stuff. Farrar talked to Paul Fischer.
Question: How do you beat effects fatigue and really make a difference?
Question: Was it all CG or were there some models?
Answer: It was 99% done in the computer. I'll tell you the times when it was a puppet. Soundbite in Air Force One when he's close up, a couple of little head turns and things like that. When he's walking and prancing and all that sort of thing, that's us. A couple shots where they had a Soundbite puppet attached to Shia when he was struggling in the parking lot, but that's like quick stuff. Bumblebee when he's tied down to the train car with the net over him, that's a 16 foot model built by John Frasier's group. KNB built the Soundbite model by the way. The Scorpinoc tail rising up when the guys are examining him, that was a puppet piece. The Bumblebee model then was used for a couple of shots when the helicopters are trying to hogtie him and he's next to the river. What was that, 12 shots out of 600?
Question: Do you guys have a program that does the transformation? Did it have to be tweaked for each character?
Answer: We had separate artists, some of our resident braniacs, working on those. One guy who was Keiji, like his brain is just designed to do this sort of thing. He's brilliant at it. I told Michael early on. Michael loves to know who the artists are. He gets gleeful pleasure to know the individual, which is cool. Not many directors get into it like that. He loves working directly with the artists. So Keiji was the one to figure out some of the earliest transformations. Then we had different other people assigned to do those sorts of things. But Keiji was the one that even after months of design, finally Michael came up to me with everybody and we told Michael about this passionate guy that was working on Optimus' transformation, wanted to meet him, so Keiji came in and he said, "You're exactly how I pictured you except I didn't imagine the red sweater." But Keiji said, "I don't think Optimus looks heroic enough." I go, "What? No. I think this is an insult. I think his head should be positioned…" So after a lot of designs, Michael listened to Keiji and he came up with a new design. Why would that happen? The people who were designing, Ben Procter was in the design group who was coming up with most of the designs for the robots but it's all in 2D. Once you go to 3D, trying to get the 2D views to conform in a the three dimensional fashion, then things change.
Question: Going from vehicles to robots, is it different for each character?
Question: Technologically though, is it an extension of morphing?
Answer: No. It's actually physical pieces moving. This all is very complex. This toy in front of you has 51 pieces. Our Optimus Prime in the movie has 10,108. So what you're talking about, and all that has to be chained. Chained means it's all got to be hooked together so it all travels along together as it moves, whether it's an arm move or a body movement or a transformation. That means it's complex, yes, of course. There's a lot of firepower that has to be in the computers to have all that information travel on, not only the pieces but all the information. The paint, the detail, the colors, the dirt, all the things that are textured onto it.
Question: Are you a slave to changing technology?
Answer: I personally don't keep up with every single little detail. I know what all the programs can do but again, I'm artistically biased. We have our technically biased people who have kind of round robin mixtures. I think we're still in the stone age as far as computers are concerned. Why does a movie like this get done? Because the brute force and perseverance of individual people outsmarting the computer. There's no one program that does any of this. It's constantly people looking and seeing and saying, "It's not good enough." That's what I give a lot of tribute to the artists that work at ILM that work with me on these things. That's why this kind of thing gets done. And I just look for the day when it's a heck of a lot easier for all of us to do this sort of thing. It's not easy.
Question: How does Michael Bay embrace real stunts with computer enhancement?
Answer: I just loved it, I've got to tell you. One of the first meetings, he said, "Yeah, Scott, I liked it." And I hadn't worked with Michael before so we were both learning to know each other. We hit it off well. We really got along on this movie and I really enjoyed working with him. He knew that I was very strong on what images looked like and just lighting and photography and composition, all the rest of it, and he is too. He's a very smart filmmaker from the standpoint of just image. He said, "I like to shoot things messy. I like to shoot it dirty." I said, "Fantastic" because I come from a world where everybody in visual effects, "Oh, we'll shoot it clean and then we're going to shoot layers and layers of stuff to muck it up afterwards. That's kind of the classical training to follow. Again, I come from a photographic kind of bias and I said, "Fabulous." Most directors don't want to take the time to do that. You're going to blow that up and flip the cars and knock that part of the building down for me? Okay, great, let's do it.
Question: Are we losing something in the transition to digital?
Answer: We're in a funny realm right now where you're absolutely right, all those naturally occurring things that happen when some light hits emulsion that's just magic. We're now in this curious world where we're in the computer graphics world mimicking what film looks like. Really odd. We spend most of our time, even the glints and reflactions, the flares. It's all fake. 100%. But let me tell you, we do actually go out and we photograph as much as possible for our artists to know, Pat Tubach who's our compositing supervisor. So we have this whole litany of flares that we use as different types of looks. A flat lens sees things completely different than an anamorphic lens. And anamorphic lens flare has its own look. So anyway, we copy all that and put it in and try to make it look just like film was run into a camera. Isn't that werd.
Question: So why go digital when we're attached to film?
Answer: Because you can't do it on film. It's that simple. We're not there. We had to leave that behind. Fortunately, there's a lot of HD that's being shot these days but Michael shot as many as five cameras at one time so there's no way we could have shot this movie as quickly as we did if we had HD running. So the advantage is we photograph background plates with the actors, the base action and whatever environment we're in, and the beauty is we have all the reference of what the real light and what the response of the light hitting the film really looked like. Therefore, I believe that helps us make our synthetic parts of the shot look more real because we know what it should look like in terms of lighting and the conditions during photography.
Answer: Reading a couple scripts. Nothing yet. Just finishing this.
Answer: Maybe. Don't know. Take a little time off first.
Question: You actually read to consider the job?
Answer: Oh yeah. We read them and always do a shot breakdown and bid at every one.
Question: Why did you bring the toy?
Answer: Just to show how many pieces are in this versus what's in the movie. Just the complexity.


text:
Bunny Larocque And The Controversy That Changed The Vezina Trophy
The Vezina trophy is one of the most heralded trophies in all of hockey. Named after early goaltending great Georges Vezina of the Montreal Canadiens, the trophy is given annually to the goalie who was deemed to have had the best season.
When the trophy was first awarded in the 1926-27 season, a year after Vezina died of tuberculosis. How they determined the top goaltender has changed over time, however. Nowadays the general manager of each NHL team votes as to who they believe is the best goalkeeper that season. Originally the trophy was supposed to the goalie with the lowest goals against average. But from 1947-1982 it was awarded to the goaltender of the team who allowed the fewest goals in the regular season.
Now in 1947 that formula could work, given that each team only really used one goalie. But it was still a sore point for some. Jacques Plante won the Vezina time and time again when he played for the powerhouse Montreal Canadiens, totalling seven in his career. Goalies on weaker teams never stood a chance. Look at poor Al Rollins, winner of the Hart Trophy as the league MVP in 1954 with the sad-sack Chicago Blackhawks. Rollins only won 12 of the 66 games he played that season, but played so spectacularly that he was given the Hart. Of course, he did not win the Vezina because he was hung out to dry by his teammates.
Using a more famous Chicago goalie as an example, let's look at the interesting case of "Mr. Goalie" Glenn Hall. When it comes to determining the greatest goaltender of all time, the debate usually circles around three goalies from two different eras - Patrick Roy, Dominik Hasek and Martin Brodeur in more modern times, and Terry Sawchuk, Jacques Plante and Glenn Hall in Original Six times. It's tough to compare Vezina trophy wins, isn't it? A more telling metric back in hockey's golden era would have been First All Star Team nominations. Only three times was Plante given top All Star billing. Hall was named the best seven times!
While this made for good debate points back then, it was not until the late 1970s that the clamor for change finally resulted in the Vezina Trophy being a voted-upon award. The William M. Jennings Award was created to replace the award for the goalie that allowed the fewest goals. No one really cares about the Jennings trophy though. Everyone knows, now anyway, that the top goalie gets the Vezina.
The problem in the 1960s and 1970s was it was now common practice for every team to use two goalies in a season. And many teams were using their back up goalies for significant portions of the season. Foreseeing this, the NHL changed the rules in 1965 so that in goalies must have played in at least 25 games in a season if they were to share the trophy with the starter. From 1965 through 1982 goalies shared the Vezina most years.
At first it wasn't a huge issue because legends were winning. Johnny Bower and Terry Sawchuk shared it one year. Plante and Hall even shared it one year. But once lesser known goalies like Denis Dejordy and Gilles Villemure were winning the Vezina, people started questioning the process. And the discussion began really roaring in the late 1970s when Bunny Larocque, playing the shadows of the great Ken Dryden in Montreal, became a four time Vezina trophy winner.
Oddly enough, the controversy that finally changed the Vezina trophy involved Larocque in the year after Ken Dryden retired. Montreal had another dominant season, and allowed the fewest goals. But they could not settle on a goaltender. Larocque was given the torch initially, playing in 28 games. But a slice on his hand prevented him from continuing on, and then he lost his starter job to rookies Denis Herron and Richard Sevigny. Larocque complained to the press, and was traded to Toronto.
Cue the problem. For a period of time it looked like neither Herron or Sevigny were going to get to the minimum 25 game threshold. Herron broke his collarbone, and Sevigny did not start playing until midway through the season. Somehow there was a real possibility that the Vezina trophy would go to a goalie who no longer played with the team that allowed the fewest goals!
Ultimately Herron and Sevigny both got into 25 games, and all three shared the trophy, even though Larocque was in Toronto. Still, with all due respect to this trio, they never should have won a trophy for the best goaltender. That season that should have gone to Mike Liut who was so good he normally would have won the Hart Trophy as league MVP if it was not for some young hot shot named Wayne Gretzky.
The next season the trophy was reworked so that the managers vote on the top goalies. Controversies still pop up now and again, but at least the winner now truly is worthy of being called the top goalie in hockey.
Hallwings said...
On one occasion, there two goalies from two separate teams that won the Vezina in the same year. In 1974, Tony Esposito of the Chicago Black Hawks and Bernie Parent of the Philadelphia Flyers shared the trophy.
JP Martel said...
This was the second season after Dryden retired, not the first one.
Of interest is the fact that coach Claude Ruel went out of his way to make sure that Denis Herron would have his name on the Vezina trophy, using two goalies in seven of the last nine games of the regular season (Herron ended the season with exactly 25 GP, which was the mninimum to have one's name on the trophy). In some cases, Herror just played over one minute. Time played by Denis Herron in the last nine games of 1980/81:
Last-8: 17:40
Last-6: Didn't play
Last: 20:00
Interestingly, the goalie with the best winning percentage AND the best GAA that season didn't have his name on the Vezina Trophy and did not participate in the playoffs. Rick Wamsley had a record of 3-0-1 and a GAA of 1.90 in five games played...


text:
What are we all about?
The Lord's Taverners was founded in 1950 and has a proud history supported by its members and stars from the world of sport and entertainment.
In 1950 a group of like-minded cricket enthusiasts gathered in the famous Tavern at Lord's Cricket Ground. They realised how lucky they were to be enjoying their sport and socialising with friends, and so the conversation turned to a shared desire to help those less fortunate than themselves. With that, the idea of creating a club to help young people took hold.
By September 1950 the club had more than 70 members, including the broadcaster John Snagge and cricketer Jack Hobbs. Esteemed actor, John Mills, took on the role of President and HRH The Duke of Edinburgh was delighted to become the Patron and Twelfth Man (a position he holds to this day). The club began to raise money and the first charitable contributions to the National Playing Fields Association were made.
The creation of the Lord's Taverners cricket team soon followed and in 1952 the first fixture took place against Hertfordshire's Bishops Stortford Cricket Club. The 'Taverners XI', a quirky mix of former Test cricketers, county stalwarts and entertainers remains an enthusiastic team today, with several matches taking place across the UK and abroad each year.
Where show business and cricket collide
Lord's Taverners Pathe Video
The eclectic blend of members from the world of show business and cricket continued to grow, with the likes of John Arlott, Brian Johnston and Sir Pelham Warner all joining the 'Tavs', providing the basis for regular fundraising events.
This initial enthusiasm quickly led to the first committee meeting on 3 July 1950 at the Comedy Theatre (now the Harold Pinter Theatre where a plaque commemorates the event) and the Lord's Taverners club was born.
Following the introduction of the Charities Act of 1960, we were formally recognised as a charity in 1964. However, it was under the auspices of Tony Swainson, who became the Club Secretary in 1972, that the Lord's Taverners changed from being a club to being a charity with a club ethos.
We also expanded our fundraising outside of the London area with the creation of regional volunteer committees (of which we now have over 50) and moved into a new area of charitable fundraising and giving, through the iconic green Lord's Taverners minibuses.
Our minibuses are now a frequent sight all around the UK and since 1972 we have proudly put over 1,200 of them on the road. They help schools and associations looking after young people with disabilities and learning difficulties to get to school and access their local community.
More recently, we have moved in to funding sensory rooms, play equipment and sports wheelchairs, and in 2007 started our partnership with British Wheelchair Basketball to develop junior participation in the sport. This was soon followed by a similar partnership with Boccia England, and, more recently, Wheelchair Rugby. Each of these programmes is focussed on the creation of sustainable opportunities for young disabled people to play sport.
Cricket has always been at the heart of the Lord's Taverners and the creation of opportunities for young people to play the sport has been part of our purpose for many years. During the 1980s, 1990s, and 2000s, our focus was on the provision of kit and equipment to clubs and schools to enable the development of colts cricket, as well as a particular focus on girl's cricket, through the support of the Lady Taverners. However, in 2010 the focus moved towards providing opportunities for young disabled people and those from disadvantaged backgrounds.
Our activity today embraces disability cricket (through our national Super 1s and Table Cricket programmes) as well as engaging young people from areas of deprivation across the UK through Wicketz. Each of these programmes provides youngsters with an opportunity to enjoy cricket with friends, whilst also developing wider skills and creating life opportunities.
In keeping with our roots, we proudly put the fun in fundraising through a huge variety of well attended events across the UK that generate substantial sums that we use to improve many young people's lives.
The Lady Taverners
The Lady Taverners owe their formation to Baroness Thatcher. Normally each Prime Minister had been made a member of the Lord's Taverners.
But the first Lady Prime Minister set the previously all-male club a problem. Being ever inventive they decided to form the Honorary Lady Taverners and in early 1980 the late David Evans MP invited Baroness Thatcher to become Honorary Lady Taverner No. 1 – luckily she agreed. Twenty-three other ladies were initially invited by the then Lord's Taverners president, Eric Morecambe, to join including Ann Barrington Judith Chalmers, Rachael Heyhoe Flint, Marjorie Gover, Joan Morecambe, Anne Subba Row and Betty Surridge.
The Lady Taverners came to an end in 2021 when everyone became a member of the charity. The immense contribution of the Lady Taverners over more than 30 years is hugely appreciated by the charity and our beneficiaries.
Find out more about our life changing work with disadvantaged and disabled young people through sport and recreation
Our programmes support some of the most marginalised and at-risk young people in the UK using sport and recreation to build links between communities and encouraging groups to play sport together.


Country of Origin: Schnauzers (meaning 'small beard' in German) are named after an actual dog, 'Schnauzer' who lived in Germany in the 1870's, but the breed itself existed as far back as the Middle Ages. This is evidenced by various sculptures and Rembrandt paintings. Early Schnauzers were likely derived by crossing gray spitzes with black poodles. This resulted in an adept rat hunter and guardian that became incredibly popular by the early 1900's, due in part to its distinct appearance. Standard Schnauzers (or 'Mittelschnauzers') became popular in World War I by serving as messengers and police dogs, and increased in popularity as a pet after World War II. The Miniature Schnauzer (or 'Zwergschnauzer') was bred in the late 1880's as a ratter by crossing the Standard Schnauzer with the Affenpinscher and probably the Poodle. The Miniature Schnauzer was recognized by the American Kennel Club in 1933. It is the only Schnauzer classified as a Terrier, and the only Terrier that does not descend from the British Isles. It was not imported to America until the mid-twentieth century, but quickly surpassed the Giant Schnauzer and Standard Schnauzer in popularity, rising to become the country's third most popular dog breed.
Size: The Miniature Schnauzer has a shoulder height between 12-14 inches and weighs between 10-15 lbs. The Miniature Schnauzer has a long, rectangular head with small, deep eyes and highly set ears which may be cropped or uncropped. Miniature Schnauzers have a flat back, highly set, erect tail, and small, round 'cat feet'.
Coat: The Miniature Schnauzer has a soft, thick undercoat and a rugged, wiry outer coat which is solid black or salt-and-pepper colored. The coat is longer on the chin and face, forming eyebrows and a beard. The Miniature Schnauzer sheds little.
Character: The Miniature Schnauzer is even-tempered and an eager, intelligent learner. It is brave and fun, making and an excellent companion. Miniature Schnauzers are loyal, protective, and alert, but do not make good guard dogs due to their size. At times, they may be pushy if they don't know who's boss.
Temperament: The Miniature Schnauzer gets along great with familiar children, dogs, and other pets, but it is wary and cautious with people and animals it does not know. Miniature Schnauzers are best behaved when given sufficient exercise and human companionship. Miniature Schnauzers are spunky, and not as overbearing as Standard or Giant Schnauzers. They also get along with other dogs more easily, though they may bark a lot.
Care: The Miniature Schnauzer requires weekly combing and biannual grooming/shaping. Typically, pet Schnauzers are clipped and show dogs are stripped (dead hair is plucked via a serrated knife edge). Excessive hair around the pads of the feet should be removed and the ears must be kept clean. Miniature Schnauzers with cropped ears should be checked for ear infections. Long facial hair should be combed occasionally. Miniature Schnauzers can live outdoors in moderate or warm areas, but prefer to live indoors with plenty of playtime outdoors. Miniature Schnauzers are prone to diabetes and pancreatitis. They should not be fed sweet foods, and should not be overfed to avoid obesity. Miniature Schnauzers have a long life span of 13-15 years or more.
Training: Though the Miniature Schnauzer learns fast, it has a slight stubborn streak. Training must be fair and consistent and should not be overly repetitious. Miniature Schnauzers are responsive to the sound of their handler's voice. They are versatile, and can learn a variety of activities such as hunting, retrieving, and herding.
Activity: The Miniature Schnauzer has energy far exceeding its size and enjoys going for runs or playing games in the yard. It is well suited for apartment life.
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