text:
Jan Kačer on his Career
Vol. 33 (September 2013)	by Konstanty Kuzma
We met Czech actor Jan Kačer in Prague to speak to him about his career, the political climate in the 1960s, and his collaboration with Evald Schorm.
Let's start with your time at DAMU: did you already have connections to FAMU and the film world at the time when you were a student there? What was the political atmosphere like?
Well, we were all fellow students, in fact roughly of the same age – born around 1935, 1936, 1937. It was an odd time as the war had been over for quite some time. It was calm, and yet the world order seemed unstable. The consensus was that the Russians had won, of course: the state did everything to downplay any share of the West in the victory, which is important to stress. So at this odd time, coming from a small town and all, I wanted to become a doctor, I had no ambition in the arts whatsoever. I was sick quite often myself and so to me, medicine was like magic in the real world, a form of totality, a calling even. In a small town, being a doctor was like being God – you could save people's lives. But back then, you didn't get into school by taking an exam. Someone had to recommend you for one reason or another. I was attending a regular school in my hometown, and then I switched to a high school in Pardubice because I wanted to continue my studies. But I didn't have good credentials: my father, who used to be an engineer with a small factory, had long been dead, and so there was nobody to recommend me. Anyway people were afraid of the regime, and here I was without a chance of going to university. Then one of my uncles told my mom that I should try art school – I did have some interest for painting and making stuff out of clay – and art schools did have entry exams. Finally, I got accepted to a ceramics school in Bechyně, I was 14-and-a-half at the time: the principal was this high school professor who wasn't able to teach in Prague for political reasons. He recognized I meant business and took me in against the rules. There were some people in the school administration who raised their concerns, but he said that I'd already been in and that was that.
Bechyně is beautiful. We were a hundred students and it was really a school for talented people. Not in some genius sense, but compared to the ordinary man we were fairly gifted: we could paint, we could mold stuff. It was something in between a high school and a university, and the teachers who taught there were people who'd been shelved away by the regime. That was in 1951, a hostile time: Socialism was beginning to unfold, so everybody's the same, chaos, people being locked away. Still, I was at Bechyně until 1955, and I was free to do whatever I wanted. Dancing, writing, acting. We were young and didn't know what else to do, so we traveled around local villages and staged plays. I had no professional experience in theater and probably didn't know squat, but tried out whatever they would stage. So without really being aware of it, I was acquiring organizational and practical skills. I originally wanted to go to UMPRUM [Academy of Arts, Architecture and Design in Prague] – Bechyně was an art school after all. And then a professor – also a skeptical of the regime – approached me and told me that if I thought I were better at theater than at painting I should try acting: "Even if you're second-best at drawing here, you'll be number 15 in Prague." Of course, until then, I had taken theater as a joke, I probably wasn't even aware of the fact that you could study theater. My professor lent me some of Stanislavski's books, and it really seemed clear to me.
So I enrolled at DAMU [theater faculty of the Academy of Performing Arts in Prague] – which, at the time, in 1955, like FAMU [film faculty of the A.P.A. in Prague] – was a top-notch school. Still, it wasn't like today. Today, if you're talented you can choose to go wherever you want, but then FAMU and DAMU were safe havens, a paradise where you could learn how things really were – without the Leninist and Marxist bullshit. At AMU [A.P.A. in Prague], amid this totalitarian confusion, they taught you about fantasy, and I knew that. I knew that it interested me and that I wanted to do it. I enrolled for directing because it seemed far more familiar than just studying acting.
I remember coming to Prague to enroll. The night before the exam, my aunt took me to the theater although she didn't believe one second that I'd be accepted to a good school: she had no children, and to her we were good-for-nothing rascals. I was thrilled by the play, and then the next day, well, I might be embellishing this, but doing the exams for directing was a real problem. If you want to test a violinist, you let him play on the violin, if you want to test a pianist, you let him play on the piano. But what's a director? One precondition was that you had to be 22 years, while I was only 18. The first step was a written examination, a sort of intelligence test, and then there was an array of questions around 100, of which 90 were about art and art history. Coming from an art school, I got 92 points, beating all these guys who were more educated than me and who had finished high school but ended up with 60 percent. Entirely fortuitous. Well, when I arrived at the exam, it was the actors I had seen the night before on stage who were on the commission, apparently they all knew about my exam, and they asked what my most memorable experience in theater had been. So I told them about the night before, about the only real theater performance I'd ever seen, and I guess they thought to themselves they'd finally found themselves a smart kid. I was accepted and started going to classes straight away. Coming from a small town, Prague was truly astonishing. This was a free city, something was happening here.
I took school very seriously. There were a lot of people at AMU whom I admired, and actors with whom I had great relationships, professionals whom I would otherwise never have met. And then there was FAMU, the sister school. We hung out a lot with FAMU students, and yet they were in a better situation because they had access to foreign films, whereas we had never seen a theater from abroad perform. The FAMU students were the aristocracy, and they were well aware of it and often arrogant. All these film people that you know about were our peers, but they were distant peers nevertheless. I remember saying that I wouldn't ever do film because it's disgusting and the people suck. After some time at DAMU, I got fed up with the theater they did in Prague and moved to Ostrava to form a theater group with 12 other people. We thought Ostrava was a city that lacked culture, whereas in Prague it would be impossible to assert ourselves. Instead of hanging on to the world of TV and film, we went out into the wild, and it worked out. A year or so later we were already given a stage at the house of culture, and at 22 I was establishing myself as an actor. We did everything: organization, planning, dramaturgy. That's when I started travelling back to Prague regularly to see what the opportunities were. After a while, I grew closer to some FAMU kids, too. There was already a consensus, a common thought that saw its culmination and violent end in 1968. We all wanted it, all the good people from theater and film. Sure, we all had our takes on the world and life, but the foundation was the same.
Meanwhile, I also found myself affiliated to a small TV station that was formed in Ostrava: I was hired to film local curiosities in Opava. Musicians, artisans, feasts etc. But it really got to me: those reports were transmitted live, so I was constantly struggling to figure out what to say. One time, there was this Libra guy, a stuck-up architect who was telling people how to furnish their apartments. That was in the 1960s, so we're talking about really progressive material. We made a last test, and I went through the whole thing with him: "Good day, Mr. architect…," and then I just kept stumbling and mumbling. I had a feeling of complete failure. When I went to work back at the theater the next day, I was told some people from Barrandov had called me: Kadár and Klos [János Kadár and Elmar Klos]. I didn't want to have anything to do with Barrandov, but in the end they won. They were preparing to shoot Smrt si řiká Engelche [Death Is Called Engelchen], based on a popular novel, and they wanted somebody unknown for the role of the Partisan, and that unknown somebody turned out to be me. They'd seen me on TV promenading through Opavian filming local curiosities, and that's what they went for. They invited me, I refused, and yet I ended up doing the project. It was a 2-part film which was shot on 130 days with 45 meters of material being shot every day. I was driving from Ostrava to Prague, from Prague to Liberec – the setting was 45 kms from Ostrava, but since the DoP's house was in Liberec, we shot a lot there – so that I left hundreds of kms behind over the course of the shooting. On top of that, my children were born during the shooting: I despised the project. But at the same time, I learned a lot about film. I learned how to view myself, why they chose shot X from the 10 shots they had shot. It was a valuable learning experience: I was learning how to shoot while on set. Kadár and Klos – who did have an argument or two during our odyssey – were great directors, and so in spite of the fact that I heard a lot of opinions on the film, the project got me interested in filmmaking. Moreover, the film was successful, more so than I was expecting, it even got me the first and only award I have ever received – 5000 CZK from the minister of defense one day before I was drafted! And the film won a prize in Moscow, too, which is another important thing to mention, as I traveled to Russia for the festival and started meeting different people from the film world.
When you start playing in a film that attracts attention, you can't pass a theater where there are posters with your face all over it and pretend you don't have anything to do with it. You've become part of the film world and you even start rooting for it, there's really nothing you can do about it. One day, I got a package from Máša and Schorm [Antonín Máša and Evald Schorm] with a script in it, and note that during that time, there was no explicit dissent, there was no systematic resistance against the regime yet. There were plenty of people who had problems with the regime because of personal experience, perhaps because they had been locked up, but overall it was successful. Prices were on the wane, and the consensus was still that the Russians had liberated us. It seemed peaceful and warm and nice. I myself can't say that I was having a hard time. When I heard about the project, I dove into it immediately. The protagonist of the story dies on a huge iron wasteyard which was right in front of my place.
You could say that Ostrava was a bit crude and adventurous: Prague was urban, whereas Ostrava still had fires flaring up here and there, trams driving in the middle of the street with their glaring lights, and a thousand bars with each being different. It was free, rough, a bit like Chicago I guess. So I read the script and it struck me that the story reminded me of my own fate. Not that I was like the protagonist, but I recognized some nuances. I also thought I could change the world and sacrifice myself and all that non-sense. It was a very critical perspective of our world, and that really engaged me. It looked like a friendly film about a partisan who fought with the Russians for the liberation of the world, a heroic story, but then we all burnt down in the end: a critical film. I called these guys back immediately – I had no idea who they were, hadn't seen any of Schorm's films. At the time, Peter Brooks was here for the first time with King Lear in the Stavovské divadlo [theatre in Prague], and of course everybody was there. Try to imagine what that meant to us: an outstanding English ensemble performing in Prague at a time when all that was being played was Russian. Well, at that play, during the break, I saw Schorm for the first time, I recognized him immediately because I had heard what he looked like: a 2-meter guy with a beret. To me, the encounter was truly life-changing: it's from this point that I consider myself to be part of the film world. Sorm, and Masa were highly observant characters, and I connected well with them. I'm not saying that I regret doing what I did before that, but for this project I was really excited. It's also there that I started having a broader picture of things, this social consciousness. Untilt Evald [Schorm] died, we did everything together.
Take the final scene from Odvaha [Courage for Every Day] where I'm beaten up: the sentenced, ostracized outsider. When I got up on my feet, Evald stared at me from behind the camera and told me: "Smile, Honza, smile!" I immediately knew what it is he wanted, he didn't want to make another film is solely obsessed with our misery. He wanted us to look towards the future, to think about what lies ahead.
How was working with Evald Schorm compared to collaborating with people from the older generation, for instance Elmar Klos? Was there a difference in the things they addressed and cared about?
Klos was a professor. He was a great guy, very educated, and knew how to organise things. A classical filmmaker, even if fellow helmers claimed he didn't know his stuff. [Ján] Kadár on the other hand was insane, a crazy filmmaker, and that's why Klos and him would always argue. But it was classical filmmaking all the same. There were around a 30s of these "classical" filmmakers that are often forgotten: [Václav] Gajer, [Jiří] Krejčík, [Jiří] Weiss etc., who always worked with big crews, whereas the young guys wanted to keep their crews small.
The young guys were interested in other things than just the filmmaking process and getting a few nice shots: they wanted to convey an idea. And they were happy to find people who thought the same as way they did, we were all friends: they had a different understanding of what it means to make something "collaboratively". That's the juncture when theater and film emerged, perhaps film even a few notches more. They were replacing the state ideology, this opaque party line which tried to dictate how you should live, but which was dissolving because in truth, noone was taking it seriously. Film and theater were the only platforms for interesting and meaningful standpoints and philosophical ideas. In many cases, film was in fact harmful to theater because all considerations related to style and interpretation were constantly being disrupted by this pressing imperative of expressing political dissent. Surely the yearning for freedom can be powerful in art, but in this case "art" was being subjected to internal drives of different nature. As for film, all the work we did after this point was meaningful – I collaborated on a great movie based on a Milan Kundera novel with Hynek Bočan [Nikdo se nebude smát]. I have no idea how FAMU [film faculty of the Academy of Performing Arts in Prague] is doing right now, but as you know, Kundera was himself teaching at FAMU back then. Kundera was a special phenomenon. Originally from Brno, he taught at HAMU [music faculty of the A.P.A. in Prague] – an outstanding specialist on Janáček [Leoš J., Czech composer] – and was a man of impressive stature and looks: 2 metres high, dark hair. He taught comparative literature at FAMU and was highly popular, all the students admired him.
Did you have a chance to attend one of Kundera's courses?
Yes, but most important of all I got interested in him when I played his role. Anyway he was so distinctive that he was all over the place. It's hard to pinpoint where this "New Wave" originated – I suppose many people think [Otakar] Vávra [director, former professor at FAMU] played a big part in it – but if I were to name one figure who engendered social, political and artistic awareness among filmmakers I'd chose Kundera. On top of everything else – his talents, knowledge etc.-, he was just very different. At DAMU there was one Beneš [?] guy teaching Marxism – I never went to listen to that babbling – whereas the FAMU kids were talking about the French New Wave.
But to get back to Evald [Schorm]: he was a guy who knew everything. He was older than the rest of us, too, born in 1931, so Věra Chytilová [born 1929] was the oldest and he came right after that. He was a dilettante in the good sense: self-taught. He knew everything which you could get a hold of, every book that was being published was at his place, and top of that he read every newspaper. In short, he knew everything about everything. I knew Evald for 20 years, and noone from the film world has ever asked me about him. When I met him at the theater for the first time, that one night [see first part of interview] , he said that he had seen me at the theater many times. Obviously I was fascinated by his knowledge, especially when we started to make "political" films together. At one point, he even suggested that I should take courses in documentary filmmaking at FAMU to get a better grip of cinema. We cared about each other. We wanted each other to constantly improve, to reach our limits. We didn't only want to be critical, we also wanted to know everything.
You have to remember that I was still living in Ostrava at the time, a city which had a certain ideological connotation. They allowed us to premiere Courage for Every Day behind closed doors so that we wouldn't harm the workers and miners, and these idiots closed the doors and wrote an invitation to the head of the youth association for the screening of a "highly suspicious" film. In short, the people who attended the screening were preparing to "correct it". The film was screened, and in defiance of the shocked party representatives, the workers pronounced their fascination. So this film which screened at festivals around the world was banned at home, and I remember reading ridiculously conflicting reviews. In Czechoslovakia, they said that my role was not believable and that "workers like this didn't exist", whereas a French reviewer was glad that someone had finally captured the soul of the worker, pronouncing that this was the way that future worker would look! The film stirred controversy, but it was also highly successful, and from that point on – well, I guess always – I only did the films I wanted to do, turning out a number of interesting projects on the way. I had a couple of offers from Russia, but never considered accepting them.
What was your approach to the script of "The Seventh Day, the Seventh Night"? Did you talk a lot about your role prior to the shooting?
It all happened very fast. The film was shot quickly and without any superfluous discussions. There was complete chaos: noone even approved the project in the form that we had developed. But that's the way it worked with Evald: "Hey Honza, I have this new thing", and when I read it I knew exactly that it was written quickly. Evald never edited the film – it was taken away from him before he could finish the piece, so noone really knows what it should have looked like. I prepared for the role on my own a lot – when you have some experience and know what the director is going for, you know how to approach your it. I chose a white shirt and a sweater one or two sizes too small so that my bare arms showed. I wanted to be a certain type of teacher, I was going for the nuances. But it was predictable that it wouldn't be screened – it's a portrayal of the occupation. It was funny: we shot many people who had no idea what the film would look like. If they did, they would have never approved of it, but that's how we did it. Evald depicted this super-loyal Bolshevik as the biggest asshole in the film, and the guy knew it, I guess: he was trying to make something up with his role.
You had a different take on "Courage for Every Day" than the novel suggested?
Well, it's all related. Imagine this happened to you: you have an internal understanding of how things should go, and then you see yourself on camera 10, 20, 30 times from all sides and all angles, and you start thinking that you might have just imagined certain things. The camera sees everything. You might die a hundred times on stage, but the camera sees everything, there's that technical scrutiny: everything you say has to be a hundred times more truthful. So in Camus' story [The Outsider], there's the guy looking after his dying mother, awaiting his sorrow and all the things related to the death of a close person, and suddenly he realizes that he's interested in the flies that are soaring around, in the way he's sitting there, destroyed without showing it. It was a primer in acting – one of the many books that teach you how to act. And it's not just the technical side that I'm talking about: there are a lot of great actors who never realize this, they just act the way that you act in theater. I'm not trying to define or reduce anything to a formula, but they don't realize that acting on film is a life experience. You can't be agitated when you act, which is something I learned in many different ways. I had heard about great American actors making notes about everything, and I also knew about the way Czech actors worked, for instance [Václav] Lohniský, a clown who worked on ten projects at once. There's this anecdote where Lohniský didn't know where his hat is, so everyone on set had everyone had to look for it, but 15 minutes later they realized that the hat was part of a completely different film. This is truly representative of the way actors acted over here, whereas professional actors have an understanding how the shots will work, what lens will be used in this or that shot and so on. So I said to myself "I can also do that!" On the one hand, I began being picky about projects, on the other hand I started approaching film differently.
It all started with The Valley of the Bees [František Vláčil], a project for which I had to study Latin, learn how to ride a horse and keep a diet. On top of that, we traveled to Germany with another film during pre-production, so for once in my life I was staying at a fancy hotel, being offered fancy food on a daily basis, and I had to feast to lose weight! I remember people asking me whether I was unhappy with the screening because I didn't eat or drink anything. But these were sacrifices which payed off great. I understood that it was doable if you accepted the fact that you'd have to live with this film for half a year. It's such sacrifices that helped me understand the broader picture of things: at film clubs we'd talk of meaningful films and about how they were connected to the reality outside cinema. Film and theatre were morphing into opposition platforms for contemplation and philosophizing and finding a meaning in the world. And the images! When I peruse these works today, after all this change in the world, I realize how great the cinematographers and camera people were that we worked together with. Or take Barrandov in the context of this gray, sordid life: an island of escape.
Once, there was this festival of Czech film in the States where they screened four films in which I had the main part. They were writing "where's Marlon Brando going with this?," because Marlon Brando is a pretty good actor, but he lacks intellectualism. I laughed at these comments, but I also realized that since our works were traveling around the world, I – coming from a small village in Czechoslovakia – suddenly started competing with Brando, Mastroianni, and all these people who were doing the same thing as me in their countries. It makes you feel like you have a certain responsibility towards your country, like you can extend the borders of the small world you live in. I don't like competing, and I'd certainly never take part in a competition where the aim is to determine who's best, but this chance to expose your own culture – especially in the light of dissent and awareness-, this was something which engaged me. You could compare it to sports, obviously: [Petra] Kvitová [Czech tennis player], too, competes on a global level because she's good enough, and that communicates a feeling of equality. We were a small nation occupied by Russia, people had no self-confidence, and here we started bringing home awards from renowned, international, and foreign film festivals. It was beautiful.
What role did film criticism play in the development of the new film culture? In France in particular the influence of critique was very visible. Was there room for serious criticism in Czechoslovakia?
There were some film magazines: Filmova Doba, Kino, so there were platforms for film criticism. Maybe the quality was not the same, but these publications proved that people cared about film culture. There was interest. Remember that the regime had an ambivalent stance towards opposition films: surely, they knew that they expressed dissent, but they didn't prevent such films from being made. It was difficult, but possible, they were financing their own criticism. Imagine that happened today. Of course, you can't transfer the reality one to one, but there is something about it. This was something which the regime approached correctly.
It sounds like Schorm treated his actors without directorial "condescension". Was it the same with other directors, say Václav Vorlíček?
Vorlíček was an artisan. You came to set and were pumped to play agent V4C [Kačer played the main role in The End of Agent W4C], so you learned what you needed to know for your role and delivered it. I never talked to him about anything not directly related to work, I felt like he was hostile, but I suppose that's my personal impression. It's like ordering coal and getting coal [Czech proverb], whereas with our peers it's almost wrong to speak of collaboration. Everything was created spontaneously based on the experience of all the people involved. We were all equal, brothers you could say.
Of course, it was tough – working with [František] Vláčil was particularly tiring because he was a relentless perfectionist. This one time, during the The Valley of the Bees shooting in Poland, we were working on a difficult scene with horses: we had to postpone the shooting several times because we couldn't get horses from Poland – they thought a Czech horse would be scared of the water – and when we finally did, it was insanely taxing because Franta wanted the left hoofs of the horse to be on sand, and the right hoofs to lightly splash the water. Well, it turned out that the Polish horse they got was just as scared as the Czech horses. Through some miracle it did work out in the end, and we got this beautiful, long shot just the way he had imagined. We went to the editing room, plaudits, cheers, applause, all proud of what we had achieved, and when we turned to Franta he said: "It's too long, I'm not going to use it." I could have killed him. But it was great all the same. I don't know how these guys did it – Franta didn't even say much on set, and yet you had the feeling that you knew exactly what you were supposed to do. I remember we were shooting a long sequence and I asked him how he wanted it, and he told me: "You're the actor, Honza, how do you want it?" It puts a lot of pressure on you, but it's also inspiring.
Who watched films from the Czech New Wave? Were ordinary citizens interested in accessing this platform of opposition?
There was a poetry club magazine at the time which had a circulation of 300 000. Imagine a publication about poetry having 300 000 readers! The magazine came with a disk with recordings of poems read by contemporary actors, and people finished this stuff in two days. There was an odd, collective yearning for culture at the time, you could almost say it was expected of you to care about art.
Again – it's not that life was unbearable back then. Ordinary people lived pretty well, I think that a lot of people would have to admit that they had it better than today: you payed your 130 crowns for your apartment, noone was able to kick you out, and everyone had a house on the countryside where they could spend their weekends. Basically, if you had no objections to their style of governance, you were fine. What the regime expected from its citizens was silence – no resistance-, but at some point things starting going down. When there's no innovation, things start getting worse. Suddenly there was a lack of "vitamin", a lack of interesting experiences. Life is not just about material things and gluttonizing, and that's how this strong base for art was born. In every household around the country – whether it was Ostrava, Opava, or Prague -, you'd find the same books – that's true, and certainly sad -, but they had them everywhere all the same. And when an interesting film found itself into country, say from the French New Wave, everyone knew it. People don't talk about this a great deal, but there were literary newspapers with 500 000 readers. At the time when I did TV films, you'd be on TV on Saturday, and by Monday you were famous. Television wasn't as commercial as today, it was a novice's TV, they'd even televise plays. Today there's so much material and so much chaos that people don't pay attention to you anymore, but then art really had an impact on society.
When I played in the theater, there were 200 people who wanted to talk to me after our shows because they felt like they shared something with you. If I went to the same theaters today – being this much experienced – noone would come because there's a different atmosphere. I think that the Velvet Revolution took on the form that it did because of culture, it was a revolution where not a single vulgarity was uttered. I was actually asked to announce my candidature for parliament by some young people who knew my work, and I got 167 000 votes! I had the second-most votes in the entire parliament. This was the moment in our history when our cultural foundation in society really payed off. After that real "politics" started: intrigues, corruption, thieveries etc. I think nowadays people don't understand why there are so many theaters in Prague or why we have two operas. It's because that's what people wanted. Evald's films were not allowed to screen in regular cinema, they were non-classical halls which were adjusted for screening films, and yet everyone saw them. When I'm asked today if Evald's films should still be screened, I don't really know what to say. First of all, they're monochromatic, and secondly they're part of the social and political atmosphere of the time. So I do feel like people might be disappointed.
What's your impression of post-89 cinema in Czech Republic?
You have to be careful with such questions. Every era has its heroes, and no filmmaker bases his aesthetics and style on anything but himself. Every filmmaker speaks about his own problems, his own passions, and his own girls. I have nothing to do with this and can't really criticize it: why should an old geezer like myself judge what to make of current cinematic trends? What I can say is this: back in the day, filmmakers concentrated their strengths on writing a good script to 90 percent – good as in truthful -, and 10 percent on finding a producer who's ready to approve the project. Nowadays, finding a producer takes up 90 percent of your energy, and 10 percent are left to concentrate on your film, while casting is decided according to popularity. I have nothing against [Bolek] Polívka and [Anna] Geislerová who are everywhere, because our young directros know that these are the people that people will go to see in the cinema. Back in the day, [Jana] Brejchová was a huge star who played a lot with Evald, and yet noone ever thought of casting her for ratings. People went to see Sorm's films because they were his films and because there was an idea behind them. I myself was also everywhere and never became a star.
The Lives of Secret Others
Věra Chytilová's Daisies (Sedmikrásky, 1966)
Drahomíra Vihanová's Squandered Sunday (Zabitá neděle, 1969)
Evald Schorm's The Seventh Day, the Eighth Night (Den sedmý, osmá noc, 1969)
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Work Differently. In the age of the internet and the mobile office, where everyone can work from home, we help companies create thoughtfully conceived spaces built around the new ways that today's workers use office spaces, which is both a lever of performance and an advantage in attracting new talent. It's an approach that mixes well being and efficiency with the art of living at work to create fully equipped transformational workspaces—from space planning to the development and execution of construction.
A good hotel isn't just for show! Saguez & Gomez, the association between the design agency and interior designer Didier Gomez, was born from this vision. The hotel design starts with life's moments to create a space that offers a range of great experiences. Didier Gomez's experience with luxury brands lends history, coherence, and a sense of detail and the uses of space. Lifetime® hotels are in line with the needs of today's travelers while affirming their uniqueness and elegance, each a singular place where comfort, emotions and dreams come together.
Working projects: Hôtels Active Lodge Paris, Bordeaux Chartrons, Fairmont Kuala Lumpur, Métropole Monaco, Raffles Kuala Lumpur, Raffles Singapore, Renaissance Paris République, Renaissance Paris Vendôme, Sofitel Paris le Faubourg, Sofitel Varsovie, Haras de la Cense Rambouillet.


text:
The National Archives Learning Curve Exhibition: The Cold War Teacher Notes
West and the Bolshevik government, pre 1945, never form part of any examination course. That said, I have never felt it satisfactory to simply start the Cold War in 1945, because it begs the obvious question as to what had gone before
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Identify the 2 most important factors that influence climate latitude and bodies of water (and mountains/elevation) Chapter 4 Culture Define
Assess the impact of the global diffusion on advanced computer and communications
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American Discovery and Colonization
The most influential figure in the rise of Portuguese maritime strength was Henry the Navigator
Review of hawaiian sovereignty
Excerpts from an intervention of the Pacific Asia Council of Indigenous Peoples to the United Nations Working Group on Indigenous Populations, Geneva, Switzerland, 1996
Review 138.73 Kb. 1 read
Chapter 2: Republic and Empire
American principles. An imperial relationship with other countries, whether intended or not, poses a challenge to the American founding. This is an issue that is already important, but will gain in importance in the next decade
Year 8 unit overview — Australian Curriculum: History
Source: Australian Curriculum, Assessment and Reporting Authority (acara), Australian Curriculum 0: History for Foundation–10
Classroom outcomes
It is also an important time to reflect on attitudes to people of different races and cultures. Students are often surprised to know that even pre-history records evidence of this spiritual thirst. People have always looked for answers to
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Unit 2 Ancient Mesopotamia and Egypt
Locations: the Middle East, Mesopotamia, Tigris and Euphrates rivers, Israel, Palestine, Mediterranean Sea, Sahara Desert, sub-Saharan Africa, North Africa, Egypt, Nile river, Cairo
Unit 15 Manifest Destiny and a Growing Nation
Mississippi River The Louisiana Purchase Stephen Austin Sam Houston James K. Polk
American Tall Tales. New York: Viking Press, 1966. Summary
Stoutenburg, Adrien. Traditional Literature: American Tall Tales
Native/Early American literature Notes
Myths and rituals play a role in traditional Native American cultures
Reading Guide Part I: Notes on Native American Literature
Fill in the blanks during the lecture/Power Point on the characteristics of Native American literature
A retrospective Look at Rescuing and Restructuring General Motors and Chrysler February 19, 2015
U. S. government, the analysis used to evaluate their request, and the steps taken by the government to rescue them. The paper also summarizes the performance of the U. S. auto industry since the bailout and draws some general lessons from
Semester I reading Review Historical Trends and Processes
Our story begins during prehistory in east Africa where human life began. From Africa humans spread to Eurasia (Europe and Asia), to Australia, and finally to the Americas. Human migration was one of the great waves of history

redpajama_set_name: RedPajamaCommonCrawl


Based in a small building next door to YMCA Training and National Tyres and Autocare, Northallerton test centre is almost easy to miss—if you've not got your eyes peeled for the DSA sign, that is. Though one of the smallest test centres in North Yorkshire, Northallerton oversees countless tests each month. If you're a learner driver heading here, we'd suggest getting to know it better. Keep on reading for directions, pass rates, test routes and much more about Northallerton.
Northallerton test centre is situated in the town centre and is mere minutes from the busy roundabouts on Friarage Street and Bullamoor Road. An ideal option for learners located in or around Harrogate, there shouldn't be much difficulty getting to Northallerton test centre. If you've not headed there yet, use these directions and you'll be fine.
Located near the Harrogate area, Northallerton boasts of an even mix of rural road features, town roads and busy A roads like the A167 and A168. This variety will be taken advantage of fully by examiners on practical tests—with the aim of putting candidates through their paces. For more information on the area of Northallerton itself, check out the links below.
The DVSA doesn't publish test routes anymore, but that doesn't mean you have to worry! You can still watch videos of Northallerton test routes on YouTube or download our sample Northallerton driving test routes. Most routes tend to incorporate the same types of road features—narrow rural roads, busy town roads and challenging roundabouts. Additionally, if you're learning with a local ADI, they'll be more than familiar with which roads Northallerton examiners favour—taking you on them so that you're fully prepared for what comes your way on the day of your test.
Northallerton's pass rate is pretty darn impressive if you ask us. Not won over? Instead of relying on statistics and numbers, why not rely on your own ability? Practice makes perfect—strengthen your weaknesses and you'll be just fine.
What If I Can't Go To Northallerton?
Northallerton is one of many test centres in North Yorkshire. If you can't head there, the nearest alternate centres are Middlesbrough and Knaresborough.
You'll get the results for your practical immediately. Using a feedback sheet, the examiner will walk you through the driving faults you made (unless you're a new member of the Zero Minors club). If you do pass, you'll get your hands on a test pass certificate. You'll also be given the option to send off for your new licence.
Despite what you might think, failing your practical test isn't the end of the world. While it might be heartbreaking—especially if it's your first time—you need to keep moving. Try to learn from the mistakes of your failed practical so that you're ready for what comes your way in your next practical. PassMeFast can get you booked back in ASAP with a fast-track practical test. To get things moving, contact us via our website, or give us a call on 0333 123 4949.
Tired of traditional driving lessons? Looking to pass your practical as soon as possible? PassMeFast is the solution. We have a range of intensive and semi-intensive courses on offer—take a better look with our course prices page. With our experienced ADIs and fast-track practical tests, you'll be on the road in no time at all.
The road to driving doesn't have to be long with PassMeFast. Get in touch today on 0333 123 4949 to find out more or book a course online to take one step closer to getting on the road.
On a super tight schedule they got me through the theory, lessons and my test. Amazing. Also really great customer service all throughout. Highly recommended.


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West Indies vs England – 3rd Test Match Preview & Prediction
When is West Indies vs England taking place? Saturday, 9th February, 14:00 (UK)
Where is West Indies vs England taking place? Gros Islet, St Lucia
What is the expected weather for West Indies vs England? Temperatures of 26-28c with cloud but no rain expected until day five where there is a chance
What channel is West Indies vs England on? The match will be shown live on Sky Sports Cricket
Where can I stream West Indies vs England? West Indies vs England will be streamed live on the Sky Go app
Are tickets still available for West Indies vs England? https://www.zoonga.com/venue/E...
West Indies beat England by 10 wickets
Captain: Kraigg Brathwaite
West Indies followed up their win in the opening Test by hammering England once again in Antigua by ten wickets as they won the toss and put England in, and subsequently outplayed them yet again to seal the series ahead of this final Test in St Lucia.
Skipper Jason Holder has been suspended with a one-match ban for his team's slow over rate during the second Test and Kraigg Brathwaite will deputise once again as he did in November against Bangladesh when Holder was injured, but they will miss the captain with bat and ball.
Keemo Paul has been called up into the squad for this match as Holder drops out and they will choose between him and Warrican as to who will come into the side in what will surely be the only change to this in-form team.
Captain: Joe Root
England have lost the Test series after two massively disappointing results against the Windies in the opening two matches and the post-mortem and discussion over the team's quality, selection and psychological strength are well under-way despite having one match remaining.
Once again their fragile batting let them down with the potential for collapse at virtually any lost wicket rearing its ugly head and that has led to further question marks over pretty much all the key positions in the team with the top order especially coming under intense scrutiny.
It seems unlikely that there will be wholesale changes as they do not have that many quality options to bring in but it is very likely that one of the three wicket-keepers in the team could make way with Foakes the most likely given the fact he is the more junior of the three and has a bruised hand so that could see another bowler come into the team with Woakes the most likely.
The West Indies' dominance in this series has surprised many but they are relishing this great run of results and performances. Complacency is unlikely to be an issue as they are thriving right now and clearly enjoying their cricket for the first time in a long time. England on the other hand are struggling throughout the team and none of their batsmen are emerging with any real credit. They look capable of collapsing at any stage and even though the more relaxed environment of this dead rubber may suit them, it is hard to see them reversing this abysmal form. With the weather unlikely to play a role here, another home win is on the cards even without skipper Holder in the team.


Elin Haugsgjerd Allern, Knut Heidar, and Rune Karlsen.
London, England : Frank Cass, 2003.
Donald R. Matthews and Henry Valen.
Columbus, OH : Ohio State University Press, c1999.
Columbus : Ohio State University Press, c1998.
edited by Kaare Strøm and Lars Svåsand.
Ann Arbor : University of Michigan Press, c1997.
Bergen ; Oslo : Universitetsforlaget ; New York : Distributed by Columbia University Press, c1983.
Olso : Universitetsforlaget ; Irvington-on-Hudson, N.Y. : [distributed by] Columbia University Press, c1981.
principal investigator, Henry Valen (Institute for Social Research, Oslo, Norway).
Ann Arbor, Mich. : Inter-university Consortium for Political and Social Research, 1976.
The data reprsented in this codebook are housed in the IRSS Data Library.
12. Fra landmannsorganisasjon til bondeparti. Politisk debatt og taktikk i Norsk landmannsforbund 1896-1920.
13. The Soviet Communist Party and Scandinavian communism: the Norwegian case.
by Neil C. M. Elder.
15. Political parties in Norway. A community study.
[By] Henry Valen [and] Daniel Katz.


A paleo-coffee recipe - YUM!
Kombucha: What's your sugar to water ratio?
Anybody have a soda stream?
do you drink organic green tea?
Can you make froth (for a latte) without a special contraption?
Home made Chocolate milk mix recipe?


In the event you've got a property asset that you rent to tenants, then you will have the ability to submit an application for landlord liability insurance to protect yourself from needing to rebuild your property from the start, at case anything goes wrong within the property. There are many issues to consider that lets you acquire the cheapest coverage fee and that will be for the reason that insurance can be extremely complicated and overwhelming for anyone that isn't knowledgeable by it.
Landlord liability coverage is meant to shield property owners from recovery expenses and rebuild their property in case their harm was caused by airline and automobile affect, fire, smoke or some other ordinary cause that unfortunately damaged the integrity of the property construction. Just about any liability insurance policy insures those triggers, however it's valuable to be certain that they exist on your policy.
1 point that is imperative to point out in order that it's going to be apparent is that the landlord accountability coverage comprises only the landlord's assets rather than items that appeal to the tenants. Another crucial problem to become knowledgeable of would be that commercial buildings possess distinct kind of strategy (commercial property insurance) and aren't covered within this Leather Manufacturers Insurance plan. If tenants wish to cover their things, they need to buy content insurance independently.
The type of tenants that you have will affect upon the speed of your insurance premiums. Renters that have critters, college age children, unemployed etc' just to name a couple can make your coverage premium more costly. There's a significant distinction between plans that pay replacement rather than buy price. Substitution policy is recommended although it generally cost a bit more. It's crucial to check liability insurance estimates from numerous reputable agencies and ensure all items that you need to cover are located. Right once you've got the estimates attempt to negotiate to your favorite insurance company while the quotes in the other agencies perform to your advantage.
Among the biggest problems in painting the exterior of your miniature is in deciding on the color. Now's color choices and spacious and it can be overwhelming trying to narrow them down into the one color that is ideal for your miniature.
There are many tools available to assist you opt for a miniature painting color. With nowadays technologies, it appears there are constantly new outlets appearing to aid in the color selection procedure. There are many online picture galleries of cases of miniature colors. It is possible to look throughout the galleries to obtain a miniature whose color you like and that you believe would work nicely for your miniature painting then use that on your undertaking.
Another intriguing technological advance that has just emerged is miniature painting service. There are various software applications available that could show you what your miniature could look like using a variety of miniature painting approaches. This is a superb way to find out what your miniature could look like with potential colors before making any real modifications to your miniature.
There's also always the conventional way of picking a miniature painting color by forcing through your neighborhood and neighboring communities to collect tips for possible miniature painting coloring approaches. It is also possible to seek the advice of your paint builder on potential colors. A paint contractor may be a fantastic resource when seeking to make a determination. You paint builder may be an excellent resource since they have extensive expertise in this domain and understand which colors work well together.
If you frequently exercise and maintain a healthy diet, but simply might appear to eliminate these few stubborn pockets of fat, you might be a terrific candidate for Smart Lipo. A newer, less invasive alternative to conventional liposuction, Lipolight Pro LED is very good for both eliminating fat and tightening loose skin.
Smart Lipo employs a laser to target fat cells and dissolve and eliminate them. Any fat that isn't suctioned out will make its way from the body over the following day in the form of waste. The lasers are extremely secure and may even tell the difference between the fat cells along with other non-targeted cells like blood vessels and nerves.
Before starting work with the laser that the plastic surgeon will initially fill the designated region with saline solution so as to shrink the blood vessels and then numb the cells. The laser is then inserted and it liquefies the fat. Then a very small cannula or tube is utilized to eliminate those liquid cells.
Who's A Good Candidate for This Process?
This is actually intended for people that have a little bit of fat to lose. It's not intended as a weight loss way for people that are considerably overweight. Ideally, a patient must only have 10 lbs or so to shed before attaining their ideal weight.
What Areas Are Well Suited for Smart Lipo?
Any area of the body with undesirable fat may be a good goal of Smart Lipo. This may signify the abdominal area, the thighs, flabby upper arms, as well as chins and necks.
The price will surely differ from surgeon to surgeon and from state and city, however, the range is anywhere from $2,500 to $5,000 per concentrated area.
Mobile App Development Plans For Programmers For Your Planning Stage!
There are many individuals who have various ideas on the way the mobile program can be created. But many lack the clarity with which they may implement the thought or the crucial skills necessary for execution. The majority of the new engineers have new ideas but worry about its own functioning approach.
It's important in the business of http://apps74.com mobile application development that the job needs to be planned well. First and foremost, mobile app developers should offer thorough requirements specification that is among the most crucial facets of program development. The specification helps to determine whether the final result is according to customer's needs.
Following the specification record is made after the first preliminary application analysis, an individual needs to evaluate the application's operational and non-functional requirements. Good excellent specification files can chalk out the validity of this application and its key attributes. Thus the program is also on track to answer back to the demands posed by the marketplace.
An individual needs to also make certain about what all attributes aren't vital for growth. This will assist programmers decide what the program isn't going to perform. One needs to ascertain whether the prerequisites are legitimate and achievable and proceed for another step.
The requirement specification must include all definitions associated with mandatory functional and non-functional attributes of this program. Aside from that, it ought to have listings of application dependencies, and special inputs for many subsequent project phases and marketing functions.
While ensuring application scalability for the compatibility with screen resolutions and orientations, there could be some extra work associated with design, implementation, and testing. This strategy aids in creating the program scalable to future apparatus also hence making it possibly a better bet for a larger audience.
Scalable mobile application development plans assist in reaping gains in the future also with decreased effort as the odds of earning versions for various configurations becomes slender. The post-production work becomes quicker for an application that has been designed with scalability in mind.


We currently do not have any Baseball Camps Orlando scheduled. Please check back at a later date or give us a call at 321-430-2963. If you're an organization that is putting on a baseball camp in Orlando and want to be listed on this page, please get in touch with us to talk further.


text:
package ble

import (
	jutil "v.io/x/jni/util"
)

// Init initializes the JNI code with the given Java environment. This method
// must be called from the main Java thread.
// TODO(mattr): Why must this be called from the main thread?
func Init(env jutil.Env) error {
	return nil
}

redpajama_set_name: RedPajamaGithub


Amazon Gift Card Giveaway This Week on my Facebook Page!
Happy Tuesday & Happy May! Seriously, where is 2018 going? I can't believe we are in May already!
I hopped on my weekly check-in last night on my Facebook page and talked about this, but in case you missed it … here are some highlights of what's happening this week!
I'm going to be chatting about the Ariya Adams Trilogy (my debut paranormal romance series) this week on my social media channels. On Facebook, I'll be looking for LIKES and COMMENTS for participation entries into a $5 Amazon Gift Card Giveaway! On Sunday, May 6th, I'll be drawing a winner! So the more you participate, the more entries you'll get! I'll also be asking who hasn't read Protected (Book 1 in the Ariya Adams Trilogy) and I'l be giving away a free e-book copy for you to start the series!
It should be a fun week! There will be teasers, fun questions, games and perhaps a drop in from my characters themselves! Make sure you have LIKED my Facebook Page: CLICK HERE! Then comment and like on all of the posts going up this week! Remember, the more participation you have, the more entries into the drawing I'll be doing Sunday!


The battlecruiser HMS Repulse (34) of the Royal Navy. She was lost on 10 Dec 1941.
Repulse had one triple 4" gun turret replaced by a third 8-barrelled 2pdr pom pom in 1941. 6 single 20mm Oerlikons were also added.
Renown was rebuilt and re-engined before the Second World War. During the war her Anti-Aircraft armament was increased.
2 Battlecruisers of the Renown class. 1 of them was lost.


If you really could meet a special someone at an art opening, Mad Art would be the place to do it. Not far from the grand Anheuser-Busch brewery, nestled amid the cozy, historic red bricks of Soulard, is an old police station and lockup that functions astoundingly well as an occasional gallery space. The Soulard jail was best employed last spring when Webster University and University of Missouri-St. Louis art students put on a rockin' good show. One artist lay prone on the floor as water dripped on him in a bit of self-imposed torture for the sake of art; another applied and reapplied lipstick while writhing on the floor and kissing a canvas until, inevitably, she disrobed. Lots to talk about with that special someone you might have met, with a detour to the former jail cells and the art showcased within them, and the Cat's Meow just a few blocks away to talk more about art and the chance occasions of romance.


text:
Devon Loch joins the great failures
Looking home and hosed and with the winning post in sight, Devon Loch inexplicably spreadeagled himself in front of the Royal Box
Our special correspondent
Sat 24 Mar 1956 12.35 EST
None of the thousands who saw it will easily shake off the memory of Devon Loch's collapse in front of the Royal Box today within forty yards and a few seconds of triumph; or the utterly poignant spectacle of the royal jockey R. Francis, cast as the day's tragic hero, walking away from his crippled mount, too distressed to look anywhere. Aintree was on its feet to roar it home for a great Grand National victory; hats, racecards, emotions all in the air. A moment later, as a certain winner buckled in its stride, the cheering thousands gave a loud "Ah!" of dismay and crumpled into silence. I have never seen a race crowd - or any sporting crowd - more bewildered.
Francis will at least earn his sombre niche in sporting history among the great failures. The Ryder Cup has been won and lost by a putt and Cup Final hopes dashed by one twisted knee. But this was even more suddenly dramatic. The closer comparison is with, say, those marathon runners who have dropped within sight of the tape after a gruelling 26 miles like Peters at Vancouver or Dorando in the Olympics of 1908.
Everyone was trying to resolve the puzzle of Devon Loch's failure - while ESB, a most honourable winner was rather starved of attention as no other National victor has been before - and there were a host of theories. Frightened by the noise of the crowd, some said: or he slipped on a muddy patch and could not regain his stride; or he was out off by the shadow of the water jump on his left.
I do not think any of these theories quite explain it. His sudden collapse looked to me to be of the same kind as the marathon runner's; namely, cramp and exhaustion, leaving Francis for all his crouching determination and skill, helpless to do anything about it.
It would have been hard to find a theatre-producer able to build up a race to such a climax. The luck of jumping, which put most of the favourites out of the race well before Devon Loch and three others leapt into sight in the home straight, ensured that the weight of the cheering all bent itself to the encouragement of the Queen Mother's horse. The favourite, Must, and the fancied High Guard (with A.P. Thompson up, riding in his last National) and two other runners went down as the cavalcade cleared the first jump.
Armorial III, the tallest horse in the field of 29, sprang into the lead in the first circuit, with Eagle Lodge, Sandew, Much Obliged, Gentle Moya and Devon Loch - the latter taking his jumps with care and complete confidence.
On the outward run into the country on the second circuit, after two miles of extremely fast going, the fences began to take their toll. Nine horses fell in the last ten jumps. At Becher's, Sundew, who had been helping to make the pace with Armorial III, went down on landing. The main group, including Devon Loch and many of the leading fancies, were now a good many lengths behind, but all coming up fast enough to spread the many hopes among the crowd.
But with only ten horses left at the run in to the straight the crowd surged to the rails and the cheers all centred on the faraway, bobbing head and swinging hooves of Devon Loch. With three others he took the last thorn fence with great lift and rhythm. You could see some of the hooves hitting the brushwood but no one came down. Devon Loch got first into stride and was soon pounding past the stands, five lengths clear of ESB, with Francis already stretching out a hand for his bay-leaves. Then the astonishing happened. Devon Loch's hind-legs buckled and he went down on his stomach. In what can have been no more than two seconds - but it seemed like an age - Francis threw his weight forward and his mount struggled to his feet. Could be still do it? It looked as though he might. The first royal victory in the National since 1900, the 7#163;8,000 prize and what a reception with it! - only forty yards away.
The crowd was shocked: almost hamstrung itself. It was like a modern nightmare, the will without the power. But down went the hind legs again as ESB rushed triumphantly past. Francis dismounted, threw down his whip and wept when he heard the applause for his effort. The last of the bitter pill was that he might have broken the National record has he finished: ESB was only four fifths of a second outside it.
The Queen Mother, who has been on her feet with the rest (and so were the Queen and Princess Margaret) accepted the tragedy in regal fashion, and something more than that. When the winning owner, Mrs Carver, expressed her sympathy, Queen Elizabeth smiled and said. "Oh that's racing!" she went at once to see her crestfallen jockey and later came to the windows of the stand to smile and wave to the crowd.
ESB's jockey, D. Dick, cheerfully admitted afterwards that he had given up hope of catching Devon Loch. He had his head down, he said, resigned to second place.
The effect of the tragic climax on the more hard-bitten ones of the racing fraternity was not the least curious feature of the day. Used to the ups and downs of the track, in and out of the money by the hour, surely they could ride this emotional blow? But no. Devon Loch had caught many of them in the middle of a cheer with all defences down. "No more racing today for me," said one horsey veteran with a sigh as he slumped on the seat near me. "I am very, very upset."
But you could see others weighing up the form for the next race. And, watching them trail over to out their money on, it looked rather like that gesture of wartime pilots, going up into action at once after a disaster, simply to recover their nerve.


text:
Torino Pizza
Application under section 17 of part 3 of the Licensing Act 2003 for the grant of a premises licence for the premises known as: Torino Pizza
Notice ID: BR3251071
15th December 2016 to 14th January 2017
Notice is hereby given that I, Mohammed Abbas, have made an application under section 17 of part 3 of the Licensing Act 2003 for the grant of a premises licence for the premises known as: Torino Pizza 52 Westgate, Otley, LS21 3AS. I intend to conduct on or from the premises the following licensable activities: Sale of Late Night Refreshments. I propose to conduct the said licensable activities subject to the following terms: To increase the hours for sale by retail of late night refreshments by two hours, closing time of 1am. Interested parties or responsible authorities (within the meaning of the Act) may make written representations to Leeds City Council about this application until 5th January 2017 which should be sent to the following address: Entertainment Licensing Section, Leeds City Council, Civic Hall, Leeds, LS1 1UR. For full details and to view a copy of the application please contact the Entertainment Licensing Section on telephone number 0113 247 4095 or email entertainment.licensing@leeds.gov.uk. It is an offence to knowingly or recklessly make a false statement in connection with an application and the maximum fine for which a person is liable on conviction for this offence is a fine not exceeding £5,000
LICENSING ACT 2003 Notice is hereby given that We, BG Food Techs Ltd, have made an application under section 17 of part 3 of the Licensing Act
LICENSING ACT 2003 Notice is hereby given that: ll Buco Napolini Ltd have made an application under section 17 of part 3 of the Licensing Act
LICENSING ACT 2003. Notice is hereby given that I, Greg Silverwood, have made an application under section 17 of part 3 of the Licensing Act
Licensing Act 2003 Notice is hereby given that Osteria A Roma Ltd t/a Il Vicoletto, have made an application under section 17 of part 3 of the
POOL-IN-WHARFEDALE WATERWORKS COMPANY LIMITED
POOL-IN-WHARFEDALE WATERWORKS COMPANY LIMITED Company Number: 00500231 Principal trading address: 14 Beech Hill, Otley, W Yorkshire,
LICENSING ACT 2003 - APPLICATION FOR VARIATION OF A PREMISES LICENCE.
LICENSING ACT 2003 - APPLICATION FOR VARIATION OF A PREMISES LICENCE. Notice is hereby given that I Sajid Khan have made an application under
Licensing Act 2003 Notice is hereby given that I Marcus Garcia Bradley have made an application under Section 34 of the Licensing Act 2003 to
Premises Licence Application
Licensing Act 2003 Notice is hereby given that We, HAWTHORN ENTERPRISES LTD, have made an application under section 17 of part 3 of the
LENA GRACE BOLDERO (Deceased)
LENA GRACE BOLDERO (Deceased) Pursuant to tie Trustee Act 1925 any persons having a claim against or an interest in the Estate of the
DONALD ROBINSON (Deceased)
DONALD ROBINSON (Deceased) Pursuant to the Trustee Act 1925 any persons having a claim against or an nterest in the Estate of trie
DENNIS WOODHALL (Deceased)
DENNIS WOODHALL (Deceased) Pursuant to the Trustee Act 1925 any persons having a claim against or an interest in Ihe Estate of the
Notice effective from Thu 1 Aug 19 to Sat 31 Aug 19
Notice of application to vary a Premises Licence under Section 34 of the Licensing Act 2003
Notice of application to vary a Premises Licence under Section 34 of the Licensing Act 2003 Notice is hereby given that Richard John Reeve in
Notice is hereby given that Punch Taverns Plc has applied in respect of the Black Bull, Market Place, Otley LS21 3AQ for a variation to the
Licensing Act 2003 Notice is hereby given that We, De Mental Monkey Ltd have made an application under Section 34 of the Licensing Act 2003 to
BRIAN CHARLES SELLARS (Deceased)
BRIAN CHARLES SELLARS (Deceased) Pursuant to the Trustee M 1925 any persons having a claim against or an interest in the Estate ol the


8. My future is not determined by who or what I was but who I am now.
3. Purpose in your heart to think beyond your imagination so you don't limit God…in what He really wants to do in your life.
2. Your time is your life…if you waste your time…you've wasted your life.
1. If God didn't want us to be successful…why would He tell us exactly how to become successful in His Word?


1. To make e-cigarettes more durable, first of all, the battery of e-cigarettes should be maintained with sufficient power. If the power is insufficient, the smoke fluid will not be atomized enough and inhaled into the mouth, and users will mistake it for a quality problem.
As the RBA in manual reconstruction and our common products atomizer, actually frying oil phenomenon is widely exists in our daily use, especially in the new to electronic cigarettes beginners paresthesia, today for you to sort out five questions about the frying oil and processing method, hoping to offer some reference and help.
Please see the picture below and find one you need.Contact us via: support@imecig.com and let us know the item# you want, then we will advise the following steps on how to finish your purchase! PS: shipping cost USD$6, only for customers in UK and in German. UK: 6 types. German: 9 types. Totally 29 pc kits available, first come first serve! Don't miss! Should you have any other concerns, please feel free to contact us via: support@imecig.com.
When you pick up a newspaper, turn on the television or log in to a social networking site, you must have seen quite a few negative news about e-cigarettes that have a very negative impact on e-cigarettes. Earlier, we introduced some of the lies spread about e-cigarettes to you, but what should you do to refute these lies? What follows is the result of some of the most common controversial topics in the use of e-cigarettes. Each topic is accompanied by relevant research and a strong rebuttal.
How to Daily Store The Atomizers?
In the electronic cigarette atomizer is at the same time you will think the maintenance needed ? And the answer is yes , the atomizer in daily use in the process also is the need for " maintenance " of , for example an atomizer in the tobacco smoke taste how purify ? How to cleaning the atomizer ? need what to problem note ? Bajie just today and how we wanted to share with the atomizer cleaning and maintenance .


This series of case studies describes how organisations from different countries have approached the verification of social criteria at various stages of the tender process. Each study looks into how the compliance of direct suppliers is monitored and how this applies to the rest of the supply chain. It is hoped that procurement professionals and other key stakeholders will be able to use the experiences of their counterparts to develop or improve verification systems in their own authorities.


(SKNIS): The United Kingdom's (UK) withdrawal from the European Union (EU), also known as 'Brexit', is an emerging trade issue that is of paramount concern for the Caribbean Region. Against this backdrop, a number of government ministers and delegates from CARIFORUM countries are currently in St. Kitts-Nevis attending a two-day Special Meeting of the CARIFORUM Council of Ministers.
CARIFORUM Director General, Percival Marie, said that the meeting is timely and extremely vital.
In delivering official welcome remarks, the Honourable Mark Brantley, Premier of Nevis and Minister of Foreign Affairs and Aviation in the Federal Government, stated that all can agree that the region serves at a time when the "tectonic plates in which our engagement with the European Union continue to shift".
Minister Brantley said that the region boasts a rich legacy of cooperation between the ACP group of Countries and the European Union. He encouraged his colleagues to allow the decisions from the meeting to "set us and the generations to follow on a firm footing that will redound to the sustainable growth of our regions, countries and all of our peoples in the year 2020 and beyond".
According to data from CARICOM's website, CARIFORUM refers to the Body comprising Caribbean ACP States, which are signatories of the Georgetown Agreement which was signed in 1975. The grouping is composed of 79 African, Caribbean and Pacific states. All participating States in CARIFORUM, with the exception of Cuba, are signatories to the ACP-EU Partnership Agreement or "Cotonou Agreement" and the EPA, respectively.
CARIFORUM States include: Antigua and Barbuda, The Bahamas, Barbados, Belize, Cuba, Dominica, Dominican Republic, Grenada, Guyana, Haiti, Jamaica, St. Kitts and Nevis, Saint Lucia, St. Vincent and the Grenadines, Suriname and Trinidad and Tobago.


text:
Hershey's Mill Golf Club
Hershey's Mill Golf Club was founded in 1979 as the focal point of Hershey's Mill a gated active adult community in West Chester, PA. The golf course itself is a hidden gem, and Hershey's Mill is a premier Chester County Country Club community, renowned throughout southeastern Pennsylvania. Hershey's Mill Golf Club is an affordable private golf club in West Chester.
Hershey's Mill has earned its reputation as one of the outstanding private Golf Clubs in Chester County. For a fraction of the cost of other private golf courses in PA, Hershey's Mill Golf Club maintains what the USGA described in 2011 as "one of the best managed and maintained golf courses we see."
With fairways that meander through the wooded Hershey's Mill community and only two holes out of 18 running parallel to one another, the full-length championship golf course offers its members a scenic, secluded outing and a great challenge that surprises many first-time visitors.
http://www.hersheysmillgolfclub.com/
Winning Golf TV
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Up first, as 2017 is wrapping up, you're probably seeing lots of "Best Of" lists popping up everywhere, and we're jumping on board. In addition to asking our Teenreads reviewers and Teen Board members about their favorite books of 2017, we've compiled a handy-dandy list of all the other great "Best Of" lists for YA books, which you can find later in this newsletter. But first, click here to hear about the books our reviewers recommend.
Vote to Nominate Finalists for the 2018 Teen Choice Book Award!
We're going to keep this newsletter short and sweet, highlighting just the coolest opportunity on our site right now: Vote to Nominate the Finalists for the 2018 Teen Choice Book Award! You'll find more info below, but the gist is that we're letting you vote for your top 5 favorite YA books published in 2017. Once you've all chimed in, we'll tally up your votes and the top five books will continue on as finalists for the Teen Choice Book Award.


text:
Q: Angular CLI ng e2e: Error: connect ETIMEDOUT I am having trouble to run $ ng e2e on a plain new vanilla project created with CLI:
$ ng e2e
** NG Live Development Server is listening on localhost:49155, open your browser on http://localhost:49155/ **
Date: 2018-04-17T08:42:39.992Z
Hash: 42744fd16a957b054ef8
Time: 6402ms
chunk {inline} inline.bundle.js, inline.bundle.js.map (inline) 3.89 kB [entry] [rendered]
chunk {main} main.bundle.js, main.bundle.js.map (main) 8.22 kB [initial] [rendered]
chunk {polyfills} polyfills.bundle.js, polyfills.bundle.js.map (polyfills) 205 kB [initial] [rendered]
chunk {styles} styles.bundle.js, styles.bundle.js.map (styles) 14.5 kB [initial] [rendered]
chunk {vendor} vendor.bundle.js, vendor.bundle.js.map (vendor) 2.76 MB [initial] [rendered]
(node:12752) [DEP0022] DeprecationWarning: os.tmpDir() is deprecated. Use os.tmpdir() instead.

webpack: Compiled successfully.
events.js:183
      throw er; // Unhandled 'error' event
      ^

Error: connect ETIMEDOUT 216.58.206.144:443
    at Object._errnoException (util.js:1022:11)
    at _exceptionWithHostPort (util.js:1044:20)
    at TCPConnectWrap.afterConnect [as oncomplete] (net.js:1198:14)

*

*Sounds like a port-issue: I changed the port from 4200 to something else in protractor.conf.js (baseUrl), just to make sure this one is not busy. Same result.

*I am not sure if it could have something to do with the fact that I am behind a proxy? The error does not sound like that though... proxy and https-proxy are send in the npm configuration, npm itself is able to communicate.

Some version hints:
Angular CLI: 1.7.4
Node: 8.10.0
OS: win32 x64
Angular: 5.2.10
... animations, common, compiler, compiler-cli, core, forms
... http, language-service, platform-browser
... platform-browser-dynamic, router

@angular/cli: 1.7.4
@angular-devkit/build-optimizer: 0.3.2
@angular-devkit/core: 0.3.2
@angular-devkit/schematics: 0.3.2
@ngtools/json-schema: 1.2.0
@ngtools/webpack: 1.10.2
@schematics/angular: 0.3.2
@schematics/package-update: 0.3.2
typescript: 2.5.3
webpack: 3.11.0

Protractor configuration (as it was created by CLI):
const { SpecReporter } = require('jasmine-spec-reporter');

exports.config = {
  allScriptsTimeout: 11000,
  specs: [
    './e2e/**/*.e2e-spec.ts'
  ],
  capabilities: {
    'browserName': 'chrome'
  },
  directConnect: true,
  baseUrl: 'http://localhost:4200/',
  framework: 'jasmine',
  jasmineNodeOpts: {
    showColors: true,
    defaultTimeoutInterval: 30000,
    print: function() {}
  },
  onPrepare() {
    require('ts-node').register({
      project: 'e2e/tsconfig.e2e.json'
    });
    jasmine.getEnv().addReporter(new SpecReporter({ spec: { displayStacktrace: true } }));
  }
};

Any thoughts?

A: Ok, after further deep diving in I figured that ng e2e will internally call webdriver-manager update - but this one fails coz of missing proxy settings. It respects HTTPS_PROXY env variable though, when I set that it just runs fine. Found that answer here: https://stackoverflow.com/a/48330603/598516
Windows:
set HTTPS_PROXY=http://<user>:'<password>'@xxx.xxx.xxx.xxx:xxxx

redpajama_set_name: RedPajamaStackExchange


1. When Googled not as a tag, the person could just be depressed and bored.
2. When tagged in a post on sites such as Insta, Twitter, Musical.ly, ect. It could indicate the account belongs to a person whom is under the age of 16 and films black and white music.lys to an emo song after they are yelled at in class for talking.
14 yr. old in caption of Musical.ly: Yo, I am so #lowkeydepressed .
14 yr. old: I dont wanna talk about it!!! OKAy fine!!! Mrs. Brenner yelled at me for talking!!
Get a #lowkeydepressed mug for your buddy Rihanna.


04/24/2019 07:01:24 96613081 1 0 0 3730 1 1 Customer Service Customer Service - General Client Service Representative I Client Service Representative I Full Time CIOX Health | Greenvale, NY NEW OverviewThis is an entry level position responsible for processing all release of information (ROI) specifically medical record requests in a timely and ef... NEW Do you match?
04/24/2019 13:59:37 96657447 2 ExtendedNetworkExposure 0 0 3569 1 1 Customer Service Customer Service - General Customer Service Associate Customer Service Associate Full Time, Part Time Avis Budget Group | Nashville,TN NEW CUSTOMER SERVICE ASSOCIATE – BE A HERO TO OUR CUSTOMERS As a Customer Service Associate, you will be greeting customers as they return their rental car to ... NEW Do you match?
04/24/2019 13:59:18 96657429 3 ExtendedNetworkExposure 0 0 3569 1 1 Customer Service Customer Service - General Partner Support Specialist Partner Support Specialist Full Time Avis Budget Group | Tulsa,OK NEW Job Summary Provide assistance to Tulsa and Outsourced Customer Service Representatives regarding domestic and global rental and reservation policies and p... NEW Do you match?
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04/24/2019 13:59:13 96657423 5 ExtendedNetworkExposure 0 0 3569 1 1 Customer Service Customer Service - General Customer Service & Sales Representative Customer Service & Sales Representative Full Time Avis Budget Group | Hanover,MD NEW CUSTOMER SERVICE & SALES REPRESENTATIVE – CONNECT WITH OUR CUSTOMERS IN MOMENTS THAT MATTER Additional earnings potential as much as 3 times your annual ba... NEW Do you match?
04/24/2019 13:59:11 96657420 6 ExtendedNetworkExposure 0 0 3569 1 1 Customer Service Customer Service - General Social Media Customer Service Representative Social Media Customer Service Representative Full Time Avis Budget Group | Tulsa,OK NEW Social Media Support Specialist Job Summary Research, resolve and respond to customers regarding their car rental experience worldwide. This will cover all... NEW Do you match?
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04/24/2019 07:17:25 94251235 16 ExtendedNetworkExposure 0 0 3709 1 1 Customer Service Customer Service - General Engineering Technician I (Materials Only) Engineering Technician I (Materials Only) Freelance Terracon | San Antonio, TX NEW Job DescriptionGeneral Responsibilities:Perform field and/or laboratory testing, observation, and inspection of construction materials (e.g. soils, aggrega... NEW Do you match?
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04/24/2019 05:49:02 96611166 18 TJNBoost30Days 0 0 3364 1 1 Customer Service Customer Service - General Call Center Representative Call Center Representative Full Time Schomp Automotive | Littleton, CO (80129) NEW The 2018 finalist for best places to work in Colorado is looking for Call Center Reps to join Schomp Automotive. Schomp Call Center employees provide the h... NEW Do you match?
04/24/2019 02:30:34 96571881 19 TJNBoost7Days 0 0 3730 1 1 Customer Service Customer Service - General Call Center Manager Call Center Manager Full Time, Part Time Northern Virginia Community College | Annandale, VA NEW Position Summary Information Basic Function The organizational objective of the Call Center is to assist prospective, new & continuing students with their ... NEW Do you match?
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Scott Snell is the E. Thayer Bigelow Research Chair in Business Administration and former Senior Associate Dean for Executive Education at the University of Virginia's Darden Graduate School of Business. He teaches courses in strategic management and leadership, and has worked with companies such as AstraZeneca, Changan Motors (China), Deutsche Telekom, Heineken, and Shell to align strategy, capability, and investments in talent. He is an award winning researcher and is listed among the top 100 most-cited authors in scholarly journals of management. He currently serves on the board of HR People + Strategy, and previously has been a board member of Strategic Management Society's Human Capital Group, the Society for Human Resource Management Foundation, the Academy of Management's Human Resource Division, the Academy of Management Journal and the Academy of Management Review. Prior to joining the Darden faculty, Scott was professor and director of executive education at Cornell University's Center for Advanced Human Resource Studies and a professor of management in the Smeal College of Business at Pennsylvania State University. He received his B.A. from Miami University, as well as his M.B.A. and Ph.D. in business from Michigan State University.


text:
U.K. Brighton Venue Embraces TicketExchange
| March 08, 2007 12:00 AM EST
The Brighton Centre, in south east England, has become the first U.K. venue to adopt Ticketmaster's TicketExchange service.
The exchange facility, first launched in October 2002 in the United States, will allow customers to resell tickets for sold-out events at the Brighton venue.
TicketExchange was originally launched as a way for U.S. sports team season-ticket holders to resell tickets to other fans. Ticketmaster expanded the service to single-ticket holders across all event categories in November 2005.
"We believe TicketExchange is a great service to offer our customers," comments Howard Barden, commercial manager at the Brighton Centre, in a statement. "TicketExchange is the only official and authorised mechanism for fans to re-sell their tickets for Brighton Centre events and if fans buy tickets from an un-authorized source they run the risk of not being admitted to the event."
Through the system, only tickets originally purchased through the Ticketmaster system are eligible for resale, and those tickets may be resold at face value.
The first event at Brighton to offer the new service is Shakira on March 18, followed by performances by "The Office" comedy star Ricky Gervais on March 26, and British dance music group Faithless the following night.
Ticketmaster will continue to be the authorized ticketing supplier for all events at the Brighton Centre.


The Cathedral St Paul Aurelian is one of St Pol de Léon's most famous landmarks. Built between the 13th and 16th centuries, the cathedral houses many interesting relics including the Paul Aurélien Celtic bell and a Roman sarcophagus. There is also the intriguingly morbid 'les étagères de la nuit' (shelves of night) which are 32 small boxes containing the skulls of those exhumed to make room for the newly deceased in the churchyard, a practice which was commonplace up until the 19th century.
St Pol de Léon in Brittany is an historic town known for its religious heritage and the vegetable farming around the town, which made it one of the largest market-garden regions in Europe.
Roscoff is a picturesque fishing village on the North coast of Brittany and is an idyllic introduction to Brittany's rustic charms.
Morlaix in Brittany is a medieval town famous for its 19th century viaduct, charming 16th century half-timber houses and the beautiful Bay of Morlaix.


text:
Q: Disable Textbox once its value store in DB - PHP I have one table and inside that one textbox(to update some value) for each table row. A user will update the value and submit it to the DB. But here, this particular table will show multiple row entries datewise. So, I want to do something like where if a user has submitted one particular rows textbox value that particular textbox should be disabled and the user will not be able to change the same value in future. I need a help I don't understand how to restrict a textbox to do this.
My Code:
I was just able to create a textbox field and call the DB value which is already submitted.
 echo "<td> <input pattern='.{9}' id='test' class='c-font-sm' value='$row[rdocket]' name='p_$row[id]'></input> </td>"

 <button  type='submit'  name='submit' class='btn c-theme-btn c-btn-square c-btn-uppercase c-btn-bold'>Submit</button>

Any Help???

A: Try this :
if the data is in the database we display an input with no name and id and set an attribute to readonly (no changes will affect this input if the user submit the form)
if((isset($row['rdocket'])) && ($row['rdocket'] != NULL)){
echo "<td> <input pattern='.{9}' class='c-font-sm' value='$row[rdocket]' readonly></input> </td>";
}
else
{
echo "<td> <input pattern='.{9}' id='test' class='c-font-sm' value='$row[rdocket]' name='p_$row[id]'></input> </td>";
}


text:
Vendor- Random House
The Love Song of Miss Queenie Hennessy, by Rachel Joyce
From the bestselling author of The Unlikely Pilgrimage of Harold Fry comes an exquisite love story about Queenie Hennessy, the remarkable friend who inspired Harold's cross-country journey.
A runaway international bestseller, The Unlikely Pilgrimage of Harold Fry followed its unassuming hero on an incredible journey as he traveled the length of England on foot—a journey spurred by a simple letter from his old friend Queenie Hennessy, writing from a hospice to say goodbye. Harold believed that as long as he kept walking, Queenie would live. What he didn't know was that his decision to walk had caused her both alarm and fear. How could she wait? What would she say? Forced to confront the past, Queenie realizes she must write again.
In this poignant parallel story to Harold's saga, acclaimed author Rachel Joyce brings Queenie Hennessy's voice into sharp focus. Setting pen to paper, Queenie makes a journey of her own, a journey that is even bigger than Harold's; one word after another, she promises to confess long-buried truths—about her modest childhood, her studies at Oxford, the heartbreak that brought her to Kingsbridge and to loving Harold, her friendship with his son, the solace she has found in a garden by the sea. And, finally, the devastating secret she has kept from Harold for all these years.
A wise, tender, layered novel that gathers tremendous emotional force, The Love Song of Miss Queenie Hennessy underscores the resilience of the human spirit, beautifully illuminating the small yet pivotal moments that can change a person's life.
Paperback, March 1, 2016


In a mixing bowl beat the eggs with the salt and pepper until it starts bubbling.
Beat in the milk, mint, parsley, scallions, and cheese. In a heavy skillet melt the butter over moderate heat.
Pelt in the egg mixture and spread it out evenly.
Reduce the heat to low and cover it fully and cook until the edges of the omelet begin to get firm.
Uncover and run a spatula around the edges to keep it from sticking to the pan.
When the center of the omelet is almost firm, place a plate over the skillet and invert, dropping the omelet onto the plate.
Gently slide it back into the pan, cover, and cook for a few minutes longer until the underside is lightly browned.
Slide out onto a serving plate, cut into wedges, and serve at once.