The over Cheap NFL Jerseys Nike is in the Reds' past five vs.
You'll probably see close to a record number of draft picks get cut.
The Astros pitchers collectively have given up 481 base hits and 203 earned runs.
Chicago has walked 267 times this season and they've struck out 738 times as a unit.
It was Butler's first game in which he tallied at least 20 points and 10 rebounds since Nov.
The Scarlet Knights are ATS and their over under record is .
COLLEGE: Played three years at Cheap NFL Jerseys Nike Arkansas, appearing in 38 games and starting his last 34 straight contests…As a junior, started all 13 games after moving from right guard to left tackle…Named All-SEC Third Team by Phil Steele publications…Helped Arkansas lead the conference with five NBA Basketball Jerseys 200-yard rushing games in league play…As a sophomore, started all 13 games at right guard…Allowed only one sack on the season and was penalized just three times…Part of an offensive line that allowed just 14 sacks on the year…As a freshman, appeared in 12 games…Started the final eight games of the season at guard…Named Freshman All-American and tabbed for SEC All-Freshman Team honors…Part of a line that set the single-season program record by allowing just eight sacks.
Last year we were NBA Basketball Jerseys so spoiled – the clear class of the field was obvious, and all you had to do was figure out how to deal with the two or three Basketball Jerseys truly elite horses.
They've allowed 158 power play opportunities and have given up 35 goals on those chances for a penalty kill percentage of 78%.
Currently they are 6th in the Atlantic Division.
… Puck finds him, off he goes … he really helped us win the game tonight.
He has 7 goals this season with 54 shots on goal, giving him a shooting percentage of 13%.
He averages 6 adjusted yards per throw Jerseys Supply and 7 yards per pass attempt.
Adam Duvall comes into this matchup batting .262 with an OBP of .315.
Big left arrow icon Big right arrow icon Close icon Nike NFL Jerseys From China Copy Url Three dots icon Down arrow icon Email icon Email icon Exit Fullscreen icon External link icon Facebook logo Facebook logo Instagram logo Snapchat logo YouTube logo Grid icon Key icon Left arrow icon Link icon Location icon Mail icon Menu icon Open icon Phone icon Play icon Radio icon Rewind icon Right arrow icon Search icon Select icon NBA Basketball Jerseys Selected icon TV icon Twitter logo Twitter logo Up arrow icon User icon Audio icon Tickets iconAdd to calendar iconNFC icon AFC icon NFL icon Football iconCarousel IconList ViewFootball iconCarousel IconList View.
Volume was the key to Fournette's success last year, Nike NFL Jerseys From China as he averaged only 3 yards per carry, but he should Basketball Jerseys be in line for a heavy workload again.
Click here Basketball Jerseys for more details and to take advantage of this free $60 picks credit today.
They've given up 223 power play opportunities and surrendered 41 goals on those chances for a penalty kill percentage of 82%, ranking 11th overall.
But Miami should have a better Jerseys Supply record in the standings simply due to the fact that they aren't as bad as the Phillies or Braves.
When you go there you are going to play hockey.
Bill Belichick needed to put some work into his boat last week, but it certainly Michael Bennett Jersey was money well spent.
Opponents average 32 rebounds a game which ranks 45th and they give up 11 assists per contest which puts them in 63rd place in the nation.
Do you concur and do you http://www.cowboysofficialauthentics.com/WOMENS-RANDALL-COBB-JERSEY.html see us having a better chance against Pittsburgh than I do?
The Cavaliers allow 102 points per game to their opponents which ranks them 13th in the league.
The Gamecocks have an offensive rating of 105 and they assist on 54% of their shots.
Having Doug Martin as Cheap NFL Jerseys Nike his primary competition also works in Lynch's favor.
Big left arrow icon Big right arrow icon Close icon Copy Url Three dots icon Down arrow icon Email icon Email icon Exit Fullscreen icon External link icon Facebook logo Facebook logo Instagram logo Snapchat logo YouTube logo Grid icon Key icon Left arrow icon Link icon Location icon Mail icon Menu icon Open icon Phone icon Play Cheap NFL Jerseys Nike icon Radio icon Rewind icon NBA Basketball Jerseys Right arrow icon Search Odell Beckham Jr. Jersey icon Select icon Selected icon TV icon Twitter logo Twitter logo Up arrow icon User icon Audio icon Tickets iconAdd to calendar iconNFC icon AFC icon NFL icon Football iconCarousel IconList ViewFootball iconCarousel IconList View.
And then came the Santa Anita Derby.
Third all-time http://www.packersauthenticsofficial.com/WOMENS-ZADARIUS-SMITH-JERSEY.html in career points and first among defencemen, a whopping 378 ahead of second-positioned Paul Reinhart.
As one hockey writer of the day put it, Jerseys Supply He has a calmness not of this world.
He has 39 goals this season with 226 shots on goal Nike NFL Jerseys From China giving him a shooting percentage of 17%.
Fighting lung cancer, she had a mix of chemotherapy drugs awaiting her after radiation therapy at 8 a.m., and she was dreading another day of it.
Nike NFL Jerseys From China To find all players born within a certain month and year, Jerseys Supply for example all players born in December http://www.texansproshopauthentic.com/Tashaun_Gipson_Jersey_Cheap of 1985, choose the month and year with the drop down boxes and then choose the 'Month and Year Basketball Jerseys Search' option.
They have had 3 penalties for 11 yards on defense this year.
Bengals president Mike Brown is the most loyal entity in the NFL.
Detroit comes into this matchup having played 61 games.


text:
~ On 1 and 2 December 2020, a joint Delivery Partners Meeting, a Coordination Commission update and a Joint Steering Forum, involving the International Olympic Committee (IOC) and International Paralympic Committee (IPC), Paris 2024 and its local stakeholders, were organised remotely. This gave the Organising Committee the opportunity to provide updates on its preparations to deliver an iconic, new model for the Games – fit for a post-corona world.
"VAN" (Sports Desk) :: Numerous topics were discussed as the Paris 2024 organisers outlined the development of their vision. With sport as the core, hosting spectacular and sustainable Games that leave a lasting legacy for Paris, Seine-Saint-Denis, the Paris region and the wider French population remains the priority for the Organising Committee.
One important component of this is being delivered through an increasing number of engagement activities organised by Paris 2024. Another is through further optimisations and simplifications being incorporated into the Games delivery concept, following similar efforts undertaken for the Tokyo 2020 Games.
Speaking after the meeting, IOC Coordination Commission Chair Pierre-Olivier Beckers-Vieujant said: "Planning towards the Olympic and Paralympic Games Paris 2024 is not only on track; it's really going above and beyond, fully embracing the recommendations of Olympic Agenda 2020 and the New Norm. The creativity and flexibility shown by all delivery partners is significantly contributing to further efficiencies, all of which will help strengthen key elements like the sports programme and legacy initiatives. Paris is confirming its commitment to deliver a new era of Games, fit for a post-corona world, in a convincing way."
He continued: "The impressive progress being made by Paris 2024 is thanks to close collaboration between all stakeholders – further proof that we're stronger together. Such unity is reflected in Paris 2024's far-reaching engagement activities, which are playing a particularly important role for society during this challenging period. This positive and progressive thinking will be key for all of us over the coming months as the spotlight turns to Paris upon the handover of the Olympic flag from Tokyo 2020 next August."
Craig Spence, the IPC's Chief Brand and Communications Officer, said: "Paris 2024 continues to make tremendous progress and is certainly living up to its promise to deliver revolutionary Games. The Organising Committee is assessing every single aspect of the Games in order to drive efficiencies that will not only save money, but also make the Games better for all stakeholders.
"With just under four years to go, Paris 2024 is in a strong position for 2021, when the eyes of the world will turn to the French capital following the Tokyo 2020 Games."
Tony Estanguet, President of Paris 2024, added: "We would like to thank the IOC and the IPC for their attentiveness, advice and support of our aim to hold Games in line with the challenges of our era: sustainable, spectacular and with strong local roots. This is an important step; after six months of work with all of our stakeholders, we are prepared to achieve our objectives. And despite the ongoing pandemic, we are on schedule. We are keen to present the Olympic and Paralympic concepts to the IOC and IPC decision-making bodies over the next few days, before they are approved by the Paris 2024 Board of Directors on 17 December."
With several topics being covered across the two days of meetings, one of the highlights was the positive impact of numerous Paris 2024 engagement activities. These are being delivered through dedicated programmes including "Terre de Jeux 2024", for institutional partners throughout France such as local sports clubs, and "Le Club Paris 2024", which since July has enabled people from across France to enjoy a unique experience with iconic French champions. Both initiatives have already reached more than half-a-million people via school projects and participation activities with Olympic and Paralympic athletes, held both in person and virtually.
The meetings also provided the Paris 2024 team with an opportunity to summarise their "Impact 2024" initiative, which will provide more than EUR 1.7 million to support projects across France that use sport as a tool for positive social impact.
Looking ahead, the Paris 2024 organisers shared plans for the next Olympic and Paralympic Week, which aims to get more than half-a-million school children active between 1 and 6 February next year. This year's focus will encourage schools to get children physically active for at least 30 minutes every day, on top of their regular physical education classes.
In addition, the Paris 2024 team covered the proposed updates to their venue concept and the status of the Paralympic Games, and gave updates on their legacy and sustainability plans, the cultural programme, plans for Games-time mass participation events, and the Olympic and Paralympic Village.

redpajama_set_name: RedPajamaCommonCrawl


You may sometimes notice some specks or clouds moving in your central and/or peripheral vision. These are sometimes described by patients as "cobwebs" or "spider webs", or more often called floaters.
Floaters are clumps of vitreous fibers or vitreous gel floating inside the vitreous cavity. These fibers start to appear when we get older, approximately after 45 years of age, or sooner if there are some ocular conditions, such as high myopia or nearsightedness. These are due to the shrinking or thickening of the vitreous gel, resulting in a separation or detachment of the vitreous gel from the retinal surface. This process is called posterior vitreous detachment (PVD). The resultant clumps or strands of vitreous fibers become visible by the patient. Sometimes, floaters can be the result of hemorrhages inside the vitreous cavity caused by rupture of small retinal blood vessels due to vitreous traction, or by some other diseases such as Diabetic Retinopathy. Dilated retinal examination is necessary to identify the cause.
Flashes are the results of rubbing or pulling of the retina by the vitreous gel. You may see what look like flashing lights or lightning streaks, even when your eyes are closed.
Flashes and floaters may be more easily seen under dim lit conditions, while less noticeable in a bright environment. These phenomena may make some people think the floaters and/or flashes are only present under certain circumstances, but actually they can be present all the time even though you may not notice them. Flashes and floaters may last for several weeks, months, or even years, and then fade over time. No treatment for the flashes and floaters is necessary if there are no associated complications. Surgical removal of floaters by vitrectomy is generally not considered worth the risk.
As described above, flashes and floaters are an indication of PVD. Since the process of PVD involves the pulling and rubbing of the vitreous on the retina, the major risk or complication is a resultant retinal tear, which can subsequently develop into a retinal detachment. A retinal detachment can lead to severe loss of vision. Another complication of PVD is vitreous hemorrhage, with or without a retinal tear. Vitreous hemorrhage is caused by a broken retinal blood vessel as a result of the pulling of the vitreous gel.
Therefore, it is important to have your retina examined thoroughly when you have new or increased symptoms of flashes or floaters. If a retinal tear, with or without retinal detachment, is discovered at an early stage, a retinal specialist can treat it in the office with laser or cryo-therapy (freezing) with or without a gas bubble placement. If the retinal detachment becomes complicated, a vitrectomy and/or scleral buckle surgery may be needed, which will be done in an operating room.
It is important to understand that sometimes you may see less or even no floaters or flashes, the rubbing and pulling of the retina by the vitreous gel may continue and the risk of a retinal tear is still present. It is also important to understand that people cannot tell if there is a small retinal tear in the peripheral retina, which may cause a retinal detachment later on. Therefore, follow-up retinal exams are necessary.


This cake was based on my rich fruit cake, covered in marzipan. It was then covered in ivory icing, divided into 9 sections with various Christmas decorations added. Standing on an appropriate board, it was completed with a ribbon.


text:
Leopold Gotthilf (* 19. Juni 1918 in Wien; † 29. Dezember 1999) war ein Offizier der Nationalen Volksarmee der Deutschen Demokratischen Republik. Zuletzt hatte er den Dienstgrad eines Generalmajors inne.

Militärische Laufbahn
Als Sohn eines Arbeiters erlernte Gotthilf nach seinem Schulbesuch, den er mit der Mittleren Reife abschloss, von 1933 bis 1938 den Beruf eines Bürogehilfen. Von 1938 bis 1939 war er im Reichsarbeitsdienst eingesetzt sowie anschließend von 1940 bis Kriegsende in der Wehrmacht, zuletzt als Feldwebel. Bei Kriegsende geriet er in sowjetische Kriegsgefangenschaft, aus der er 1948 entlassen wurde.

Er kehrte jedoch nicht mehr nach Österreich zurück, sondern ließ sich in der Sowjetischen Besatzungszone nieder. Hier wurde er 1948 Mitglied der SED und trat noch im selben Jahr, am 4. Oktober, in die Deutsche Volkspolizei ein. Hier agierte Gotthilf bis 1949 als Zug-Polit-Kultur-Offizier in der Volkspolizei-Bereitschaft Kirchmöser später Naumburg.

Von 1949 bis 1950 wurde er zu einem Sonderlehrgang in die Sowjetunion delegiert. Nach seiner Rückkehr wurde Gotthilf Kommandeur der Volkspolizeischule Erfurt I. Von 1953 bis 1957 war er Stellvertretender Kommandeur der Hochschule für Offiziere der Kasernierten Volkspolizei (KVP) bzw. der NVA. 1957 erfolgte eine weitere Delegierung in die Sowjetunion, wo Gotthilf bis 1959 eine Generalstabsakademie besuchte. Nach seiner Rückkehr wurde er als Oberst Kommandeur der 1. motorisierten Schützendivision. 1963 wurde er Kommandeur der Offiziershochschule der Landstreitkräfte "Ernst Thälmann", wo Gotthilf am 7. Oktober 1968 zum Generalmajor ernannt wurde. Diese Position hatte er bis 1974 inne. Danach wurde er Chef der Verwaltung Schulen und Weiterbildung im Ministerium für Nationale Verteidigung. Am 31. Dezember 1980 wurde er in den Ruhestand verabschiedet. Gotthilf war Träger des Vaterländischen Verdienstordens in Bronze, Träger des Scharnhorst-Ordens und anderer Orden und Ehrenzeichen.

Literatur
 Klaus Froh, Rüdiger Wenzke: Die Generale und Admirale der NVA. Ein biographisches Handbuch. Christoph-Links Verlag, Berlin 2000, ISBN 3-86153-209-3, S. 102

Generalmajor (Landstreitkräfte der NVA)
Träger des Vaterländischen Verdienstordens in Bronze
Träger des Scharnhorst-Ordens
SED-Mitglied
Person (Wien)
Deutscher
Geboren 1918
Gestorben 1999
Mann

redpajama_set_name: RedPajamaWikipedia


text:
Dorothea Jordan ( Bland; 21 November 17615 July 1816), was an Anglo-Irish actress, as well as a courtesan. She was the long-time mistress of Prince William, Duke of Clarence, later William IV, and the mother of ten illegitimate children by him, all of whom took the surname FitzClarence. She was known professionally as Dorothea Francis and Dorothea Jordan, was informally Dora Jordan, and was also commonly referred to as Mrs Jordan and Mrs FitzClarence.

Early life
Dorothea Bland was born near Waterford City in Ireland on 22 November 1761, and was baptised at St Martin in the Fields, Middlesex, on 5 December of that year. She was the third of six children born to Francis Bland (1736 – 2 January 1778, in Dover) and his mistress, Grace Phillips (c. 1740 – 1789 in Edinburgh). Her siblings were:
 George Bland (c.1758 – 1807 in Boston, Massachusetts; actor and singer)
 Hester Bland (baptised 2 March 1760 at St Anne Soho, Middlesex – buried at St David's, as of Trelethin, 8 March 1848)
 Lucy Bland (1763/64 – 1778 in Trelethin, St David's, 1778)
 Francis Bland (; a captain, unmarried and without issue)
 Nathaniel Phillips Bland (1766/67 – buried at St David's, Pembrokeshire, 3 June 1830).

Her paternal grandparents were Nathaniel Bland (1695/96, in Killarney, County Kerry – 1760), Vicar General of Ardfert and Aghadoe, and Judge of the Prerogative Court of Dublin, Ireland, and his second wife Lucy (née Heaton). The reports about Jordan's maternal ancestry are unproven; Grace Phillips has been described as the daughter of a Welsh clergyman, whose parish was at Trelethyn.

Before April 1774, when she was thirteen, Jordan's father, who worked as a stagehand, abandoned the family to marry an Irish actress. However, he continued to support the family by sending them meagre sums of money. This allowance was on the condition that the children would not use his last name. Jordan then adopted her mother's maiden name, Phillips.

Theatrical career
The historical record of Jordan's first stage appearance is not clear. Some sources claim that she made her debut in 1777 in Dublin, as Phoebe in As You Like It, whilst others suggest she premiered as Lucy in the Interlude The Virgin Unmask'd, on 3 November 1779. The knowledge of Jordans's time and other roles performed in Ireland is fragmentary, however she is known to have played Priscilla Tomboy in Bickerstaff's The Romp, Anne in Richard III, and Adelaide in the tragedy The Count of Narbonne. At the Smock Alley Theatre, under the management of Richard Daly, Jordan began playing male roles in the company's "reversed" cast. Documentation shows her last appearance in Dublin came on 16 May 1782 when she spoke The Maid of Oaks''' Prologue. At the time she was pregnant with the illegitimate child of Daly, who was married.

Rumours spread and she fled to England, specifically Leeds, where she was employed by Tate Wilkinson, manager of the York Company. It was during this move that she adopted the surname 'Jordan,' and like all the other women in the company (both unmarried and married), adopted the title "Mrs." Her first performance in England was the tragic role of Calista in The Fair Penitent, on 11 July 1782 for which she had been tutored by the scholar Cornelious Swan. Wilkinson paid her 15 shillings a week and she quickly won over the favour of her audiences, packing theatres. Despite the actress's versatile acting talents, the critics were not pleased with her performing tragedy roles. Dora faced harsh criticism for these roles as she was not considered socially acceptable to play women of a higher standing. Swan wrote to Tate to express his amazement at Jordan's talents:

Jordan performed in the Yorkshire Circuit with Wilkinson's company for three years from 1782 to 1785. She was able to learn her lines quickly and seemed to have a natural talent, which made the other actresses in the company jealous. In her first few months, she was given the role of Fanny in The Clandestine Marriage, which only made her more unpopular with the women in the company.

During this first tour, while in Hull, Jordan gave birth to her first daughter Frances. After the delivery, while she cared for the baby, the actresses of the company "blackened her character among the people of Hull." When she returned to the stage on Boxing Day playing Calista in The Fair Penitent, she was met with strong disapproval. Audiences felt that the similarities between Jordan and Calista were too similar. However, Wilkinson came to Jordan's aid to dispel the gossip, painting Jordan as a mild mannered victim. Through Wilkinson's support and Jordan's hard work and good nature, she was eventually able to win over the people before they returned to York.

Some time later, while in York, Sarah Siddons came to visit Wilkinson and see Dora Jordan perform in one of her popular breeches roles. Siddons however, was not impressed with Jordan's performance, and said that she should remain on the Yorkshire Circuit, for she was "not up to London." This remark was soon discounted when William Smith came from London and offered Jordan a salary of £4 a week at Drury Lane. She took the offer and performed for Wilkinson's company for a final time on 9 September 1785 before departing to London with her mother, two-year-old daughter and sister Hester.

Though no specific dates can be sourced, Dora is believed to have performed the role of Lady Teazle in Sheridan's The School for Scandal before she arrived in London. In 1785, she made her first London appearance at Drury Lane as Peggy in The Country Girl. The Morning Post the next day reported on her performance:

Gradually, it came to be recognised that her talent lay in comedy. She was acclaimed for her "naturalness" on stage, and called a "child of nature", a slightly derogatory term for someone who is of illegitimate birth. Audiences also enjoyed her performances in breeches roles such as Viola in Twelfth Night, Sir Harry Wildair in The Constant Couple and William in Rosina. "

In addition to her being "the most admired comic actress of her time", Jordan was also a competent Shakespearean and tragic actress, playing the roles of Ophelia, Imogen in Cymbeline, Emilia in Othello and Zara in Aaron Hill's play of that name. When she first auditioned for Wilkinson, on being asked whether she preferred "tragedy, comedy or opera?" she answered "All."

Play them "all" she did, though Jordan found less success in playing women of higher social standing with some individuals believing that she lacked the "artifice and incisiveness" of other actresses who commonly played high standing female roles.

In addition to playing at Drury Lane and Covent Garden, Jordan continued to return to the provincial circuits. She returned to Wilkinson's Circuit in York several times, as well Edinburgh, Margate, Liverpool, Bath, Bristol and Manchester.

Her engagement at Drury Lane lasted until 1809, and she played a large variety of parts. During the rebuilding of Drury Lane she played at the Haymarket; she transferred her services in 1811 to Covent Garden. Here, in 1814, she made her last appearance on the London stage, and the following year, at Margate, retired altogether.

During her time on the stage she wrote the popular song The Bluebells of Scotland, published under her name around 1800.

In 1815, the renowned theatre critic, William Hazlitt, wrote:

 Relationships and children

 Charles Doyne
While working as a milliner's assistant, she received her first proposal of marriage, from a man known to posterity only as Smith, whose father considered her much too young to marry. The next proposal came when she was acting in Waterford, where she spent a summer while the Dublin theatres were closed. There she met Charles Doyne, an army lieutenant. He "felt hopeful" of being accepted, but her mother regarded him as unsuitable, and Jordan returned to Dublin intent on success in the theatre.

 Richard Daly
She had an affair with Richard Daly, who was manager of Dublin's Crow Street Theatre and then of Smock Alley. Daly was married, and she had an illegitimate child with him:
 Frances Daly (also called Fanny; born in September 1782; she later changed her name to Frances Bettesworth in 1806 and married Thomas Alsop in 1809; she died 2 June 1821).

Jordan's work with Richard Daly helped establish her as an actress in Dublin until the two separated and she left for England.

She then went to work for the theatre company operated by Tate Wilkinson. It was at this point she adopted the name "Mrs. Jordan" – a reference to her escape across the Irish Sea, likened to the River Jordan. The name "Mrs Jordan" was also reportedly given to her by Richard Daly for 'motherly reasons', soon after she gave birth to their first illegitimate child. She appeared at Wilkinson's York Circuit theatres, including The Theatre, Leeds, where she complained of uncomfortable working conditions.

 George Inchbald
Shortly after her affair with Wilkinson was over, she began an affair with George Inchbald, the male lead in the Wilkinson company. According to biographer Claire Tomalin, Jordan had hopes of their marrying, but he was wary of committing himself; later he regretted this and proposed to her, but she turned him down.

 Richard Ford
In late 1786, Jordan began an affair with Sir Richard Ford, then a police magistrate and lawyer. She moved in with him, believing he intended marriage. They had three illegitimate children:
 Dorothea Maria Ford (born August 1787, married Frederick Edward March in 1809).
 A son (who died at birth in October or November 1788).
 Lucy Hester Ford (born 1789, died 1850, married Samuel Hawker—later General and Sir—in 1810).

She left Ford when marriage was no longer possible. Jordan's children were placed under the care of her sister Hester, who moved with them to a house in Brompton. According to a settlement dated 4 November 1791, Jordan transferred all her savings to Ford and Hester for the maintenance and education of the children; in addition, she allowed them an annual payment and granted Hester an allowance for her services.Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans: A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and others Stage Personnel in London, vol. 8: Hough to Keyse, p. 253. [retrieved 4 December 2014].

 William IV
In 1790, Jordan became the mistress of Prince William, Duke of Clarence, the third son of King George III. He had met her at Drury Lane. She began living with him first at Clarence Lodge and later, in 1797, at Bushy House. Together they had ten illegitimate children, all of whom took the surname FitzClarence:
 George FitzClarence (29 January 179420 March 1842), created Earl of Munster in 1831. Married Mary Wyndham.
 Henry Edward FitzClarence (27 March 1795September 1817). Unmarried.
 Sophia FitzClarence (August 179610 April 1837), married Philip Sidney, 1st Baron De L'Isle and Dudley.
 Mary FitzClarence (19 December 179813 July 1864), married General Charles Richard Fox. No issue.
 Lieutenant General Lord Frederick FitzClarence GCH (9 December 179930 October 1854), officer in the British Army. Married Lady Augusta Boyle.
 Elizabeth FitzClarence (17 January 180116 January 1856), married William Hay, 18th Earl of Erroll.
 Rear-Admiral Lord Adolphus FitzClarence GCH, ADC, RN (18 February 180217 May 1856). Unmarried.
 Augusta FitzClarence (17 November 18038 December 1865) married, firstly, Hon. John Kennedy-Erskine, 5 July 1827, married secondly, Admiral Lord Frederick Gordon-Hallyburton.
 Lord Augustus FitzClarence (1 March 180514 June 1854), rector at Mapledurham in Oxfordshire. Married Sarah Elizabeth Catharine Gordon.
 Amelia FitzClarence (21 March 18072 July 1858), married Lucius Bentinck Cary, 10th Viscount Falkland.

During this time, Jordan was granted a yearly stipend of £1,200, though she continued to perform at both Drury Lane and Covent Garden, as well as on provincial tours until her separation with Prince William prior to his marriage to Adelaide of Saxe-Meiningen. In 1811, Jordan was given an annual stipend of £4,400 by Prince William and custody of their daughters while he retained custody of their sons. £2,200 of her stipend included money for the care of the children with a stipulation stating that in order to continue receiving that money, and retain custody, Jordan must not return to the stage.

 Later life and death
In 1814, when her son-in-law, Thomas Alsop, became heavily in debt, Jordan returned to the stage to help pay off that debt. Prince William took legal action and removed their remaining daughters from her care, and ended Jordan's yearly stipend. Jordan had written letters to British theatres and newspapers pleading with them to rehire her, acknowledging her prior affairs and business dealings with some of her past companions.

Jordan sold her home in 1815 and moved to Boulogne, France, assuming the alias Mrs James or Madame James or Mrs Johnson. Not having been summoned back to England, she moved to Versailles by the end of the year. Soon after, she moved to Saint-Cloud, near Paris. While in France, she was defrauded by her eldest daughter, Frances and son-in-law, Thomas Alsop after they accumulated large sums of debt in her name. During this time, both her mental and physical health declined, and she suffered from 'bilious attacks, pains in her side, swollen ankles, shortness of breath and increasing general weakness'. She wrote in a letter "it is not, believe me, the feelings of pride, avarice, or the absence of those comforts I have all my life been accustomed to, that is killing me by inches; it is the loss of my only remaining comfort, the hope I used to live on from time to time, of seeing my children".

She died alone on 5 July 1816 from a ruptured blood vessel caused by violent inflammation of the chest. She was buried in the town cemetery.

References

Sources
 Mrs. Jordan's Profession: The Actress and the Prince, Claire Tomalin, 17 October 1994, Publisher: Viking,
 Ladies of the Bedchamber, Dennis Friedman, 2003, Publisher: Peter Owen,
 The Delectable Dora Jordan, In Otis Skinner (1928) Mad Folk of the Theatre'' Publisher: Ayer Publishing,

External links

1761 births
1816 deaths

18th-century English actresses
18th-century Irish actresses
19th-century English women
19th-century English people
18th-century Anglo-Irish people
19th-century Anglo-Irish people
English stage actresses
English courtesans
Irish courtesans
Irish stage actresses
Irish emigrants to Great Britain
Mistresses of British royalty
People from County Waterford
Irish expatriates in England
English expatriates in France


Annvilla Guest House is a 4 star property in Klerksdorp (North West) that offers accommodation in double luxury suites that all come with en-suite bathrooms.
Klerksdorp is only a short drive away from Johannesburg which offers a few things to see and do in the area including the Cradle of Humankind, Maropeng Visitor's Centre, Sterkfontein Caves, Rhino and Lion Park, Johannesburg Zoo, Pilansberg National Park, hiking, mountain biking, game drives, fishing, walking trails, Constitution Hill, Hector Peterson Museum and the South African National Museum of Military History. Pretoria is also only a short drive away and offers more things to see including the Voortrekker Monument, Union Buildings and Smuts House Museum.
This 4 star property offers accommodation in luxury suites that all come fully equipped with private entrance, en-suite bathroom with large bath and walk in glass shower, sitting area, work desk, king or twin size beds, TV, tea and coffee making facilities, fridge, complimentary toiletries, air conditioning, safe, heated towel rails and hairdryer.
Annvilla Guest House also offers a garden, patio, secure parking, swimming pool, braai facilities, email, laundry services, lunch and dinner on request. This 4 star property offers luxury affordable accommodation for business and leisure travellers alike.


Advising Directors on a Misfeasance Claim for c.£1 Million Regarding Preference Payments.
A Misfeasance Claim usually involves an allegation from the liquidator that a director has misapplied money or other property belonging to the company and/or breached his/her duties as a director. Directors and Insolvency Practitioners instruct us to bring or defend misfeasance claims, an area of insolvency litigation in which we have a great deal of experience.
That the directors/shareholders received a Preference of £650,000.00, by declaring a dividend to themselves for that amount, which they then caused or allowed to be set off against the existing liability of the directors/shareholders, to the company, pursuant to section 239 of the Insolvency Act 1986.
That the directors caused a Preference payment to be made by causing loan repayments to be made of £175,000.00 to companies which were associated with the directors and their spouses.
That the directors received a Preference payment of £135,000.00, because of repayment from the company of short term loans due to them, where the loans were made to the company by them in the months leading up to liquidation, to pay wages and pressing creditors, to allow the company to keep trading whilst attempts at refunding the company continued. Those refunding attempts ultimately failed.
The liquidator alleges that the above transactions involved the directors in breaching their statutory duties owed to the company owed under the Companies Act 2006 (sections 171 – 176 inclusive). He is bringing these Misfeasance Claims against the directors, therefore, as misfeasant transactions, under section 212 of the Insolvency Act 1986.
What is The Liquidator's Claim?
The Liquidator's Misfeasance Claim is that by causing or allowing the company to…..
……..the directors breached their fiduciary duties owed to the company. The liquidator seeks repayment of the £260,000, the £175,000, the £135,000 plus substantial interest, plus legal costs.
When advising directors who are faced with Misfeasance Claims, our approach always bears in mind the level of risk and the likely expense of defending such claims for the directors (as this case shows, the sums involved in Misfeasance Claims can be very large), not to mention the stress and worry for the director and his family of dealing with such claims.
That is particularly so, where in Insolvency Claims such as this, the liquidator almost inevitably brings the claims against the directors with the benefit of adverse costs insurance, meaning that he is, to all intents and purposes, litigating without costs' risk to himself.
In other words, if the liquidator loses his Misfeasance Claim against the director(s) and the Court orders that he pays the directors' legal costs, then the insurance policy kicks in and pays those costs for the liquidator.
What are the Objectives of the Director When Faced With a Misfeasance Claim?
The wider financial position of the director – does he/she have assets that are capable of attack if the liquidator's action proceeds.
Only once the director's objectives are identifie can we hope to decide and advise on how best to respond to the misfeasance claims. Examples of potential responses include: the making of a settlement offer (whether or not coupled with a full response to the claim), the defence of the misfeasance claim (if already issued) or the sending of a robust response letter to the liquidator (if the claim has not yet been issued).
Often a liquidator may, on the face of it, have a misfeasance claim against the directors that appears likely to succeed. However, the wider financial circumstances of the director may well determine that, whatever the merits of the liquidator's case, there is little or no point in the director opposing the liquidator's claims.
For example, the director may still be dealing with personal guarantee and other financial obligations, arising out of the failure of the company that might mean that personal bankruptcy is a better option for the director. It is an option to consider, if only to discount it or potentially to use it as a negotiating tool.
In such a situation, a settlement discussion with the liquidator, offering pence in the pounds, may well be the best way forward for the director and may in fact be an acceptable (if not attractive) solution for the liquidator to the liquidator's claims.
The director also needs to consider whether he can seek a financial contribution from others, to contribute financially towards the liquidator's misfeasance claim(s) made against him. Such a financial contribution might (for example) be sought against accountants or solicitors (or other professionals) who may have advised the directors or the company.
So, if you are facing a misfeasance claim, is there (for example) another director you can look to for a contribution or indemnity?
As this case study demonstrates,the team here at NDP is well used to advising on Misfeasance Claims and negotiating with liquidators and their solicitors on such issues.
If you, or your client, are facing a misfeasance claim, call us on 0121 200 7040 or contact us for an initial free chat. No hole is too deep for us to help, but the earlier you get in touch, the more we can do to help.


text:
Q: Access currently logged in user in EntityRepository I want to create a simple blog example where users have a favourite category attached to there account. This means the can only write articles for this category. (Some of them - mostly admins -will get the opportunity to switch categories, but that's not the problem... for now ^^)
So I first created a relation between the User- and the Category entity. Everything works fine. Each user now has a main category selected.
Only thing which bothers me, is that I cant get hold of the current logged in user in the EntityType (formbuilder) and EntityRepository classes.
In my "New Post" form there are relations to other entities (e.g. Tags). I use the 'entity' formtype in the EntityType class to generate these form elements. Now i wan't to filter the tags, to only allow tags which have the same category relation as the currently logged in users category to be selectable.
I tried to use the query_builder option from the entity formtype. But as i can't get the current user object, I don't know which category he has selected. Same problem with the EntityRepository.
Now I could filter the tags already in the PostController but the problem is, that I will need this over and over again. And therefore I don't wan't to code this everytime I add something new.
I thought it would be the best to place this filter in the EntityRepository. So I can always access the findAllByCategory. But I need the user-object in there.
What is the best way to accomplish this? Have searched a lot, but either I searched for the wrong terms or no one has this problem :)

A: You can get user object from Security Context
$user = $serviceContainer->get('security.context')->getToken()->getUser();

Small tip: In case if user is not logged in - you'll have string in $user, otherwise - User object.
Cheers ;)

A: You can inject security context in your form type defined as a service. Then in your tags field use the query builder with $user (current logged user) to filter tags which have the same category relation as the currently logged:
/** @DI\Service("form.type.post") */
class PostType extends \Symfony\Component\Form\AbstractType
{
    /**
     * @var \Symfony\Component\Security\Core\SecurityContext
     */
    protected $securityContext;

    /**
     * @DI\InjectParams({"securityContext" = @DI\Inject("security.context")})
     *
     * @param \Symfony\Component\Security\Core\SecurityContext $context
     */
    public function __construct(SecurityContext $securityContext)
    {
        $this->securityContext = $securityContext;
    }

    public function buildForm(FormBuilder $builder, array $options)
    {
        $user = $this->securityContext()->getToken()->getUser();

        $builder->add('tags', 'entity', array(
            'label'         => 'Tags',
            'class'         => 'Acme\HelloBundle\Entity\Tag',
            'property'      => 'name',
            'query_builder' => function(EntityRepository $er) use($user) {
                return $er->getAllSuitableForUserChoiceQueryBuilder($user);
            },
            'multiple'      => true,
            'expanded'      => true,
    }
}

Filter tags into your repository:
class TagRepository extends EntityRepository
{
    public function getAllSuitableForUserChoiceQueryBuilder(User $user)
    {
        // Filter tags that can be selected by a given user
    }
}

A:
tried to use the query_builder option from the entity formtype. But as i can't get the current user object, i don't know which category he has selected. Same problem with the EntityRepository.

As long the Category has a relation to the user, you should be able to get the User there.
For Example:
Controller
$someThing   = new SomeThing();
$someThing->setUser($user);
$form = $this->createForm(new someThingType(), $someThing);

Form
$someThing = $options['data'];
$user      = $someThing->getUser();
$builder->add('category', null, array(
    'class' => 'MyBundle:Cateogry',
    'query_builder' =>
        function(EntityRepository $er) use ($user) {
            return $er->getCategoriesForUser($user);
        }
));

Repository
public function getCategoriesForUser($user)
{
    $qb = $this->createQueryBuilder('c');
    $qb->leftJoin('c.user', 'u', 'with', 'u.user = :user');
    $qb->setParameter('user', $user)
    ;

    return $qb;
}

this is not exactly your use-case but pretty similar to it. maybe it helps you.

redpajama_set_name: RedPajamaStackExchange


FreeFileSync - Open Source Synchronization And Folder Comparison Tool !
Free File Sync is new open source tool especially comes for synchronization and folder comparison purpose with easy handling facility. At the same time, it is optimized for the highest performance and usability without restricted overloaded UI interface. In this tool, the main interface of the tool is separated into a left and right column. The major feature of the tool is to compare or synchronize the directories and the files located in them. If you click on the Compare button, it will generate a directory and file list for each directory.
Moreover, in this tool all of the files and directories will be displayed in both columns with a blank row in the opposite column if the file or directory does not exist there. At the same time, you can have a piece of information comprising its name, size and modification date in the table.


I'm Katherine Forbes, founder of Designing the Row (as in Music Row) and creator of Music Biz Besties. I came to Nashville the day after I graduated college because I wanted to be in the music business. Even though I knew no one and nothing about the industry, I was determined to make music my career.
I got my start in artist management and became obsessed with website and social media analytics and the obsession organically grew into freelance work. Now here I am seven years later running my own business designing websites for musicians and small businesses! My primary goal when working with clients is to help them create an online presence that they're not only proud of but that makes it effortless for them to bring in sales and clients of their own.


text:
Die GKV Informatik GbR (GKVI; Eigenschreibweise gkv informatik) mit Sitz in Wuppertal ist eine Gesellschaft bürgerlichen Rechts mit den Gesellschaftern AOK Nordost, AOK NordWest, AOK Rheinland/Hamburg, Barmer Ersatzkasse und HEK – Hanseatische Krankenkasse. Diesen stellt sie IT-Dienstleistungen in unterschiedlichem Umfang zur Verfügung. Das 2006 gegründete Unternehmen ist eine Arbeitsgemeinschaft nach dem Sozialgesetzbuch  SGB X und beschäftigt an mehreren Standorten in Deutschland insgesamt über 860 Mitarbeiter. Bundesweit betreut die GKVI die Arbeitsplätze von über 41.000 Anwendern an rund 1.000 Standorten und realisiert für ihre Gesellschafter unter anderem den zentralen Beitragseinzug für ca. 17 Millionen Versicherte.

Geschichte

Gründung

Im Februar 2004 gründete ein Gremium von Vertretern der Barmer Ersatzkasse, verschiedener Landes-AOKs, der ARGE Nord und des AOK-ISC Teltow eine kassenübergreifende Arbeitsgemeinschaft – die ARGE informatik Betrieb. Der Auftrag der Arbeitsgemeinschaft bestand darin, die benötigten IT-Services durch Bündelung von Ressourcen und Wissen nach technischen und wirtschaftlichen Gesichtspunkten in hoher Qualität bereitzustellen. Der im April 2004 unterzeichnete Letter of Intent bildete die Grundlage für den späteren Gesellschaftsvertrag der GKV Informatik. Dieser wurde am 7. April 2006 in der konstituierenden Sitzung der Gesellschafterversammlung von den Vorständen der AOKs Berlin, Brandenburg, Hamburg, Mecklenburg-Vorpommern, Rheinland, Sachsen-Anhalt, Schleswig-Holstein und Westfalen-Lippe sowie der Barmer Ersatzkasse unterzeichnet. Das Unternehmen bediente zu diesem Zeitpunkt circa 23 % (bezogen auf den durch die Krankenkassen repräsentierten Versichertenanteil) des deutschen Marktes der gesetzlichen Krankenversicherung (GKV).

Geschäftsführung
Peter Martensen wurde bei Unternehmensgründung zum Geschäftsführer bestellt. Im März 2007 wurde Stephan Bühring zum zweiten Geschäftsführer ernannt. Im Jahr 2009 übernahm er, nach dem Ausscheiden von Peter Martensen aus dem Unternehmen, die Position des Sprechers der Geschäftsführung. Im März 2013 wurde Georg Büttner zum zweiten Geschäftsführer bestellt. Stephan Bühring schied im März 2015 aus der Geschäftsführung aus. Zum 1. April 2015 wurde Oliver Hoffmann zum neuen Sprecher der Geschäftsführung ernannt. Im Januar 2017 wurde Georg Büttner alleiniger Geschäftsführer. Seit dem 1. April 2019 fungiert Steffen Horst als zweiter Geschäftsführer. Am 1. Oktober 2020 schied Georg Büttner aus der Geschäftsführung aus. Seit dem 1. Februar 2021 komplettiert Ulrich Arnold die Geschäftsführung der gkv informatik. Seit Oktober 2021 ist Arnold alleiniger Geschäftsführer der gkvi.

Gesellschafter
Bereits kurz nach der Gründung der GKV Informatik schlossen sich die AOK Rheinland und die AOK Hamburg zur AOK Rheinland/Hamburg zusammen. Ab Januar 2010 begleitete GKV Informatik die Vereinigungen ihrer Gesellschafter AOK Berlin und AOK Brandenburg zur AOK Berlin-Brandenburg, AOK Westfalen-Lippe und AOK Schleswig-Holstein zur AOK Nordwest sowie später der AOK Berlin-Brandenburg und AOK Mecklenburg-Vorpommern zur AOK Nordost. Zudem fusionierte die Barmer Ersatzkasse im Januar 2010 mit der Gmünder Ersatzkasse zur Barmer GEK. Am 28. Januar 2011 nahm GKV Informatik einen neuen Gesellschafter, die HEK – Hanseatische Krankenkasse, auf. Die HEK ist der erste nicht an der Gründung beteiligte Gesellschafter. Zum 1. Januar 2017 fusionierte die Barmer GEK mit der Deutschen BKK zur Barmer Ersatzkasse. Die AOK Sachsen-Anhalt ist ab dem 1. Januar 2019 nicht mehr Gesellschafterin der gkv informatik, die Dienstleistungen endeten bereits im Mai 2018.

Leistungen

Aufbau
Die Unternehmensstruktur ist nach dem Prinzip einer Wertschöpfungskette aufgebaut. Diese beschreibt den Weg einer IT-Dienstleistung von der Planung über die Entwicklung bis zur Produktion und Bereitstellung der IT-Dienstleistung an den Kunden. Die Unternehmensprozesse werden gemäß Best practices des IT-Umfeldes strukturiert. Dazu orientiert sich GKV Informatik an Standard-Referenzmodellen wie ITIL und IIM (Industrialisiertes Informationsmanagement).

Service Portfolio
GKV Informatik beschreibt ihre Leistungen als standardisierte IT-Services in einem modularen Service-Portfolio. Zu den Services im Portfolio gehören Infrastruktur-, Applikationsbetriebs- und IT-Services zur Geschäftsprozessunterstützung, die Übernahme von Geschäftsprozessen (BPO-Services) sowie Beratung, Einkauf und Lieferantenmanagement in Hinblick auf die Beschaffung von IT-Lösungen.

Oscare
Seit 2006 unterstützt GKV Informatik die automatische Verteilung (engl. "deployment") der Software Oscare  als GKV-Branchenlösung bei ihren Gesellschaftern. Das auf SAP basierende Softwareprodukt ist eine eingetragene Marke der AOK Systems GmbH. Es bildet als integrative IT-Plattform sämtliche Geschäftsprozesse der  gesetzlichen Krankenversicherung ab. Die Software wird zur Unterstützung der Abwicklung von Geschäftsprozessen wie Stammdatenverwaltung, Beitrags- und Leistungsmanagement, Controlling und Statistiken entwickelt. Die Anwendung wird sukzessive in verschiedenen Modulen verteilt.

Rechenzentren und Datensicherheit
GKV Informatik betreibt zwei zertifizierte  Rechenzentren mit einer Gesamtfläche von mehr als 3000 Quadratmetern an zwei räumlich voneinander getrennten Standorten. Durch ein bundesweites Datennetz ist das zentrale Rechenzentrum in Wuppertal mit den Niederlassungen der Kunden der GKV Informatik verbunden. Für den Datenschutz und die IT-Sicherheit sorgen moderne technische Sicherheitssysteme sowie strenge Sicherheitsrichtlinien. Brandschutzsensoren, Lösch- und Klimaanlagen sowie eine gesonderte Stromversorgung gewährleisten Katastrophenvorsorge und den unterbrechungsfreien Betrieb aller wichtigen Systeme.

Elektronische Gesundheitskarte
Im Frühjahr 2007 wurde GKV Informatik in einem Sicherheitsgutachten der Gematik – Gesellschaft für Telematikanwendungen der Gesundheitskarte die Erlaubnis zur Ausgabe der elektronischen Gesundheitskarte erteilt. Die elektronische Gesundheitskarte dient den gesetzlich Krankenversicherten als Ausweis zur Leistungsinanspruchnahme bei Ärzten, Zahnärzten, in Krankenhäusern und bei sonstigen Leistungserbringern. GKV Informatik betreibt für ihre Gesellschafter die nötige Infrastruktur zur Herausgabe der  elektronischen Gesundheitskarte (Erzeugung und Auslieferung der Auftragsdaten) sowie die entsprechenden Fachdienste, wie z. B. das Kartenapplikationsmanagementsystem (KAMS) und den Versichertenstammdatendienst (VSDD), in einer zertifizierten Hochsicherheitsumgebung. Bis heute sind von GKV Informatik insgesamt über 20 Millionen elektronische Gesundheitskarten ausgegeben worden.

Sonstiges

Mitgliedschaften
Seit 2009 ist GKV Informatik Mitglied im Bundesverband Informationswirtschaft, Telekommunikation und neue Medien. Der Branchenverband vertritt die Interessen von über 2200 Unternehmen der digitalen Wirtschaft. Weiterhin gehört GKV Informatik dem Voice – Bundesverband der IT-Anwender an, der die IT-Entscheider seiner Mitgliedsunternehmen miteinander vernetzt.

Auszeichnungen
In einem Ranking des Magazins Focus wurde GKV Informatik in den Jahren 2014 und 2015 jeweils unter die Top 55 Arbeitgeber Deutschlands in der Branche Telekommunikation und IT gewählt. Auf der 2016 vom Focus veröffentlichten Liste der besten Arbeitgeber Deutschlands in der Branche Telekommunikation und IT wurde GKV Informatik auf Platz 26 gelistet. GKV Informatik wurde 2015 in der Lünendonk-Liste 25 führende IT-Service-Unternehmen in Deutschland geführt.

Weblinks
 Website der GKV Informatik GbR

Einzelnachweise

Gesetzliche Krankenversicherung
Informationstechnikunternehmen
IT-Dienstleister (Deutschland)
Softwarehersteller (Deutschland)
Dienstleistungsunternehmen (Wuppertal)
Gegründet 2006


text:
PROVINCE MAKES APPOINTMENTS TO APPRENTICESHIP AND CERTIFICATION BOARD
The Manitoba government is appointing a new chair, along with five new members and six reappointed members, to the Apprenticeship and Certification Board, Economic Development and Training Minister Ralph Eichler announced today.
"The board is an advisory body that makes important recommendations regarding the designation and regulation of trades, as well as approving apprenticeship training standards," said Eichler. "Its essential work helps ensure a relevant, accessible and responsive apprenticeship and certification system in Manitoba."
Eichler said the board consists of five members who represent the interests of employees in designated trades or occupations, five members who represent the interests of employers in designated trades or occupations, two members who represent the interests of the public, one member who is an apprentice (non-voting member), and the executive director (non-voting member).
Harvey Miller (Winnipeg) is a current board member, and will now move into the role of chair. Miller has served as president of the Merit Contractors Association of Manitoba from 2004 to 2015. He holds a master of psychology from the University of Victoria and a bachelor of arts from the University of Winnipeg.
New appointees to the board include:
• Ted Stark (East St. Paul) has been a boilermaker with Boilermakers Union Local 555 for the past 23 years. He holds a certificate of qualification in boilermaker trade and the welder trade.
• Ron Stacey (Winnipeg) was a certified electrician, a former apprenticeship training co-ordinator, and a former board member.
• Rick Guilbault (Winnipeg) is the president at RGC Plumbing and Mechanical Inc. He holds a certificate of qualification in plumbing, and he was an apprenticeship training co-ordinator, a plumbing instructor and is now an employer.
• Carol Paul (Winnipeg) is the executive director at the Manitoba Construction Sector Council. She holds a master's degree in adult education from the University of Manitoba and is a certified essential skills profiler through Bow Valley College. She has instructed adult education courses at the University of Manitoba and the University of Winnipeg for the past 15 years.
• Alison Buhler (Winnipeg) is president at Buhler HVAC Ltd. and a second level sheet metal apprentice.
Reappointments to the board include:
• Bruce Sloane (Winnipeg);
• Brent Charron (Winnipeg);
• Steve Ducharme (Winnipeg);
• Karen Roe (Brandon); and
• Geoff Sine (Stony Mountain).
The minister thanked all outgoing members for their service.
Eichler also noted these appointments are part of the Manitoba government's efforts to continue to refresh the agencies, boards and commissions of the province, ensuring that Manitobans continue to be represented in these important positions by highly qualified and enthusiastic individuals.


Basic Patron will access to all the posts and updates.
- Vote for the next video topics.
- Basic pro Patron will access to all the posts and updates.
- direct collaborators for the next videos.
-Advance Patron will access to all the posts and updates.
- ProAdvance Patron will access to all the posts and updates.


CCLSWA has a volunteer program for law students in their penultimate or final year of their law studies or who have just completed their degree and are undertaking or wish to undertake practical legal training.
The program is highly regarded by students as excellent preparation to working in legal practice. However, due to the capacity of CCLSWA we can only take a limited number of volunteers at any one time.
To read a short review of CCLSWA's volunteer induction programme, please see page 12 of the National Association of Community Legal Centre's brochure, Working Smarter: Community Legal Centres using innovation and technology.
Please complete the form below, attach your resume and academic transcript, and submit the form.
Volunteers must commit to one day per week for a period of at least 6 months.
Please outline the reason/s why you are applying to volunteer at CCLSWA and what you would like to get out of your experience with this organisation.
As a law student, CCLSWA offered me inimitable practical experience working with a team dedicated to an admirable cause. The Service keeps the public up-to-date with news and current affairs through their website, which also provides consumers with fact sheets and sample letters to assist them in approaching banks and financial institutions.
CCLSWA also impacts the community through their Community Legal Education program, visiting schools in order to equip the next generation of consumers with a breadth of knowledge and skills.
As a volunteer, you will be expected to take instructions from clients, to draft real legal advice, and to deliver that advice back to the client. Where required, you will be expected to conduct legal research into contentious issues, and present the findings of that research directly to solicitors. You may also be required to draft letters and documents for case files.
Volunteering at CCLSWA gave me the opportunity to work extremely closely with experienced solicitors; an opportunity which is invaluable to law students. This allowed me to very quickly pick up the skills necessary to communicate effectively and efficiently with clients, and to draft and deliver legal advice.
The learning curve is a steep one, however the close watch of the solicitors allows volunteers to be confident in their work. It was an incredibly rewarding experience, and I highly recommend all law students looking to further their legal proficiency to apply.
My name is Eamonn Bochat and I am a fifth year law student at the University of Notre Dame Australia. I commenced my time as a volunteer at CCLSWA in February and have no doubt it has been the most exciting and valuable part of my legal education.
The role of the volunteers of running the telephone advice line at CCLSWA is what motivated me to apply for a paralegal position. After my induction I immediately began answering calls from clients seeking advice. This proved to be a great test for my interviewing skills, which have since developed at a rapid rate during my time at CCLSWA. However, what I consider to be the best thing about volunteering is the perfect balance between the autonomy given to paralegals and the supervision by solicitors. Whilst being thrown in the deep end has been fantastic for developing my legal communication skills, the constant feedback I receive from the solicitors at CCLSWA has also enabled me to improve my understanding of the law and ability to draft sound advice.
My time at CCLSWA has opened my eyes to the widespread problem of financial hardship suffered by members of the public and has exposed me to the struggle many face which, before I began volunteering, I had never had to deal with it on a personal level. From my five months of volunteering I have noticed many of the problems our clients face are the result of poor financial decisions which could have been avoided with the proper education. That is why I have taken an avid interest in the Community Legal Education project CCLSWA runs in an attempt to prevent more people from finding themselves in financial difficulty. Not only do I get to embrace my passion for advocacy by presenting to schools about financial literacy, I am using my legal skills to make a difference in the community; making Community Legal Education an incredibly rewarding experience.
In a legal sense, volunteering at CCLSWA has been pivotal in my understanding of how to draft advice for real-life clients. Answering exam questions is completely different to advising a client in real-life, who is solely concerned with being told of what action they can take to fix their situation. Therefore providing realistic solutions is the most important part of providing appropriate advice. As a result I commonly advised clients to lodge complaints with the Department of Commerce of the relevant Ombudsman, as opposed to pursuing litigation which is far too costly and inefficient.
I would highly recommend CCLSWA to any law student as an amazing experience which will enhance their education, experience and contribution to the community.
My name is Megan Faller and I am a final year law student at the University of Notre Dame Australia. I am currently a volunteer paralegal at CCLSWA and have been for five months, commencing in February of this year.
The best aspect of volunteering with CCLSWA is without a doubt the practical legal skills and experience that you acquire. Volunteering at CCLSWA has provided me with the opportunity to work within a very close team of dedicated and knowledgeable solicitors who are not only passionate about the work that they do within the community, but have an avid desire to provide high quality training through the volunteer program.
The work at CCLSWA is certainly challenging and I have learned extremely valuable lessons from both a personal and professional perspective.
Personally, CCLSWA has opened my eyes to a number of prevalent issues within our community, in particular, the devastating effects that financial hardship can have on the most vulnerable members of our community.
Professionally, CCLSWA has been intrinsic in the development of my communication skills, in terms of being able to effectively and efficiently communicate with both clients and colleagues. This development has been further enhanced through my participation in CCLSWA's Community Legal Education program, with presentations to high school students on financial literacy, and other organisations regarding the work that CCLSWA undertakes.
Volunteering at CCLSWA has been the best decision I have made in my legal education so far and it has been an exceptionally rewarding experience.
My name is Aarushi Garg and I was a volunteer paralegal at CCLSWA for two and a half years, from 2012 to 2015.
At CCLSWA I interacted with clients face-to-face and on the telephone advice line, gave clients legal advice which I had drafted myself (subject to solicitors' checks), researched issues pertaining to law reform, presented to high school students as part of the community legal education program, and conducted file work. Through this work I learnt how to effectively analyse real-world issues, improved my public speaking skills, and gained confidence in the work I produced.
Through the ongoing support of hard-working, friendly and highly intelligent solicitors, CCLSWA offered me an unmistakable opportunity to learn and grow in a legal environment. The skills I developed through my work at CCLSWA have also held me in good stead with my current role as a graduate at ANZ.
If you like the sound of a fast-paced, challenging and rewarding legal experience, CCLSWA is definitely the place to go. I remember my time there fondly and cannot recommend it enough.
Between August 2014 and September 2015 I volunteered as a paralegal at Consumer Credit Legal Service. This experience has been an invaluable aspect of my legal education, and I have not once regretted my time spent there.
My commitment involved working with a team of paralegals and solicitors one day a week. This team is spearheaded by Faith Cheok, a highly experienced, competent and passionate lawyer and all-round sweetheart. Faith is an extremely flexible individual who understands the competing demands that students face, and I have never had a problem with booking time off over exams or for personal reasons.
The core task of volunteers is to take instructions from clients, draft advice (from scratch) and then deliver that advice once it has been checked over by solicitors. This framework provides an excellent opportunity for students to work closely with high calibre legal professionals and learn in a collaborative environment, while putting their own legal writing and analytical skills to the test. I found that everyone's door is always open and that the team are happy to discuss any issues that you may be having no matter how busy they are.
From day one volunteers are given significant responsibility and are encouraged to take ownership of their clients. The initial learning curve is steep, however individuals who strive to constantly grow will find this, coupled with the centre's supportive environment, both stimulating and engaging. My time spent on client engagements opened my eyes to the issues that disadvantaged consumers face. It has been inspiring to empower individuals with their legal rights, which they otherwise may not have been able to enforce. I have been fortunate enough to deal with a broad variety of clients from a range of different cultural and socio-economic backgrounds both in person, in prison and over the phone. Each of these client engagements has significantly boosted my oral communication skills, as well as a variety of professional soft skills, that I would otherwise not have been able to enhance.
When I commenced working at Consumer Credit Legal Service I had no background knowledge of consumer law or credit law, and this is not expected of paralegals. A year later, I have developed a deep respect for both the ACL and the NCC, the centre's two core bibles. I have also enhanced my understanding of how the law works in practice on a holistic level, and this has heightened my insight and appreciation of the legal profession.
Outside of advising clients I have had the opportunity to deliver numerous educational presentations to high school students, draft a variety of letters and research memoranda, represent the centre at conferences and careers fares, and engage in professional development workshops. Each of these experiences has led to the development of a well-rounded skillset that is looked favourable on by employers.
I would highly recommend anyone considering joining Consumer Credit Legal Service to do so. The client exposure you receive, coupled with the support of their wonderful solicitors, is truly an invaluable experience that goes well over anything taught at university. I thank the team for their long-term investment in me.
My name is Blake Robinson and I am a recent law graduate from the University of Western Australia. I was fortunate enough to spend 12 months as a volunteer paralegal at CCLSWA before starting full time employment.
A volunteer position with CCLSWA is an invaluable opportunity for any student who enjoys problem solving and is seeking 'hands on' legal experience. During my time with CCLSWA I was able to gain extensive experience drafting legal advice, undertaking legal research, regularly engaging with clients and presenting information to groups of professional, all while working with experienced solicitors who were always happy to provide meaningful feedback. Through these collective experiences I was able to significantly develop my legal abilities and communication skills, as well as my ability to work effectively within a fast paced environment.
CCLSWA also managed to consistently provide me with new and exciting challenges through which I was able to further my own legal knowledge and legal interests. For example – in July/August 2015, I assisted with the research for and drafting of a submission on behalf of CCLSWA for the Australian Senate's inquiry into matters relating to credit card interest rates.
Finally, CCLSWA is a great environment for those who are interested in social issues and who are looking to apply their legal skills to real life situations. CCLSWA provides an important and essential service to a wide range of disadvantaged individuals, and being a part of that service is extremely rewarding.
I am forever grateful for my time with CCLSWA and I could not recommend it any more highly.
My name is Anita Kousari. I am a recent law graduate from the University of Western Australia. I was a volunteer at CCLSWA between April 2014 and December 2015. Volunteering at CCLSWA has been one of the most memorable aspects of my law studies.
During my time at CCLSWA, I took instructions from clients, drafted advice for them, attended client meetings, presented community legal education sessions to different community groups and assisted the solicitors with their file work.
CCLSWA has a fast-paced, and at times challenging, environment. CCLSWA trains volunteers to think on their feet and to understand the importance of providing quality legal advice to disadvantaged individuals.
CCLSWA solicitors ensure the volunteers get the most out of their time and provide constructive feedback to us.
I am grateful for my time at CCLSWA and could not thank the staff and solicitors enough for everything that they have done for me.
I was a volunteer paralegal between February and November 2013. I became a lawyer in 2015. It all started at CCLSWA.
Like most university students, I struggled to see the practical significance of the concepts I was taught. CCLSWA changed that for me.
On behalf of CCLSWA, I delivered presentations to government departments, financial counsellors and consumer advocates. They provided me with good experience. CCLSWA offered useful presentation training in conjunction with an international law firm.
But for me, the most significant aspect of my volunteering experience was the opportunity to advise real people dealing with real problems. As a volunteer paralegal on CCLSWA's telephone advice line, I was the first and last point of contact with a client. I received a client's instructions orally. Under supervision of a solicitor, I then drafted legal advice. Finally and most importantly, I delivered the advice over the telephone to the client.
It is work that matters.
I recall my experience at CCLSWA fondly. The skills I developed were invaluable. It was a rare opportunity for me, at an early stage in my career, to restore some social justice.
I joined CCLSWA as a volunteer in November 2011. At that time, I was a law graduate eager to kick start my legal career. In February 2012, I became a junior solicitor.
From day one, I was given full responsibility of the telephone advice line and responsibility of case files. I fielded the daily telephone queries from the public regarding consumer credit issues and consumer law, as well as general banking and finance questions. This was a fantastic training ground to build my confidence. It laid an important foundation in work ethics, legal drafting and communication skills.
As a junior lawyer I managed a number of simple to moderately complex cases, under Faith's and the solicitors' expert guidance. I learnt the valuable knowledge of file and client management. I recall drafting my very first letter of advice to a client, to which numerous corrections were made. A senior solicitor patiently explained the changes made and provided constructive feedback to me. The collaborative and positive engagement between senior and junior lawyers boosted my confidence and ability.
The training provided by CCLSWA was second to none. CCLSWA sought excellent trainers from reputable law firms and barristers to train in a variety of areas: legal writing, pleadings, advocacy, communication, as well as credit law.
CCLSWA gave me the opportunity to train and mentor juniors. This enhanced my people management and communication skills.
In late 2012, Faith arranged a secondment opportunity for me to work at the Perth branch of the Australian Securities and Investments Commission (ASIC). What began as a six-month secondment turned into a 3.5 year stint for me in ASIC as an enforcement lawyer in financial services and consumer credit law.
The foundation and training that CCLSWA provides is a fantastic stepping stone for all aspiring lawyers. I moved from being a lawyer at ASIC to being a prosecutor at the Australian Taxation Office, to my new and current role as Senior Analyst in Risk and Compliance of KPMG Australia. I applaud CCLSWA for its unending zest to build and maintain the skills of volunteers and junior lawyers, without which I would not be where I am today.
My name is Emily Lynch and I have recently completed a combined Law/Arts degree at the University of Western Australia. I am currently working full-time at the District Court in Perth.
Before I started volunteering at CCLSWA, I had no prior legal experience, nor any knowledge of consumer law. I am immensely grateful to CCLSWA for granting me the invaluable and rewarding opportunity to volunteer there for a year, particularly in light of how much I learned during that time.
Volunteers are instrumental to the operation of CCLSWA and are therefore, in my experience, given a lot more responsibility as compared with law students working in the private sector. Volunteers at CCLSWA perform a wide variety of tasks; such as operating the telephone advice line, assisting in client interviews, drafting legal correspondence and conducting presentations. Performing such tasks – especially with the supervision and guidance of a talented group of solicitors – is great practice for any law student who eventually wants to enter the legal profession.
Now that I have entered the workforce myself, I have found that the legal research and case file management skills I developed at CCLSWA have greatly assisted me in my current position at the District Court. I also feel more comfortable dealing with emotional people in court, after having spoken with clients in similarly difficult situations on CCLSWA's telephone advice line.
I would highly recommend a volunteer position at CCLSWA as a way to not only kick-start your legal career, but also give back to the community.


May 27, 1928: Thea Musgrave is born at Barnton, Midlothian, Scotland, the only child of Joan and James Musgrave.
May 16, 1951: Two Songs for baritone and piano by Thea Musgrave (22) to words of Pound are performed for the first time, in Paris, the composer at the keyboard.
March 20, 1953: Four Madrigals for chorus by Thea Musgrave (24) to words of Wyatt are performed for the first time, in St. Andrews, Fife.
April 23, 1953: Six Songs by Thea Musgrave (24) are performed for the first time, at Glasgow University.
August 21, 1953: A Suite o'Bairnsangs for voice and piano by Thea Musgrave (25) to words of Lindsay, is performed for the first time, in Braemar, Aberdeenshire.
September 15, 1954: A Tale of Thieves, a ballet by Thea Musgrave (26) after Chaucer, is performed for the first time, in Moreton Hall, Oswestry, Shropshire. See 16 May 1957.
September 4, 1955: Cantata for a Summer's Day for chorus, flute, clarinet, and strings by Thea Musgrave (27) to words of Hume and Lindsay is performed for the first time, in Edinburgh.
October 4, 1955: Five Love Songs for soprano and guitar by Thea Musgrave (27) to words of Parry is performed for the first time, in Utrecht.
March 24, 1956: Prelude for organ by Thea Musgrave (27) is performed for the first time, in St. James's, Picadilly, London.
July 15, 1956: Piano Sonata no.2 by Thea Musgrave (28) is performed for the first time, in Cheltenham, Gloucestershire.
May 16, 1957: An orchestral suite from Thea Musgrave's (28) ballet A Tale for Thieves is performed for the first time, in London. See 15 September 1954.
September 1, 1957: Divertimento for strings by Thea Musgrave (29) is performed for the first time, in the Adam Rooms, Edinburgh.
April 23, 1958: A string quartet by Thea Musgrave (29) is performed for the first time, at the University of Glasgow.
June 22, 1958: The Abbot of Drimock, a chamber opera by Thea Musgrave (30) to words of Lindsay after Wilson, is performed for the first time, in Park Lane House, London.
December 16, 1958: A Song for Christmas for voice and piano by Thea Musgrave (30) to a text attributed to Dunbar is performed for the first time, over the airwaves of BBC Scotland.
January 8, 1959: Thea Musgrave's (30) Obliques for orchestra is performed for the first time, over the airwaves of BBC Scotland.
July 12, 1960: Colloquy for violin and piano by Thea Musgrave (32) is performed for the first time, in the Town Hall, Cheltenham, Gloucestershire.
September 14, 1960: Triptych for tenor and orchestra by Thea Musgrave (32) to words of Chaucer, is performed for the first time, in Royal Albert Hall, London.
December 12, 1960: Monologue for piano by Thea Musgrave (32) is performed for the first time, at Birkbeck College, London.
December 20, 1960: Incidental music to Shakespeare's play A Midsummer Night's Dream by Thea Musgrave (32) is performed for the first time, at the Old Vic Theatre, London.
January 8, 1961: Trio for flute, oboe, and piano by Thea Musgrave (32) is performed for the first time, in London.
May 21, 1961: Perspectives for orchestra by Thea Musgrave (32) is performed for the first time, in Stirling.
August 17, 1961: Scottish Dance Suite for band by Thea Musgrave (33) is performed for the first time, in Glasgow.
January 8, 1962: Theme and Interludes for youth orchestra by Thea Musgrave (33) is performed for the first time, in Glasgow.
March 14, 1962: Serenade for flute, clarinet, harp, viola, and cello by Thea Musgrave (33) is performed for the first time, in London.
March 15, 1962: The Abbot of Drimock, a comic opera by Thea Musgrave (33) to words of Lindsay, is staged for the first time, at Morley College, London.
April 26, 1962: Chamber Concerto no.1 for nine instruments by Thea Musgrave (33) is performed for the first time, at the University of Glasgow, the composer conducting. See 19 January 1973.
August 20, 1962: The Phoenix and the Turtle for chorus and orchestra by Thea Musgrave (34) to words of Shakespeare is performed for the first time, in Royal Albert Hall, London.
December 8, 1962: Make Ye Merry for Him that is to Come for women's chorus and children's chorus by Thea Musgrave (34) to a 15th century text, is performed for the first time, in St. Bartholomew's the Great, Smithfield.
December 10, 1962: Four Portraits for baritone, clarinet, and piano by Thea Musgrave (34) to words of Davies, is performed for the first time, in London.
May 16, 1963: Marko the Miser, a children's mime by Thea Musgrave (34) to words of Afanasyev (tr. Samson), is performed for the first time, in Farnham, Surrey Parish Church.
July 3, 1963: Sinfonia for orchestra by Thea Musgrave (35) is performed for the first time, in Cheltenham, Gloucestershire.
December 17, 1963: John Cooke for chorus by Thea Musgrave (35) is performed for the first time, in Royal Festival Hall, London.
December 29, 1963: Incidental music to the television program No Star on the Way Back by Thea Musgrave (35) is performed for the first time, over the airwaves of Border Television. The music will later be known as Two Christmas Carols in Traditional Style for soprano, chorus, and orchestra to words of Nicholson.
June 6, 1964: The Five Ages of Man for chorus and orchestra by Thea Musgrave (36) to words of Hesiod (tr. Lattimore), is performed for the first time, in St. Andrew's Hall, Norwich.
September 18, 1965: Festival Overture for orchestra by Thea Musgrave (37) is performed for the first time, in Glasgow.
May 27, 1966: Sonata for Three for flute, violin, and guitar, young players, by Thea Musgrave, is performed for the first time, at Winchester College, Winchester, Hampshire on the composer's 38th birthday.
July 15, 1966: Variations for Brass Band for young players by Thea Musgrave (38) is performed for the first time, in St. Andrew's, Fife.
August 5, 1966: Chamber Concerto no.2 (Homage to Charles Ives) for flute/piccolo/alto flute, clarinet/bass clarinet, violin/viola, cello, and piano by Thea Musgrave (38) is performed for the first time, in Dartington, Devon.
April 16, 1967: Impromptu for flute and oboe by Thea Musgrave (38) is performed for the first time, in Wigmore Hall, London.
April 19, 1967: Excursions, duets for young pianists by Thea Musgrave (38), is performed for the first time, in London.
May 13, 1967: Music for horn and piano by Thea Musgrave (38) is performed for the first time, in Zagreb.
June 6, 1967: Memento creatoris for chorus by Thea Musgrave (39) to words of Donne, is performed for the first time, in Aldeburgh, Suffolk.
November 30, 1967: The Decision, an opera by Thea Musgrave (39) to words of Lindsay after Taylor, is performed for the first time, in Sadler's Wells Theatre, London.
March 8, 1968: Concerto for orchestra by Thea Musgrave (39) is performed for the first time, in Royal Festival Hall, London.
November 3, 1968: Nocturnes and Arias for orchestra by Thea Musgrave (40) is performed for the first time, in Zürich.
February 5, 1969: Clarinet Concerto by Thea Musgrave (40) is performed for the first time, in Royal Festival Hall, London.
October 24, 1969: Night Music for orchestra by Thea Musgrave (41) is performed for the first time, in Cardiff City Hall. The work was commissioned by the BBC.
November 19, 1969: Beauty and the Beast, a ballet by Thea Musgrave (41) to a scenario by Graham after Barbot Villeneuve, is performed for the first time, in Sadler's Wells Theatre, London.
March 22, 1970: Memento vitae (homage to Beethoven) for orchestra by Thea Musgrave (41) is performed for the first time, in Glasgow.
May 19, 1970: Elegy for viola and cello by Thea Musgrave (41) is performed for the first time, in Lotte Lehmann Hall at the University of California, Santa Barbara.
November 30, 1970: From One to Another for viola and tape by Thea Musgrave (42) is performed for the first time, in the Leo S. Bing Theatre of the Los Angeles County Museum of Art.
May 1, 1971: Horn Concerto by Thea Musgrave (42) is performed for the first time, in City Hall, Glasgow, the composer conducting.
May 19, 1971: Primavera for soprano and flute by Thea Musgrave (42) to words of Elguera, is performed for the first time, in Zagreb.
October 2, 1971: Thea Musgrave (43) marries the violist and conductor Peter Mark in London.
November 16, 1971: Impromptu no.2 for flute, oboe, and clarinet by Thea Musgrave (43) is performed for the first time, at University College, Cardiff.
March 15, 1972: Soliloquy I for guitar and tape by Thea Musgrave (43) is performed for the first time, at the German Institute, London.
January 7, 1973: Scorpius, a ballet by Thea Musgrave (44), is performed for the first time, in Glasgow. The work is an arrangement of her Chamber Concerto no.1. See 16 April 1962.
August 13, 1973: Viola Concerto by Thea Musgrave (45) is performed for the first time, in Royal Albert Hall, London, the composer conducting.
October 11, 1974: Space Play for flute, oboe, clarinet, horn, bassoon, violin, viola, cello, and double bass by Thea Musgrave (46) is performed for the first time, in Queen Elizabeth Hall, London.
March 28, 1976: Orfeo II for flute and 15 strings by Thea Musgrave (47) is performed for the first time, in the Ambassador College Auditorium, Pasadena, California the composer conducting.
March 29, 1976: Piano Sonata in E by Thea Musgrave (47) is performed for the first time, in Jordan's Music Club near London.
July 4, 1976: Orfeo I for flute and tape by Thea Musgrave (48) is performed for the first time, in Chichester Cathedral.
September 26, 1976: Rorate Coeli for chorus by Thea Musgrave (48) to words of Dunbar is performed for the first time, in St. Alfege's Church, Greenwich.
March 17, 1977: Orfeo, a ballet by Thea Musgrave (48), is performed for the first time, over the airwaves of BBC television.
September 6, 1977: Mary Queen of Scots, an opera by Thea Musgrave (49) to her own words after Elguera, is performed for the first time, in King's Theatre, Edinburgh, the composer conducting.
December 4, 1978: O caro m'é il sonno for chorus by Thea Musgrave (54) to words of Michelangelo, is performed for the first time, at the State College of Memphis, Tennessee.
July 20, 1980: The Last Twilight for chorus, brass, and percussion by Thea Musgrave (52) to words of Lawrence is performed for the first time, in Paolo Soleri Theatre, Santa Fe, New Mexico.
November 2, 1981: Peripeteia for orchestra by Thea Musgrave (53) is performed for the first time, in Royal Festival Hall, the composer conducting.
December 16, 1981: A Christmas Carol, an opera by Thea Musgrave (53) to her own words after Dickens, is performed for the first time, in Norfolk Center Theatre, Norfolk, Virginia.
April 4, 1982: From One to Another II for viola and 15 strings by Thea Musgrave (53) is performed for the first time, in Minneapolis, the composer conducting.
September 14, 1982: An Occurrence at Owl Creek Bridge, a radio opera by Thea Musgrave (54) to her own words after Bierce, is performed for the first time, over the airwaves of the BBC originating in London the composer conducting. See 23 June 1988.
December 3, 1982: Fanfare for brass quintet by Thea Musgrave (54) is performed for the first time, in Centre Theatre, Norfolk, Virginia.
March 28, 1983: Soliloquy II for guitar, flute/piccolo, two oboes, bassoon, and strings by Thea Musgrave (54) is performed for the first time.
June 25, 1984: The Lord's Prayer for chorus and organ by Thea Musgrave (56) is performed for the first time, in St. Mary's Cathedral, San Francisco.
March 1, 1985: Harriet, the Woman Called Moses, an opera by Thea Musgrave (56) to her own words, is performed for the first time, in Norfolk, Virginia.
October 15, 1985: Soliloquy III for guitar and nine players by Thea Musgrave (57) is performed for the first time, in Los Angeles.
April 13, 1986: Pierrot for clarinet, violin, and piano by Thea Musgrave (57) is performed for the first time, in Istanbul.
May 31, 1986: Black Tambourine for female chorus and piano by Thea Musgrave (58) is performed for the first time, in Los Angeles.
April 27, 1987: For the Time Being: Advent for chorus and narrator by Thea Musgrave (58) to words of Auden is performed for the first time, in St. John's Smith Square, London.
June 27, 1987: The Golden Echo I for horn and tape by Thea Musgrave (59) is performed for the first time, in Provo, Utah.
October 27, 1987: Monologues of Mary, Queen of Scots for soprano and orchestra by Thea Musgrave (59) to her own words after Elguera is performed for the first time, in Stirling.
January 11, 1988: Niobe for oboe and tape by Thea Musgrave (59) is performed for the first time, in London.
January 15, 1988: Narcissus for flute with digital delay by Thea Musgrave (59) is performed for the first time, in Purcell Room, London.
March 26, 1988: Narcissus for clarinet with digital delay by Thea Musgrave (59) is performed for the first time, in Norfolk, Virginia.
June 23, 1988: An Occurence at Owl Creek Bridge, a radio opera by Thea Musgrave (60) to her own words after Bierce, is staged for the first time, in Wilde Theatre, Bracknell. See 14 September 1982.
December 14, 1988: The Seasons for orchestra by Thea Musgrave (60) is performed for the first time, in Royal Festival Hall, London.
April 25, 1989: Echoes Through Time for chorus and chamber ensemble by Thea Musgrave (60) is performed for the first time, in Atlanta.
August 18, 1989: Piccolo Play for piccolo and piano by Thea Musgrave (61) is performed for the first time, in New Orleans.
October 5, 1990: Rainbow for orchestra by Thea Musgrave (62) is performed for the first time, in Royal Concert Hall, Glasgow.
February 14, 1991: Song of the Enchanter for orchestra by Thea Musgrave (62) is performed for the first time, in Helsinki.
January 15, 1993: The Story of Harriet Tubman, a narrated music drama by Thea Musgrave (64) to her own words, is performed for the first time, in Mobile, Alabama.
March 4, 1993: Midnight for chorus by Thea Musgrave (64) to words of Keats is performed for the first time, in San Antonio, Texas.
March 19, 1993: Wind Quintet by Thea Musgrave (64) is performed for the first time, at Brigham Young University, Provo, Utah.
July 16, 1993: Wild Winter I: Lamentations for voices and viols for four voices and four viols by Thea Musgrave (65) to words of various authors, is performed for the first time, in Litchfield Cathedral.
October 11, 1993: Orfeo III for flute and string quintet by Thea Musgrave (65) is performed for the first time, at the Moscow Conservatory of Music.
July 13, 1994: Autumn Sonata, a concerto for bass clarinet and orchestra by Thea Musgrave (66) is performed for the first time, in Cheltenham.
July 14, 1994: Journey Through a Japanese Landscape, a concerto for marimba and winds by Thea Musgrave (66) is performed for the first time, in Cheltenham.
July 16, 1994: On the Underground Set no.1 (On gratitude, love, and madness) for chorus by Thea Musgrave (66) to words of various authors is performed for the first time, in Cheltenham.
October 29, 1994: On the Underground Set no.2 (The Strange and the Exotic) for chorus by Thea Musgrave (66) to words of Herrick, Morgan, and anonymous is performed for the first time, in Ithaca, New York.
January 20, 1995: Simón Bolivar, an opera by Thea Musgrave (66) to her own words, is performed for the first time, in Norfolk, Virginia.
June 17, 1995: Helios a concerto for oboe and orchestra by Thea Musgrave (67) is performed for the first time, in Kirkwall, Orkney.
November 19, 1995: On the Underground Set no.3 (A Medieval Summer) for chorus by Thea Musgrave (67) to words of Chaucer and anonymous is performed for the first time, in St. John's Smith Square, London.
May 10, 1996: Postcards from Spain for guitar by Thea Musgrave (67) is performed for the first time, in Norfolk, Virginia.
June 1, 1996: Songs for a Winter's Evening for soprano and orchestra by Thea Musgrave (68) to words of Burns is performed for the first time, in Easterbrook Hall, Dumfries.
August 17, 1996: Circe for three flutes by Thea Musgrave (68) is performed for the first time, in New York.
June 20, 1997: Threnody for clarinet and piano by Thea Musgrave (69) is performed for the first time, in Purcell Room, London. Also premiered is Musgrave's Canta Canta for clarinet, cello, and piano.
February 18, 1998: Phoenix Rising for orchestra by Thea Musgrave (69) is performed for the first time, in Royal Festival Hall, London.
April 11, 1998: In the Still of the Night for viola by Thea Musgrave (69) is performed for the first time, in Odessa.
June 5, 1998: A La Esperanza for soprano and organ by Thea Musgrave (70) to words of Sor Juana Ines de la Cruz (tr. the composer) is performed for the first time, in Boston.
November 24, 1998: Wild Winter II for chorus by Thea Musgrave (70) is performed for the first time, at United Nations Headquarters in New York.
January 23, 1999: Voices from the Ancient World for three flutes and percussion by Thea Musgrave (70) is performed for the first time, in Glasgow.
January 23, 1999: Three Women for soprano and orchestra by Thea Musgrave (70) is performed for the first time, in San Francisco.
September 18, 1999: From Spring to Spring for marimba by Thea Musgrave (71) is performed for the first time, in Birmingham.
December 10, 1999: Celebration Day for chorus and orchestra by Thea Musgrave (71) to words of Dryden is performed for the first time, at the University of Wisconsin, Madison.
January 28, 2000: Lamenting With Ariadne for chamber ensemble by Thea Musgrave (71) is performed for the first time, in Birmingham.
May 20, 2000: Aurora for string orchestra by Thea Musgrave (71) is performed for the first time, in Los Angeles.
December 2, 2000: Ring Out Wild Bells for clarinet, violin, cello, and piano by Thea Musgrave (72) is performed for the first time, at Franklin and Marshall College, Philadelphia.
April 4, 2001: Echoes of Time Past for english horn, trumpet, and strings by Thea Musgrave (72) is performed for the first time, in Philadelphia.
December 31, 2001: The Queen's New Year's Honors List includes a CBE for Thea Musgrave (73).
May 3, 2002: The Mocking-Bird, an opera by Thea Musgrave (73) for baritone and chamber orchestra to her own words, is performed for the first time, in Boston.
October 2, 2003: Pontalba, an opera by Thea Musgrave (75) to her own words, is performed for the first time, in New Orleans. It was commissioned by the New Orleans Opera to celebrate the bicentennial of the Louisiana Purchase.
April 1, 2004: Turbulent Landscapes for orchestra by Thea Musgrave (75) is performed for the first time, in Symphony Hall, Boston.
June 18, 2004: Threnody, in an arrangement for english horn and piano by Thea Musgrave (76), is performed for the first time, in Leicester. See 20 June 1997.
January 4, 2005: Wood, Metal, and Skin for percussion and orchestra by Thea Musgrave (76) is performed for the first time, in Usher Hall, Edinburgh.
April 29, 2006: One Sweet Morning for chorus by John Corigliano (68) to words of Harburg is performed for the first time, in New York. On the same program is the premiere of Going North by Thea Musgrave (77) to words of Keats.
May 13, 2006: Remembering Harriet: A story of the American Underground Railroad for narrator, vocal soloists, and orchestra by Thea Musgrave (77) to her own words is performed for the first time, at the Brooklyn Academy of Music. It is a concert work based on her opera Harriet: the Woman called Moses.
May 25, 2006: Journey Into Light for soprano, two oboes, bassoon, two horns, and strings by Thea Musgrave (77) to words of Dunbar and an anonymous poet, is performed for the first time, in Southampton.
March 26, 2007: Voices of Power and Protest for chorus by Thea Musgrave (78) to her own words is performed for the first time, in the Hall for Ethical Culture, New York.
August 31, 2007: Two's Company, a concerto for oboe, percussion, and orchestra by Thea Musgrave (79) is performed for the first time, in Royal Albert Hall, London.
February 23, 2008: Points of View for chamber orchestra by Thea Musgrave (79) is performed for the first time, at the Royal Northern College of Music, Manchester.
October 5, 2008: Cantilena for oboe, violin, viola, and cello by Thea Musgrave (80) is performed for the first time, in King's Place concert hall, London.
November 13, 2008: Taking Turns for three flutes by Thea Musgrave (80) is performed for the first time, in Duff House, Banff, Aberdeenshire.
December 9, 2008: Take Two Oboes for (oddly enough) two oboes by Thea Musgrave (80) is performed for the first time.
December 15, 2008: Green for string orchestra by Thea Musgrave (80) is performed for the first time, at Queen's Cross Church, Aberdeen.
July 22, 2009: Night Windows for oboe and piano by Thea Musgrave (81) is performed for the first time, in Birmingham Town Hall.
February 22, 2010: Sunrise for flute, harp, and viola by Thea Musgrave (81) is performed for the first time, in the Morgan Library, New York.
March 4, 2010: Poets in Love, a cycle for two voices and piano, four hands by Thea Musgrave (81) to words of various poets, is performed for the first time, at Dickinson College in Carlisle, Pennsylvania.
August 6, 2010: Sing to Celebrate Summer for solo voice, up to six players, and audience participation by Thea Musgrave (82) is performed for the first time, in Skytop, Pennsylvania.
September 4, 2010: Ithaca for chorus by Thea Musgrave (82) to words of Cavafy (tr. Sharon) is performed for the first time, in Cadogan Hall, London.
September 13, 2010: Snapshots for solo piano by Thea Musgrave (82) is performed for the first time, as a test piece for the Scottish International Piano Competition at the Royal Scottish Academy of Music and Drama, Glasgow.
January 27, 2011: Towards the Blue for clarinet and eight players by Thea Musgrave (82) is performed for the first time, in Wigmore Hall, London.
January 27, 2011: Snow for soprano, oboe d'amore, and bass viola da gamba by Thea Musgrave (82) to words of Rosenberg is performed for the first time, in Walthamstow, London.
March 15, 2012: Five Songs for Spring for voice and piano by Thea Musgrave (83) to words of Burns are performed for the first time, at Aberdeen University.
August 5, 2012: Loch Ness-A Postcard from Scotland for orchestra by Thea Musgrave (84) is performed for the first time, at the BBC Proms in Royal Albert Hall, London.
October 3, 2012: Dawn for oboe by Thea Musgrave (84) is performed for the first time, at Kings Place, London.
June 9, 2013: Nurse's Songs of Innocence and Experience for children's voices and piano by Thea Musgrave (85) to words of Blake, is performed for the first time, at Aldeburgh.
July 13, 2013: Largo in Homage to B.A.C.H. for string orchestra by Thea Musgrave (85) is performed for the first time, in Sunset Center Theatre, Carmel-by-the-Sea, California.
December 24, 2013: Hear the Voice of the Bard for chorus by Thea Musgrave (85) is performed for the first time, during the Festival of Nine Lessons and Carols at Kings College Cambridge.
July 9, 2015: The Voices of Our Ancestors for speaker, chorus, and orchestra by Thea Musgrave (87) to words of various texts, is performed for the first time, in St. Bride's Church, Fleet Street, London.
October 3, 2015: Power Play for chamber ensemble by Thea Musgrave (87) is performed for the first time, at the Science Museum, Exhibition Road, London.
November 29, 2017: Psalm 147 for organ by Thea Musgrave (89) is performed for the first time, in Westminster Cathedral.
February 2, 2018: From Darkness into the Light for chamber orchestra by Thea Musgrave (89) is performed for the first time, in Media City UK, Salford.
1908: Gustav (47) and Alma Mahler sail for home aboard the Kaiserin August Viktoria after his first season in New York.