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Dame Joan Alston Sutherland,  (7 November 1926 – 10 October 2010) was an Australian dramatic coloratura soprano known for her contribution to the renaissance of the bel canto repertoire from the late 1950s through to the 1980s.

She possessed a voice combining agility, accurate intonation, pinpoint staccatos, a trill and a strong upper register, although music critics complained about her poor diction.

Sutherland was the first Australian to win a Grammy Award, for the year 1961 Best Classical Performance – Vocal Soloist (with or without orchestra) presented in 1962.

She was known as 'La Stupenda' and is widely regarded as one of the greatest sopranos of all time.

Early and personal life
Joan Sutherland was born in Sydney, Australia, to Scottish parents and attended St Catherine's School in the suburb of Waverley, New South Wales. As a child, she listened to and imitated her mother's singing exercises. Her mother, a mezzo-soprano, had taken voice lessons but never considered making a career as a professional singer. Sutherland was 18 years old when she began seriously studying voice with John and Aida Dickens. She made her concert debut in Sydney, as Dido in a production of Henry Purcell's Dido and Aeneas, in 1947.  After winning Australia's most important competition, the Sun Aria (now known as the Sydney Eisteddfod McDonald's Operatic Aria) in 1949, she came third after the baritone Ronal Jackson in radio 3DB's £1,000 Mobil Quest, which she won a year later. In 1951, she made her stage debut in Eugene Goossens's Judith.  She then went to London to further her studies at the Opera School of the Royal College of Music with Clive Carey. She was engaged by the Royal Opera House, Covent Garden, as a utility soprano, and made her debut there on 28 October 1952, as the First Lady in The Magic Flute, followed in November by a few performances as Clotilde in Vincenzo Bellini's opera Norma, with Maria Callas as Norma.

Being an admirer of Kirsten Flagstad in her early career, she trained to be a Wagnerian dramatic soprano. In December 1952, she sang her first leading role at the Royal Opera House, Amelia in Un ballo in maschera. Other roles included Agathe in Der Freischütz, the Countess in The Marriage of Figaro, Desdemona in Otello, Gilda in Rigoletto, Eva in Die Meistersinger von Nürnberg, and Pamina in The Magic Flute. In 1953, she sang the role of Lady Rich in Benjamin Britten's Gloriana a few months after its world premiere, and created the role of Jenifer in Michael Tippett's The Midsummer Marriage, on 27 January 1955.

Sutherland married Australian conductor and pianist Richard Bonynge on 16 October 1954. Their son, Adam, was born in 1956. Bonynge gradually convinced her that Wagner might not be her Fach, and that since she could produce high notes and coloratura with great ease, she should perhaps explore the bel canto repertoire. She eventually settled in this Fach, spending most of her career singing dramatic coloratura soprano.

Career
In 1957, she appeared in Handel's Alcina with the Handel Opera Society, and sang selections from Donizetti's Emilia di Liverpool in a radio broadcast. The following year she sang Donna Anna in Don Giovanni in Vancouver.

In 1959, Sutherland was invited to sing Lucia di Lammermoor at the Royal Opera House in a production conducted by Tullio Serafin and staged by Franco Zeffirelli. The role of Edgardo was sung by her fellow Australian Kenneth Neate, who had replaced the scheduled tenor at short notice. In 1960, she recorded the album The Art of the Prima Donna: the double LP set won the Grammy Award for Best Classical Performance – Vocal Soloist in 1962. The album was added to the National Film and Sound Archive's Sounds of Australia registry in 2011.

Sutherland sang Lucia to great acclaim in Paris in 1960 and, in 1961, at La Scala and the Metropolitan Opera. For her Met performance of Lucia di Lammermoor, standees began lining up at 7:30 that morning. Her singing of the Mad Scene drew a 12-minute ovation. In 1960 she sang Alcina at La Fenice. Sutherland would soon be praised as La Stupenda in newspapers around the world. Later that year (1960), Sutherland sang Alcina at the Dallas Opera, with which she made her US debut.

Her Metropolitan Opera debut took place on 26 November 1961, when she sang Lucia. After a total of 223 performances in a number of different operas, her last appearance there was a concert on 12 March 1989. During the 1978–82 period her relationship with the Met deteriorated when Sutherland had to decline the role of Constanze in Mozart's Die Entführung aus dem Serail, more than a year before the rehearsals were scheduled to start. The opera house management then declined to stage the operetta The Merry Widow especially for her, as requested; subsequently, she did not perform at the Met during that time at all, even though a production of Rossini's Semiramide had also been planned, but later she returned there to sing in other operas.

During the 1960s, Sutherland added the heroines of bel canto to her repertoire: Violetta in Verdi's La traviata, Amina in Bellini's La sonnambula and Elvira in Bellini's I puritani in 1960; the title role in Bellini's Beatrice di Tenda in 1961; Marguerite de Valois in Meyerbeer's Les Huguenots and the title role in Rossini's Semiramide in 1962; Norma in Bellini's Norma and Cleopatra in Handel's Giulio Cesare in 1963. In 1966 she added Marie in Donizetti's La fille du régiment.

In 1965, Sutherland toured Australia with the Sutherland-Williamson Opera Company. Accompanying her was a young tenor named Luciano Pavarotti.

During the 1970s, Sutherland strove to improve her diction, which had often been criticised, and increase the expressiveness of her interpretations. She continued to add dramatic bel canto roles to her repertoire, such as Donizetti's Maria Stuarda and Lucrezia Borgia, as well as Massenet's Esclarmonde. With Pavarotti she made a studio-recording of Turandot in 1972 under the baton of Zubin Mehta, though she never performed the role on stage.

Sutherland's early recordings show her to be possessed of a crystal-clear voice and excellent diction. However, by the early 1960s her voice lost some of this clarity in the middle register, and she often came under fire for having unclear diction. Some have attributed this to sinus surgery; however, her major sinus surgery was done in 1959, immediately after her breakthrough Lucia at Covent Garden. In fact, her first commercial recording of the first and final scene of Lucia reveals her voice and diction to be just as clear as prior to the sinus procedure. Her husband Richard Bonynge stated in an interview that her "mushy diction" occurred while striving to achieve perfect legato. According to him, it is because she earlier had a very Germanic "un-legato" way of singing.

During the 1980s, Sutherland added Anna Bolena, Amalia in I masnadieri, and Adriana Lecouvreur to her repertoire, and repeated Esclarmonde at the Royal Opera House performances in November and December 1983. Her last full-length dramatic performance was as Marguerite de Valois (Les Huguenots) at the Sydney Opera House in 1990, at the age of 63, where she sang Home Sweet Home for her encore. Her last public appearance, however, took place in a gala performance of Die Fledermaus on New Year's Eve, 1990, at Covent Garden, where she was accompanied by her colleagues Luciano Pavarotti and the mezzo-soprano Marilyn Horne. According to her own words, given in an interview with The Guardian newspaper in 2002, her biggest achievement was to sing the title role in Esclarmonde. She considered those performances and recordings her best.

Retirement years

After retirement, Sutherland made relatively few public appearances, preferring a quiet life at her home in Les Avants, Switzerland. One exception was her 1994 address at a lunch organised by Australians for Constitutional Monarchy, when Sutherland commented: "It also upsets me that it is such a damned job to get an Australian passport now – you have to go to be interviewed by a Chinese or an Indian. I'm not particularly racist, but I find it ludicrous." Her criticism caused controversy.

On 3 July 2008, she fell and broke both legs while gardening at her home in Switzerland.

Film role
Sutherland had a leading role as Mother Rudd in the 1995 comedy film Dad and Dave: On Our Selection opposite Leo McKern and Geoffrey Rush.

Publications
In 1997, she published an autobiography, A Prima Donna's Progress. It received mixed reviews for its literary merits. Library Journal stated,
Opera superstar Dame Joan Sutherland gives an exhaustive account of her performing and recording career over four decades. From her early years in Australia and with the Covent Garden company in London, to her daunting schedule at most of the major opera houses of the world, we read endlessly of where, when, and with whom she sang which roles. We're shown a sensible woman and a hard-working artist, with a healthy ego tempered by a sense of humor that is often self-deprecating.
The work includes a complete list of all her performances, with full cast lists.

Her official biography, Joan Sutherland: The Authorised Biography, published in February 1994, was written by Norma Major, wife of the then prime minister John Major.

In 2002, she appeared at a dinner in London to accept the Royal Philharmonic Society's gold medal. She gave an interview to The Guardian in which she lamented the lack of technique in young opera singers and the dearth of good teachers. By this time she was no longer giving master classes herself; when asked by Italian journalists in May 2007 why this was, she replied: "Because I'm 80 years old and I really don't want to have anything to do with opera any more, although I do sit on the juries of singing competitions." The Cardiff Singer of the World competition was the one that Sutherland was most closely associated with after her retirement. She began her regular involvement with the event in 1993, serving on the jury five consecutive times and later, in 2003, becoming its patron.

Death
On 11 October 2010, Sutherland's family announced that she had died at her home at Les Avants in Switzerland the previous day of cardiopulmonary failure – "the heart just gave out...When it came to the point that she physically couldn't do anything, she didn't want to live any more. She wanted to go, she was happy to go, and in the end she died very, very peacefully." Though she recovered from her fall in 2008, it led to more serious health problems. A statement from her family said "She's had a long life and gave a lot of pleasure to a lot of people." Sutherland had requested a small, private funeral service. Her funeral was held on 14 October and Opera Australia planned a tribute to her. Artistic director of Opera Australia, Lyndon Terracini, said "We won't see her like again. She had a phenomenal range, size and quality of voice. We simply don't hear that any more." Sutherland is survived by her husband, son, daughter-in-law and two grandchildren.

Australian Prime Minister Julia Gillard said, "She was of course one of the great opera voices of the 20th century," adding that Dame Joan showed a lot of "quintessential Australian values. She was described as down to earth despite her status as a diva. On behalf of all Australians I would like to extend my condolences to her husband Richard and son Adam and their extended family at this difficult time. I know many Australians will be reflecting on her life's work today."

Memorial service
A State Memorial Service on 9 November 2010, arranged by Opera Australia, was held at the Sydney Opera House. Speakers at the service were Julia Gillard, Prime Minister of Australia; Professor Marie Bashir, the Governor of New South Wales; Moffatt Oxenbould, the former Artistic Director of Opera Australia; and Sutherland's son, Adam Bonynge. The service was broadcast live by both ABC1 television and ABC Classic FM (radio) and streamed globally by ABC News 24. Further memorial services were held in Westminster Abbey on 15 February 2011, and in New York City on 24 May 2011, which was hosted by Marilyn Horne with an appearance by Richard Bonynge. In attendance were Sherrill Milnes, Norman Ayrton, Regina Resnik, and Spiro Malas.

Voice

Vocal timbre

Described as "fresh," "silvery" and "bell-like" until 1963, Joan Sutherland's voice later became "golden" and "warm"; music critic John Yohalem writes it was like "molten honey caressing the line." In his book Voices, Singers and Critics, John Steane writes that "if the tonal spectrum ranges from bright to dark, Sutherland's place would be near the centre, which is no doubt another reason for her wide appeal." According to John Yohalem, "Her lower register was a cello register, Stradivarius-hued." Her voice was full and rounded even in her highest notes, which were brilliant, but sometimes "slightly acid."

In 1971, Time writes an article comparing Sutherland and Beverly Sills,
Originally bright and youthful-sounding, her voice darkened as she transformed herself into a coloratura. There is a suggestion of Callas' famous middle register in Sutherland's vocal center—a tone that sounds as if the singer were singing into the neck of a resonant bottle. Today the Sutherland voice towers like a natural wonder, unique as Niagara or Mount Everest. Sills' voice is made of more ordinary stuff; what she shares with Callas is an abandon in hurling herself into fiery emotional music and a willingness to sacrifice vocal beauty for dramatic effect. Sutherland deals in vocal velvet, Sills in emotional dynamite. Sutherland's voice is much larger, but its plush monochrome robs it of carrying power in dramatic moments. Sills' multicolored voice, though smaller, projects better and has a cutting edge that can slice through the largest orchestra and chorus. Sometimes, indeed, it verges on shrillness. [...] In slow, legato music, Sills has a superior sense of rhythm and clean attack to keep things moving; Sutherland's more flaccid beat and her style of gliding from note to note often turn song into somnolence. Sills' diction in English, French and Italian is superb; Sutherland's vocal placement produces mushy diction in any language, but makes possible an even more seamless beauty of tone than is available to Sills.

Describing Sutherland's voice, John Yohalem writes:
On my personal color scale, which runs from a voluptuous red (Tebaldi) or blood-orange (Price) or purple (Caballé) or red-purple (Troyanos) to white-hot (Rysanek) or runny yellow-green (Sills), Sutherland is among the "blue" sopranos – which has nothing to do with "blues" in the pop sense of the term. (Ella Fitzgerald had a blue voice, but Billie Holiday had a blues voice, which is very different.) Diana Damrau is blue. Mirella Freni is blue-ish. Karita Mattila is ice blue. Régine Crespin was deep blue shading to violet. Sutherland was true blue (like the Garter ribbon). There is a coolness here that can take on the passion in the music but does not inject passion where the music lacks it, could possibly use it.

Vocal category, size and range

Although she is generally described as a dramatic coloratura soprano, "categorizing Sutherland's voice has always been extremely difficult, both the size and the sound present definitional problems [...] Aside from singing some roles popular among coloratura sopranos, Sutherland's voice could not be more different."

In a 1961 profile in The New York Times Magazine, Sutherland said she initially had "a big rather wild voice" that was not heavy enough for Wagner, although she did not realise this until she heard "Wagner sung as it should be."

Regarding the size of Sutherland's voice, Opera Britannia praise "a voice of truly heroic dimensions singing bel canto. It is doubtful if any soprano in this repertoire has fielded quite so much power and tone as Dame Joan, and this includes Callas and Tetrazzini. The contrast with other sopranos who sing the same roles is appropriately enough stupendous, with rival prima donnas producing small pin points of sound as compared to Sutherland's seemingly endless cascades of full tone." In 1972, music critic Winthrop Sargeant describes her voice "as large as that of a top-ranking Wagnerian soprano" in The New Yorker. French soprano Natalie Dessay states, "She had a ,  voice and she was able to lighten suddenly and to take this quick coloratura and she had also the top high notes like a coloratura soprano but with a  voice, which is very rare."

Sutherland's vocal range extended from G below the staff (G3) to high F (F6), or high F-sharp (F6), although she never sang this last note in a public performance.

Honours
During her career and after, Sutherland received many honours and awards. She was made a Commander of the Order of the British Empire (CBE) in the 1961 Birthday Honours. That year she was named the Australian of the Year. Sutherland is a Distinguished Member of the Sigma Alpha Iota International Music Fraternity.

In the 1975 Queen's Birthday Honours, she was in the first group of people to be named Companions of the Order of Australia (AC) (the order had been created only in February 1975). She was elevated within the Order of the British Empire from Commander to Dame Commander (DBE) in the 1979 New Year Honours.

On 29 November 1991, the Queen bestowed on Sutherland the Order of Merit (OM).

Awards
In 1992 Sutherland was a founding patron and active supporter of the Tait Memorial Trust in London. A charity established by Isla Baring OAM, the daughter of Sir Frank Tait of J. C. Williamson's to support young Australian performing artists in the UK. Sir Frank Tait was the Australian impresario who created and managed the Sutherland-Williamson tour of Australia in 1965.

Sutherland House and the Dame Joan Sutherland Centre, both at St Catherine's School, Waverley, and the Joan Sutherland Performing Arts Centre (JSPAC), Penrith, are all named in her honour.

John Paul College, a leading private school in Queensland, Australia, dedicated its newly established facility the Dame Joan Sutherland Music Centre in 1991. Sutherland visited the centre for its opening and again in 1996.

She received the Lifetime Contribution Award in 2001 Echo Klassik.
In January 2004 she received the Australia Post Australian Legends Award which honours Australians who have contributed to the Australian identity and culture. Two stamps featuring Joan Sutherland were issued on Australia Day 2004 to mark the award. Later in 2004, she received a Kennedy Center Honor for her outstanding achievement throughout her career.

On 22 May 2007, the year of the centenary of the birth of soprano Lina Pagliughi, she received the award La Siòla d'Oro at the Teatro Comunale di Bologna.

In 2012, Sutherland was voted into the first Hall of Fame of the magazine Gramophone.

Roles
Sutherland performed live the following complete roles.

Recordings
Recitals

Sutherland made various recital and lieder recordings, usually with Richard Bonynge, many of them originally double-LPs. Some are still available in CD-format.

In 2011 Decca re-released these recitals in a 23-CD set (Complete Decca Studio Recitals, Decca 4783243) comprising:
 Operatic Arias (1959)
 The Art of the Prima Donna (1960) 2CD
 Command Performance (1962) 2CD
 The Age of Bel Canto (with Marilyn Horne and Richard Conrad, 1963) 2CD
 Joy to the World (Christmas Album, 1965)
 The Noël Coward Album (1966)
 Love Live Forever (1966) 2CD
 Romantic French Arias (1969) 2CD
 Songs My Mother Taught Me (1972)
 Operatic Duets (with Luciano Pavarotti, 1976)
 Serate Musicali (1978) 2CD
 Sutherland sings Wagner (1978)
 Sutherland sings Mozart (1979)
 Bel Canto Arias (1985)
 Talking Pictures (1986)
 Romantic Trios, Songs for soprano, horn and piano (1987)
 Rarities and first recordings (1958/59 to 1967/68)

Opera recordings (non-exhaustive)

Vincenzo Bellini
 Beatrice di Tenda—Joan Sutherland (Beatrice), Luciano Pavarotti (Orombello), Cornelius Opthof (Filippo), Josephine Veasey (Agnese), Joseph Ward (Anichino/Rizzardo), Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge, recorded 1966 Decca
 I puritani—Joan Sutherland (Elvira), Pierre Duval (Arturo), Renato Capecchi (Riccardo), Ezio Flagello (Giorgio), Giovanni Fioiani (Gualtiero), Margreta Elkins (Enrichetta), Piero de Palma (Bruno), Coro e Orchestra del Maggio Musicale Fiorentino, Richard Bonynge (conductor) –recorded 1963– Decca 448 969-2 / Decca 467 789-2 (part of a 10-CD set) / London POCL 3965-7
 I puritani—Joan Sutherland (Elvira), Luciano Pavarotti (Arturo), Piero Cappuccilli (Riccardo), Nicolai Ghiaurov (Giorgio), Giancarlo Luccardi (Gualtiero), Anita Caminada (Enrichetta), Renato Cazzaniga (Bruno), Chorus of the Royal Opera, Covent Garden, London Symphony Orchestra—Richard Bonynge, recorded 1973, Decca
 La sonnambula—Joan Sutherland (Amina), Nicola Monti (Elvino), Fernando Corena (Rodolfo), Sylvia Stahlman (Lisa), Margreta Elkins (Teresa), Angelo Mercuriali (Notary), Giovanni Fioiani (Alessio), Coro e Orchestra del Maggio Musicale Fiorentino, Richard Bonynge recorded 1962—Decca 00289 448 9662 6 / 000320702 / 455 823-2—Track listing
 La sonnambula—Joan Sutherland (Amina), Luciano Pavarotti (Elvino), Nicolai Ghiaurov (Rodolfo), Isobel Buchanan (Lisa), Della Jones (Teresa), Piero De Palma (Notaro), John Tomlinson (Alessio), National Philharmonic Orchestra, London Opera Chorus, Richard Bonynge, recorded 1980—Decca 2LH417-424
 Norma—Joan Sutherland (Norma), Marilyn Horne (Adalgisa), John Alexander (Pollione), Richard Cross (Oroveso), Yvonne Minton (Clotilde), Joseph Ward (Flavio), London Symphony Orchestra and Chorus, Richard Bonynge, recorded 1964—Decca
 Norma—Joan Sutherland (Norma), Margreta Elkins (Adalgisa), Ronald Stevens (Pollione), Clifford Grant (Oroveso), Etela Piha (Clotilde), Trevor Brown (Flavio), Opera Australia Chorus, Elizabethan Sydney Orchestra, Richard Bonynge, recorded 1978—DVD Arthaus Musik 100 180
 Norma—Joan Sutherland (Norma), Montserrat Caballé (Adalgisa), Luciano Pavarotti (Pollione), Samuel Ramey (Oroveso), Diana Montague (Clotilde), Kim Begley (Flavio), Chorus and Orchestra of the Welsh National Opera, Richard Bonynge, recorded 1984—Decca

Georges Bizet
 Carmen—Regina Resnik (Carmen), Mario Del Monaco (Don Jose), Joan Sutherland (Micaëla), Tom Krause (Escamillo), Georgette Spanellys (Frasquita), Yvonne Minton (Mercedes), Robert Geay (Zuniga), Jean Prudent (Le Dancaire), Alfred Hallet (Le Remendado), Claude Cales (Morales). Orchestre de la Suisse Romande, recorded 1963

Giovanni Bononcini
 Griselda (highlights) —Joan Sutherland (Griselda), Lauris Elms (Ernesto), Monica Sinclair (Gualtiero), Margreta Elkins (Almirena), Spiro Malas (Rambaldo), Ambrosian Opera Chorus, London Philharmonic Orchestra, Richard Bonynge, recorded 1966. Decca 448 977-2 (coupled with Montezuma)

Francesco Cilea
 Adriana Lecouvreur—Joan Sutherland (Adriana Lecouvreur), Carlo Bergonzi (Maurizio),  (Il Principe di Bouillon), Cleopatra Ciurca (La Principessa di Bouillon), Leo Nucci (Michonnet), Chorus and Orchestra of the Welsh National Opera, Richard Bonynge, recorded 1988, Decca.

Léo Delibes
 Lakmé—Joan Sutherland (Lakmé), Gabriel Bacquier (Nilakantha), Jane Berbié (Malika), Émile Belcourt (Hadji), Alain Vanzo (Gérald), Monte Carlo Opera Chorus, Orchestre National de l'Opéra de Monte-Carlo, Richard Bonynge, recorded 1967, Decca Records.

Gaetano Donizetti
 Emilia di Liverpool (excerpts) / Lucia di Lammermoor (excerpts)—Joan Sutherland (Lucia), Margreta Elkins (Alisa), Joao Gibin (Edgardo), Tullio Serafin (conductor). Recorded 26 February 1959—Myto Records MCD 91545 (Probably these are excerpts from the same performance as the Melodram recording.)
 Lucia di Lammermoor—Joan Sutherland (Lucia), Renato Cioni (Edgardo), Robert Merrill (Enrico), Cesare Siepi (Raimondo), Chorus & Orchestra of the Accademia di Santa Cecilia, John Pritchard (conductor), Decca, 1961.
 Lucia di Lammermoor—Joan Sutherland (Lucia), Luciano Pavarotti (Edgardo), Sherrill Milnes(Enrico), Nicolai Ghiaurov (Raimondo), Chorus & Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge, Decca, 1971.
 Lucia di Lammermoor—Joan Sutherland (Lucia), João Gibin (Edgardo), John Shaw (Enrico), Joseph Rouleau (Raimondo), Kenneth MacDonald (Arturo), Margreta Elkins (Alisa), Robert Bowman (Normanno), Chorus & Orchestra of the Royal Opera House, Covent Garden, Tullio Serafin, recorded 1959—Golden Melodram GM 50024 or Giuseppe di Stefano GDS 21017 or Bella Voce BLV 107 218 (highlights). 2006 release: Royal Opera House Heritage Series ROHS 002.
 Lucia di Lammermoor—Joan Sutherland (Lucia), André Turp (Edgardo), John Shaw (Enrico), Joseph Rouleau (Raimondo), Kenneth MacDonald (Arturo), Margreta Elkins (Alisa), Edgar Evans (Normanno), Chorus & Orchestra of the Royal Opera House, Covent Garden, John Pritchard, recorded 1961—Celestial Audio CA 345
 Lucia di Lammermoor—Joan Sutherland (Lucia), Richard Tucker (Edgardo), Frank Guarrera (Enrico), Nicola Moscona (Raimondo), Robert Nagy (Normanno), Thelma Votipka (Alisa), Charles Anthony (Arturo), Metropolitan Opera House, Conductor: Silvio Varviso. Recorded 9 December 1961 for radio broadcasting.
 La fille du régiment—Joan Sutherland (Marie), Luciano Pavarotti (Tonio), Monica Sinclair (La Marquise de Berkenfield), Jules Bruyère (Hortensius), Spiro Malas (Sulpice), Eric Garrett (Le Caporal), Edith Coates (La Duchesse de Crakentorp), Orchestra & Chorus of the Royal Opera House, Covent Garden, Richard Bonynge. Recorded: Kingsway Hall, London, 17–28 July 1967. Original LP release: SET 372-3 (two LPs), CD release: 414 520-2 DH2 (two CDs).
 L'elisir d'amore—Joan Sutherland (Adina), Luciano Pavarotti (Nemorino), Dominic Cossa (Belcore), Spiro Malas (Dulcamara),  (Giannetta), Ambrosian Opera Chorus, English Chamber Orchestra, Richard Bonynge. Recorded: Kingsway Hall, London, 12–23 January and 1–10 July 1970. Original LP release: SET 503-5 (three LPs), CD release: 414 461-2 DH2 (two CDs), CD re-release: 475 7514 DOR2 (two CDs).
 Lucrezia Borgia—Joan Sutherland (Lucrezia Borgia), Ronald Stevens (Gennaro), Margreta Elkins (Maffio Orsini), Richard Allman (Don Alfonso), Robin Donald (Jacopo Liveretto), Lyndon Terracini (Don Apostolo Gazella), Gregory Yurisich (Ascanio Petrucci), Lamberto Furlan (Oloferno Vitellozzo), Pieter Van der Stolk (Gubetta), Graeme Ewer (Rustighello), John Germain (Astolfo), Neville Grave (Un servo), Eddie Wilden (Un coppiere), Jennifer Bermingham (Principessa Negroni), Australian Opera Chorus, Sydney Elizabethan Orchestra, Richard Bonynge, recorded 1977. VHS Video Cassette—Castle Video CV2845 (PAL); Polygram-Vidéo 070 031-3 (SECAM) Polygram 079 261-3 (PAL)
 Lucrezia Borgia—Joan Sutherland (Lucrezia), Giacomo Aragall (Gennaro), Marilyn Horne (Orsini), Ingvar Wixell (Alfonso), London Opera Chorus, National Philharmonic Orchestra, Richard Bonynge (conductor), Decca, 1977.
 Maria Stuarda—Joan Sutherland (Maria), Huguette Tourangeau (Elisabeta), Luciano Pavarotti (Leicester), Roger Soyer (Talbot), Margreta Elkins (Anna), James Morris (Cecil), Coro del Teatro Comunale di Bologna, Orchestra del Teatro Comunale di Bologna, Richard Bonynge, recorded 1975—Decca 00289 425 4102 / Lyrica LRC 1040/1041—Track listing and excerpts

Charles Gounod
 Faust—Joan Sutherland (Marguerite), Franco Corelli (Faust), Nicolai Ghiaurov (Méphistophélès), Robert Massard (Valentin), Margreta Elkins (Siébel), Monica Sinclair (Marthe), Raymond Myers (Wagner), Ambrosian Opera Chorus and Highgate School Choir, London Symphony Orchestra, Richard Bonynge, Decca 0289 4705632 4 (2002 release) / 421 240-2 (1991 release) / 467 059-2 / London POCL 3962-4 Track listing and audio samples

George Frideric Handel
 Acis and Galatea—Joan Sutherland (Galatea), Peter Pears (Acis), Owen Brannigan (Polyphemus), David Galliver (Damon), The St. Anthony Singers, Philomusica of London, Sir Adrian Boult (Conductor).  L'Oiseau-Lyre OL 50179-80
 Alcina—Joan Sutherland (Alcina), Margreta Elkins (Ruggiero), Lauris Elms (Bradamante), Richard Greager (Oronte), Narelle Davidson (Morgana), Ann-Maree McDonald (Oberto), John Wegner (Melisso), Chorus and Orchestra of Australian Opera, Richard Bonynge, recorded 1983. Celestial Audio CA 112
 Alcina coupled with Giulio Cesare in Egitto (highlights)—Margreta Elkins (Giulio Cesare), Joan Sutherland (Cleopatra), Marilyn Horne (Cornelia), Monica Sinclair (Tolomeo), Richard Conrad (Sesto), New Symphonic Orchestra of London, Richard Bonynge—Decca 00289 433 7232 / 467063-2 / 467 067-2—Track listing and excerpts
 Athalia—Joan Sutherland, Emma Kirkby, Aled Jones, James Bowman, Anthony Rolfe Johnson, David Thomas, The Academy of Ancient Music, Christopher Hogwood (Conductor)
 Messiah—Joan Sutherland, Grace Bumbry, Kenneth McKellar, David Ward, London Symphony Orchestra, Sir Adrian Boult (Conductor)—Decca 433 003-2
 Rodelinda—Alfred Hallett (Grimoaldo), Raimund Herincx (Garibaldo), Joan Sutherland (Rodelinda), Dame Janet Baker (Eduige), Margreta Elkins (Bertarido), Patricia Kern (Unolfo), Chandos Singers, Philomusica Antiqua Orchestra, Charles Farncombe. An English language version, recorded live on 24 June 1959—Opera D'oro OPD 1189 (two CDs) or Memories HR 4577–4578 or Living Stage LS 403 35147 (highlights).
 Rodelinda—Joan Sutherland (Rodelinda), Huguette Tourangeau (Bertarido), Éric Tappy (Grimoaldo), Margreta Elkins (Eduige), Cora Canne-Meijer (Unolfo), Pieter Van Den Berg (Garibaldo), Netherlands Chamber Orchestra, Richard Bonynge. Recorded 30 June 1973—Bella Voce BLV 10 7206.

Jules Massenet
 Esclarmonde—Joan Sutherland (Esclarmonde), Huguette Tourangeau (Parséis), Clifford Grant (Phorcas), Giacomo Aragall (Roland), Louis Quilico (the bishop of Blois), Ryland Davies (Enéas), Robert Lloyd (Cléomer), Finchley Children's Music Group, John Alldis Choir, National Philharmonic Orchestra, Richard Bonynge, Decca 3 CDs 475 7914 DM3 (2006 release)

Giacomo Meyerbeer
 Les Huguenots—Joan Sutherland (Marguerite), Franco Corelli (Raoul), Giulietta Simionato (Valentine), Nicolai Ghiaurov (Marcel), Fiorenza Cossotto (Urbain), Gianandrea Gavazzeni, Orchestra e Coro del Teatro Alla Scala. Live: 7 June 1962. Opera D'Oro. Sung in Italian.
 Les Huguenots—Dominic Cossa (Nevers), Gabriel Bacquier (Saint-Bris), Nicola Ghiuselev (Marcel), John Wakefield (Tavannes), Joseph Ward (Cossé), John Noble (Thoré), Glynne Thomas (Retz), John Gibbs (Meru), Clifford Grant (Maurevert), Janet Coster (Léonard), Dame Kiri Te Kanawa (1st Maid of Honour), Josephte Clement (2nd Maid of Honour), Arleen Auger (1st Gypsy Girl), Maureen Lehane (2nd Gypsy Girl), Joan Sutherland (Marguerite de Valois), Martina Arroyo (Valentine), Huguette Tourangeau (Urbain), Anastasios Vrenios (Raoul de Nangis), Alan Opie (2nd Monk), NPO, Bonynge. Decca 430 549-2, recorded in 1969.

Wolfgang Amadeus Mozart
 Idomeneo—Sergei Baigildin (Idomeneo), Margreta Elkins (Idamante), Henri Wilden (Arbace), Leona Mitchell (Ilia), Joan Sutherland (Elettra), Australian Opera Chorus, Sydney Elizabethan Orchestra, Richard Bonynge, recorded 1979. Gala GLH 826 (highlights) and Celestial Audio CA 060 (highlights)
 Don Giovanni—Gottlob Frick (Commendatore), Luigi Alva (Don Ottavio), Graziella Sciutti (Zerlina), Joan Sutherland (Donna Anna), Piero Cappuccilli (Masetto), Elisabeth Schwarzkopf (Donna Elvira), Eberhard Wächter (Don Giovanni), Heinrich Schmidt, Giuseppe Taddei (Leporello), London Philharmonia Orchestra, Carlo Maria Giulini. Recorded 1959—EMI 0724356787353
 Don Giovanni—Gabriel Bacquier (Don Giovanni), Pilar Lorengar (Donna Elvira), Marilyn Horne (Zerlina), Joan Sutherland (Donna Anna), English Chamber Orchestra, Richard Bonynge. Decca 448 973-2

Jacques Offenbach
 Les contes d'Hoffmann—Joan Sutherland, Plácido Domingo, Gabriel Bacquier, L'Orchestre de la Suisse Romande, Orchestre du Radio de la Suisse Romande, Pro Arte de Lausanne, Andre Charlet, Richard Bonynge, studio recording made at Victoria Hall, Geneva, first published in 1976.

Giacomo Puccini
 Suor Angelica—Joan Sutherland (Angelica), Christa Ludwig (La Zia Principessa), National Philharmonic Orchestra, Richard Bonynge. Decca 475 6531 (coupled with Leoni's "L'oracolo")
 Turandot—Joan Sutherland (Turandot), Luciano Pavarotti (Calaf), Montserrat Caballé (Liu), Nicolai Ghiaurov (Timur), Peter Pears (Emperor), London Philharmonic Orchestra, Zubin Mehta. Decca 414 274-2, recorded in 1972.

Gioachino Rossini
 Semiramide—Joan Sutherland (Semiramide), John Serge (Idreno), Joseph Rouleau (Assur), Spiro Malas (Oroe), Patricia Clark (Azema), Leslie Fyson (Mitrane), Michael Langdon (Spectre of Nino), Marilyn Horne (Arsace), London Symphony Orchestra, Richard Bonynge. Decca 425 481-2, recorded in 1966.

Ambroise Thomas
 Hamlet—Joan Sutherland, Gösta Winbergh, James Morris, Sherill Milnes, Orchestra and Chorus of the Welsh National Opera. Decca, 433 857-2, recorded in April 1983.

Giuseppe Verdi
 Ernani—Luciano Pavarotti (Ernani), Joan Sutherland (Elvira), Leo Nucci (Carlo), Paata Burchuladze (Silva), Linda McLeod (Giovanna), Richard Morton (Riccardo), Alastair Miles (Jago), Orchestra and Chorus of Welsh National Opera, Richard Bonynge. Recorded: Walthamstow Assembly Hall, 10–21 May 1987. Original CD release: 421 412-2 DHO2 (two CDs), CD re-release: 475 7008 DM2 (two CDs)
 I masnadieri—Joan Sutherland, Samuel Ramey, Franco Bonisolli, Matteo Manuguerra, Simone Alaimo, Orchestra and Chorus of the Welsh Nation, Richard Bonynge. CD re-release in 1993: 433 854–2 (two CD, DDD).
 Requiem—Joan Sutherland, Marilyn Horne, Luciano Pavarotti, Martti Talvela, Vienna State Opera Chorus and Vienna Philharmonic, sir Sir Georg Solti (1967), Decca 411 944-2
 Requiem—Joan Sutherland, Fiorenza Cossotto, Luigi Ottolini, Ivo Vinco, Philharmonia Orchestra and Chorus, Carlo Maria Giulini (1960 live recording), Myto 00309
 Rigoletto—Cornell MacNeil, Joan Sutherland, Renato Cioni, Cesare Siepi, Chorus & Orchestra of the Accademia di Santa Cecilia, Nino Sanzogno, Decca, 1961.
 Rigoletto—Sherrill Milnes, Joan Sutherland, Luciano Pavarotti, Martti Talvela, Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge, Decca, 1971.
 La traviata—Joan Sutherland, Carlo Bergonzi, Robert Merrill, Chorus & Orchestra of Maggio Musicale Fiorentino, John Pritchard, Decca, 1962
 La traviata—Joan Sutherland, Luciano Pavarotti, Matteo Manuguerra, National Philharmonic Orchestra, Richard Bonynge. London 430 491-2 recorded in 1979.
 Il trovatore—Luciano Pavarotti (Manrico), Ingvar Wixell (Il Conte di Luna), Nicolai Ghiaurov (Ferrando), Joan Sutherland (Leonora), Marilyn Horne (Azucena), Graham Clark (Ruiz), Norma Burrowes (Ines), Peter Knapp (Un vecchio zingaro), Wynford Evans (Un messo), London Opera Chorus, National Philharmonic Orchestra, Richard Bonynge. Recorded: Kingsway Hall, London, 8, 10, 11, 13–18, 20 September 1976; 26 March 1977. Original LP release: D82D 3 (three LPs), CD release: 417 137-2 DH2* (two CDs), CD re-release: 460 735-2 DF2 (two CDs). (Ballet music not included in CD release).

Richard Wagner
 Siegfried—Joan Sutherland as the Woodbird, Vienna Philharmonic (Sir Georg Solti) 1962 recording, London 414 110-2

Video recordings
 The Metropolitan Opera Centennial Gala, Deutsche Grammophon DVD, 00440-073-4358, 2009

References

Further reading

 Norma Major: Joan Sutherland: The Authorized Biography, Queen Anne Press, 1987, ,  / Little, Brown and Company, 1994, ,
 Joan Sutherland: A Prima Donna's Progress – The Autobiography of Joan Sutherland, Weidenfeld & Nicolson, 1997,

External links

 Joan Sutherland at Decca Records

 Dame Joan Sutherland programs in the National Library of Australia
 Recordings and other material, Internet Archive
 "Sutherland, Joan", National Library of Australia record

Interviews
 Interview with Dame Joan Sutherland Arts and Culture: Christopher Purdy, 2 November 2006
 Joan Sutherland interview by Bruce Duffie

Obituaries
 Dame Joan Sutherland obituary, John Amis, Alan Blyth, The Guardian, 11 October 2010
 Joan Sutherland: addio, Stupenda, Anne Midgette at The Washington Post
 "Dame Joan Sutherland remembered" by Paul Westcott, Opera Now (London), 14 October 2010

1926 births
2010 deaths
20th-century Australian women opera singers
Alumni of the Royal College of Music
ARIA Award winners
ARIA Hall of Fame inductees
Australian Dames Commander of the Order of the British Empire
Australian expatriates in Switzerland
Australian members of the Order of Merit
Australian monarchists
Australian operatic sopranos
Australian people of Scottish descent
Australian of the Year Award winners
Companions of the Order of Australia
Decca Records artists
Grammy Award winners
Helpmann Award winners
Honorary Members of the Royal Academy of Music
Kennedy Center honorees
London Records artists
Royal Philharmonic Society Gold Medallists
Sigma Alpha Iota
Singers awarded knighthoods
Singers from Sydney


text:
Sokoto: A City characterised by frequent fire outbreak
November 24, 2017 Procyon News News 0
By Ado Hassan, Sokoto
FIRE disaster incidence is one among major negative developments with devastation that affects societal settings.
It sometime leads to lost of lives or property or both due to its magnitude.
It is rampant and commonly experienced during harmattan season which makes it worst and devastating due to the frequent wind. Millions and sometime billions are lost to fire outbreaks.
However, it is mostly attributed to human carelessness, negligence or power voltage inconsistency and sometime natural factors as storm.
All these avoidable errors either by omission or commission, have adversely resulted to various kinds of partial and monumental losses in lives and property of households, business(shops, complexes, filling stations) places and offices. Some lost everything while some escape with a few items.
Sokoto state has its fair share of fire outbreak incidences which are mostly monumental. Amazingly, most incidents of fire outbreak in the state occur between the hours of 4pm to 5pm.
Besides, no fewer than four to five cases is being recorded on daily basis within the metropolis.
This have raised concerns among residents and communities in the state over the alarming rate of fire outbreaks being recorded.
More scary to them is the recent record of 481 outbreaks recorded in the state this year.
Fire outbreak incidents have formed a source of concern to the people of the state as the incidents with frequent occurrence at market places and business outlets is adversely affecting the state economy base.
Authorities in the state have also not been isolated from expressing their worry despite efforts being carried out to forestall occurrence.
However, disturbed by the the present trends, the state Commissioner Ministry of Home Affairs, Alhaji Sadeeq Isah Achida and the Director General,state Fire Service Department, Allhaji Murtala Muhammad in their separate comments shed more light on the issue, saying plans are on top gear to embark on extensive public enlightenment campaign as measure to tackle the issue by reducing the trend.
More worrisome is that available records in the Department have shown that eleven people died while properties worth N2.6billion were lost to 481 fire outbreak accidents recorded in the state metropolis from January to date this year.
However,the fire outbreak involved residential buildings as well as commercial outlets.
This needs serious and aggressive public enlightenment on the issue.
The Fire Service Department Boss further said the campaign was necessary considering the higher increase in the cases of fire outbreak in the state.
According to him, at least four to five cases of fire outbreak incident are being recorded daily in the state.
Muhammad said the campaign which will be conducted in public places will be extended to the 23 local government areas of the state to enlighten the public on the need to take precaution and respond to outbreaks promptly if it occurs.
This according to him was to complement the state government efforts as it is doing a lot towards responding to the cases of fire out breaks.
He said the state government had provided seventeen powered fire fighting engines, several water tanks and two additional water centres,among others.
He said already,the Tambuwal led administration has approved the establishment of additional eight fire service stations with enough manpower and equipment saying "currently there are four functional fire fighting stations in Gwadabawa,Wurno,Tambuwal and Bodinga."
He further disclosed that plans were on to repair all broken down fire engines and water tankers across the 23 local government areas by the ministry in collaboration with the state ministry for local government.
While calling on the people especially mothers to always put off electrical appliances after use to avoid fire outbreak, Muhammad assured that the Department will continue to promptly react to fire outbreak incidents.
He also said that in its efforts to improve the capacity of the fire fighting personnel, the staff were expose to the training in Kano, Abuja and an in-house training is being organise in the state.
He also attributed the negligence in the handling of electrical appliances as the major causes of fire outbreak in the state.
Muhammad who noted that other causes were natural and intentional, stressed that personnel of the Department were always ready to respond to any fire incident while advising people to always report any fire incident on time and seek experts advise when conducting an electrical wiring and to avoid using substandard in their projects.
They also expressed dismay on the attitude of some drivers and other public who are reluctant to give way to fire fighting vehicles on duty despite the sound of the siren and described such behaviour as major challenge in fighting fire in the state.
He urged motorists to develop the habit of giving them chance as they were on an urgent mission to safe the lives and properties of people.
Some people interviewed also attributed the non giving out of Zakkat as another important factor contributing to the incessant fire outbreak incident in various markets in the state.
They therefore call on those who their properties were in animals,materials or cash that falls within the range of Zakkat should strive hard to give away to the deserve it.
They noted in that regards their wealths would have quarantine Allah's blessings and protections
Deworm Children Regularly, Aisha Buhari Urges Parents
The Unprecedented Level of Patience Shown to Buhari—the ECONOMIST

redpajama_set_name: RedPajamaCommonCrawl


text:
Watching over citizens' Right to Information
How a Right to Information law improved the daily lives of Sri Lankans
TISrilanka (TISL) 28 September 2020
Just over three years ago, a seismic shift took place in the island nation of Sri Lanka, when a new Right to Information (RTI) law was operationalised. The law was not passed in response to popular, grassroots demand, and as such, one did not expect it to take root as it eventually did. Whether it was for a road to be reconstructed or for an entire village to obtain compensation for damage caused by the civil war, RTI users' and their communities' lives would be very different today, had the law not been in effect. Transparency International Sri Lanka alone has facilitated over 2000 RTIs in the past three years, of which over 45% of users are women.
Ranking 4th in the world, the law itself has several outstanding features – it prevails over all other laws, it prioritises the public interest, refusal of information must be justified, proactive disclosure of information is provided for, and most importantly, the law could be used by ordinary citizens through a simple procedure.
Watchdog for citizens' rights, a deterrent against corruption
Consider the story of Mr. Gunaratnam from Kannagigramam in the North of Sri Lanka who filed an RTI request regarding a land tax that was consistently being overcharged. Upon receiving no response on both his request and appeal to the relevant public authority, he appealed to the Right to Information Commission. The Commission ordered the information to be disclosed and the entire community benefited from a reduction in the land tax.
Acting as watchdog over all this entire process is this Right to Information Commission – a body constituted of 5 commissioners appointed through a multi-stakeholder, independent process, empowered to hear appeals on refusals of information or lack of response, to order public authorities to disclose information, and even to conduct inquiries and prosecute officials that attempt to thwart the process of information disclosure by altering, concealing or destroying information, or that deliberately disobey the Commission's orders.
The fact that the Commission exists acts as a check on all public authorities. It means that they are conscious that any unwarranted action could be appealed against. The commission has, in its orders spanning 2017-2019 ordered public authorities to disclose information to citizens, in 84% of cases. This is a robust record. It is almost impossible to imagine the RTI regime in Sri Lanka functioning effectively, if the RTI Commission were not to be in place as it now is.[1]
An essential institution threatened by a constitutional amendment
In the past few weeks, the Government of Sri Lanka has proposed an amendment to the existing Constitution that seeks to overhaul several key provisions, including Articles regarding the appointment of independent commissions. However, the proposed amendment fails to address the issue of appointment of members to the RTI Commission. While it replaces the previous appointing authority – the Constitutional Council – with a less independent Parliamentary Council, it does not count the RTI Commission among the commissions to be thus appointed. In any event, including the RTI Commission in this list would still be an inadequate solution, given the more political, less authoritative nature of the proposed Parliamentary Council. If the proposed Constitutional amendment goes through without revision, the RTI Commission risks not being appointed at all, when the current Commissioners' term runs out in 2021.
Having the RTI Commission as an appeal body before having to go to court is crucial for RTI operationalisation for another key reason. If citizens were not able to go before the Commission, they would have to seek recourse in Court, starting off a lengthy and expensive process that most citizens would not have the luxury to engage in. The grassroots nature of RTI use in Sri Lanka is only a reality today because the RTI Commission functions in the manner it does.
RTI has brought a fresh breath of air to the accountability landscape in Sri Lanka's governance. Losing the RTI Commission can have a chilling effect on its use and effectiveness and those who suffer as a consequence would be citizens who have just begun in the last three years to truly exercise their democratic right to know, going beyond the ballot box. On this third International Right to Know Day since Sri Lanka's RTI Act became operational, Sri Lanka's RTI stands at a crossroads. Where do we go from here?
[1] Natesan, Ashwini., 'Analyzing the Linkages Between the Use of Right to Information and Decreased Corruption/ Increased Transparency in Sri Lanka' (upcoming publication).


If a 14-15 year old kid's parents die, and their will stipulates that it is their wish that their kid is to be placed in the custody of (Person X), does that happen right away? does a judge have to be involved?
Lets assume that Person X is a family friend, and the kid is comfortable with the decision and there is no dispute from elsewhere.
Would a judge be involved before custody actually became formal? would the two of them -kid and new guardian - need to go before a judge?
Depends on the state/provice/nation's laws how much a judge is involved.
When my kids were transferred to my sister's custody temporarily, I had to sign forms and she and her husband went before the judge. I didn't have to go. I could have, but I didn't have to. That was in Michigan.
I'd double-check with the adoption/guardian laws wherever you're talking about.
Thanks DeleyanLee - - that helps a lot. I just wanted to make sure it was 'possible'. if it's just something that requires a signature and a social worker then one of the scenes in my book would have required a quick change.
Physical custody would most likely be given to the appointed guardian immediately, but formal guardianship would have go through the courts and be approved by a judge. Permanent guardianship is different than temporary. It would be a simple process, but it would take some time, depending on the particular courts schedule.
I believe there are some states that also allow the child to have a voice in the decision, but they have to be a certain age (not necessarily the age of majority). And then there's also emancipation.


Dank, 🤖, and Jackson: MOTHAFUQUEUR a fragrance by Samuel Jackson It smells of ______ and ______.
It smells of ______ and ______.
Jackson, Samuel Jackson, and Samuel: MOTHERFUCKE R a fragrance by Samuel Jackson Fragrance by Samuel Jackson.


Description of Question/Comment: Please update our bank account using the attached voided check/bank letter.
Click on [Open Support Case] to create your Case.
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IntraLogisteX 2019 exhibition was hailed a great success by both visitors and exhibitors. The event is the fastest growing annual exhibition for the intralogistics industry and was packed with everything practitioners need to improve productivity, safety, maximise space and cut costs. The IntraLogisteX 2020 exhibition will take place 31st March and 1st April 2020 and promises more exhibitors, visitors, conference sessions and speakers than ever before.
Are your current suppliers really giving you the best deal?
Are you aware of all the latest industry innovation?
Has your business got what it takes to stay ahead in competitive global marketplace?
Socius24 has attended Intralogistex for the past five years and has always been an important event for generating net new business for our WMS, Services and Software solutions.
Just a few hours at IntraLogisteX 2020 will provide logistics professionals with the solutions to current and future challenges, from the latest materials handling technologies to full-scale warehouse automation options.
Visitor passes are FREE and give you full access to all the cutting-edge solutions on display, live demonstrations and the informative, inspiring sessions within the Technical Seminar Theatre.
Join us on LinkedIn to discuss the latest hot topics affecting the industry.


Jones: Who gets hurt most by draft flight and duty time regulations?
The Helicopters Association of Canada (HAC) argues that our customers, especially our clients located in northern and remote communities, will suffer most.
The Helicopters Association of Canada (HAC) argues that our customers, especially our clients located in northern and remote communities, will suffer most. Even among all the other industry segments that will be adversely impacted by the proposed new regulations, Canadian Aviation Regulations (CAR) Subpart 703, Air Taxi Operations, would be the most adversely affected.
Recent estimates indicate that the current regulations will call for 30 to 50 per cent more helicopter pilots. Experienced flight crews are hard to come by in today's regulatory climate, and the new regulations will aggravate the existing shortage of these crews at all levels of the commercial aviation community. Every spring and summer, I continue to receive calls from operators whose machines are on the ground due to a growing shortage of experienced drivers. When our industry starts to rebound, and new, more conservative flight and duty time regulations kick in, it will constrain the operations of our customers and, HAC would argue, put the cost of our services beyond the reach of many northern and remote communities.
I urge you to take a few minutes to explain our dilemma to your customers – to describe how we will have no option but to raise their rates in order to pass on the cost of these expensive new regulations. Transport Canada says they are "still listening," but the possible changes that are currently under consideration focus on the very fringe of the oppressive regulatory provisions that will cause our industry segment the most harm.
Contact your customers in the First Nations communities you serve and tell them that your hourly costs are likely to rise precipitously during freeze-up and breakup. Explain to your oil and gas customers, as well as your mining and exploration customers, that you will be required to double-crew a Long Ranger or an AStar — or charge them for rotating your pilot out approximately every two weeks, rather than every three or four weeks.
If you are a MedEvac service provider, you should explain to the Ministry of Health why you will need to triple-crew or quadruple-crew a 24/7 operation, and why your dispatch reliability will diminish considerably as a result of the proposed regulations' limitations.
Explain to all your customers that your flight crews in the bush will now be limited to an average of 4.8 flying hours, but in the context of an average 9.1-hour duty day during a 23-day tour. Tell them that Transport Canada has refused to recognize the recuperative value of five or more consecutive days off at home, and that they believe an 11-hour duty day spent in a hotel, watching TV, on a day where no flying occurs, is somehow relevant to the fatigue that your pilot experiences two weeks later.
Pilots will be hurt, too. Pilots should tell their crews why they can no longer go home for extended periods of time off between tours, and that they may be called upon more often to take shorter, more frequent periods of time off away from home. The "zeroing provisions" have been in place for about 20 years, to the benefit of helicopter operators, customers and pilots, but Transport Canada has seen fit to summarily remove them from the draft regulations published in the Canada Gazette.
There are a few kernels of science in the new regulations, but they are otherwise not science-based, nor do they reflect any operational experience in our industry, as Transport Canada has asserted. Simply put, they reflect an airline-centric model for managing flight and duty time limitations for flight crews, with some window dressings that allow the departmental staff to claim they have listened to the industry's concerns.
Ultimately, all Canadians will pay for these misguided regulations. In other industry segments, underserved communities will receive even less service, and the cost of fresh fruit and vegetables will rise. HAC and others believe that they will not improve safety in the commercial aviation community, but will only serve to increase the cost of our services and the cost of air travel to the Canadian public as a whole.


Retail Storekeepers perform merchandising and inventory control duties to maximize profits in a retail store or e-Commerce environment which includes canteen stores and coffee shops in correctional facilities and other State retail operations.
Incumbents possess a degree of knowledge and proficiency sufficient to perform advanced-level work and may provide work direction and training to others. This position is located at Northern Nevada Correctional Center in Carson City.
Graduation from high school and three years of increasingly responsible storekeeping and retail experience which included responsibility for merchandising, stock control, perpetual inventory, contacts with vendors, and coordinating the work of others; OR one year of experience as a Retail Storekeeper II in Nevada State service; OR an equivalent combination of education and experience as described above.
1) Describe your experience, including the number of years, setting stocking levels.
2) Describe your experience, including the number of years, establishing reorder points.
3) Describe your experience, including the number of years, computing and analyzing turnover rates.
4) Describe your experience, including the number of years, reading and using profit and loss statements.
5) Describe your supervisory experience including the number of years, how many staff you supervised, and if you were responsible for performance evaluations.


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Unlike most other native azaleas that bloom in spring, Millenium produces its abundant round clusters of honeysuckle-like flowers in early to mid-summer. While some are calling the flower color red, in our gardens we're seeing it more as a deep pink...maybe we could call it a reddish pink. Each deep pink 5-petaled flower reflexes to form an almost perfect star at the end of the trumpet. Get all the details below!
With so many fine attributes, where do we start?
The Flowers. Unlike most other native azaleas that bloom in spring, Millenium produces its abundant round clusters of honeysuckle-like flowers in early to mid-summer. While some are calling the flower color red, in our gardens we're seeing it more as a deep pink...maybe we could call it a reddish pink. Each deep pink 5-petaled flower reflexes to form an almost perfect star at the end of the trumpet. The flowers contrast beautifully against the backdrop of deep blue foliage.
The Foliage. An exceptionally hardy and attractive variety of Rhododendron viscosum, the 'Millenium' Pink Native Azalea, also commonly called Swamp or Honeysuckle Azalea, sports some of the best looking deep blue leaves of any other among the genus, which makes this one worthy of use in every landscape where it will grow (USDA Zones 5a-8b) landscape even if it didn't flower! The handsome blue leaves with striking silver undersides are arrow-shaped and thick and arranged in whorls, which provides a unique look and outstanding contrast and texture in the landscape.
We're not done...it gets even better.
While some plants might start to look a little tired in the heat of summer, Millennium's thick blue leaves and deep pink summer flowers stand up to the 90 degree summer heat we have here in north-central Georgia! Millennium is equally as cold hardy, tolerating temperatures to -20F. Because it blooms in summer, hummingbirds and butterflies will flock to the flowers.
Needless to say, Millennium is one of our favorite native azaleas and we think you'll love it too!
Growing 4 to 5 feet tall and 3 to 4 feet wide, the Millenium Pink Native Azalea is ideal for use as a specimen in smaller garden spaces or grouped in larger landscapes and woodland borders that provide partial shade, preferably shade or filtered sun in the afternoon. A very nice selection for growing in pots and other containers.
The Millennium Pink Native Azalea is very easy to grow in moist but well-drained, humus rich soil and dappled shade, filtered sun, or morning sun with afternoon shade. Once established it is quite drought tolerant, requiring supplemental water only during prolonged periods of dry summer weather. Native azaleas are very low-maintenance, requiring little if any pruning. That said, occasionally we might prune a stray branch that is growing way outside the natural form of the plant, but not so much that it would spoil the natural form.


text:
Paramecium multimicronucleatum (Gold labelled antigen) - CIL:12980
High magnification of early endosomes in which the membranes are easily seen as a tripartite track. Gold, labeling antigen C6 is observed only in the body of the early endosome and not in the coated evagination or small coated vesicle lying nearby, which may be a newly released carrier vesicle or a coated evagination still attached to an early endosome. TEM taken on 5/14/91 by R. Allen with Zeiss 10A operating at 80kV. Neg. 31,500X. Bar = 0.2?m. Cells were lightly fixed with 0.25% glutaraldehyde and infiltrated with 2.3M sucrose before being frozen in liquid nitrogen and thin sectioned at a temperature of –100?C at approximately 75nm thickness. Frozen sections from these preparations were then thawed, washed, and exposed to a monoclonal primary antibody that was raised in mice or rabbit/goat and to colloidal gold-complexed goat-anti-mouse/rabbit secondary antibodies. Further details of preparation are outlined in Methods Cell Biol. 2010;96:143-73. The negative was printed to paper and the image was scanned to Photoshop. This digitized image is available for qualitative analysis. An unprocessed, high resolution version of this image (CIL:12642) is in the library and available for quantitative analysis. Additional information available at (http://www5.pbrc.hawaii.edu/allen/).
Biological Process: Endosome organization, Early endosome to late endosome transport


text:
Bill Would Make Friday Of ACC Men's Tournament A North Carolina Holiday
WFAE | By Tom Foreman Jr./Associated Press
@DukeMBB/Twitter
Duke University's Matt Hurt, left, and the University of Louisville's Jae'Lyn Withers are seen in a photo shared by the Duke men's basketball team on Twitter. A North Carolina bill would designate Fridays during the ACC tournaments in March a state holiday.
North Carolina residents could avoid calling in sick to work or staying home from school to watch one day of the men's and women's Atlantic Coast Conference basketball tournaments under a bill filed Tuesday.
Democratic Sens. Sarah Crawford of Franklin County, Natalie Murdock of Durham County and DeAndrea Salvador of Mecklenburg County co-authored the legislation, which would designate the Fridays of the men's and women's ACC Tournaments as a state holiday, adding to the 19 state holidays already on the North Carolina calendar.
"It's a way of life in North Carolina," Crawford said. "It's as important a tradition as barbecue and sweet tea, and it's time that we honor that tradition and celebrate these young athletes who inspire the best in us."
There was a time that the state's collective attention was distracted from its routines to focus on the tournament, especially the schools known as The Big Four — North Carolina, N.C. State, Duke and Wake Forest. Transistor radios pressed up to ears instead of listening to teachers would transition to teachers bringing televisions into classrooms as a concession, which Crawford said she remembers.
In 1982, the ACC men's tournament went to a Friday-through-Sunday format, which involved four games being played on the first day, after years of a Thursday-to-Saturday run. The last time four games were played on Friday was in 2015.
"We felt like Friday was a good place to start, giving people the opportunity to either head to the tournament or support their love of he game in other ways," said Crawford, a N.C. State graduate and avid fan of the school's women's basketball team.
League expansion would lengthen the tournaments. Both the men's and women's tournaments last month, held in Greensboro, went five days.
If passed, the bill wouldn't be the first time legislation allowed North Carolinians to have a state holiday to enjoy sports.
In 1935, lawmakers gave in to demands from state employees who wanted to attend the Easter Monday baseball game between Wake Forest and N.C. State, which at the time were both in Wake County, according to a story on the Wake Forest athletics' webpage. Some historians have disputed that the baseball game prompted the legislation.
"That game was one of the biggest athletic events in the state," Secretary of State Thad Eure, then clerk of the N.C. House, said in the Wake Forest account. "It was like college football and basketball are today. The railroads even ran excursion trains to Raleigh."
In 1988, North Carolina began observing Good Friday as the statewide holiday, replacing Easter Monday.
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"The Cry of the Children" is a poem by English writer Elizabeth Barrett Browning. It examines children's manual labor forced upon them by their exploiters. It was published in August 1843 in Blackwood's Magazine. This was shortly following the report into child labour by the Royal Commission of Inquiry into Children's Employment.

Background
Browning wrote about contemporary topics, particularly liberal causes of her day. For instance, in "The Cry of the Children", Browning portrays children being underground the majority of their young lives, dragging wheelbarrows, and working long hours. The harsh conditions in which they are made to work can cause their lungs and hearts to rapidly dysfunction. She uses a young lamb bleating in the meadows to represent the young children crying from whatever pains they must endure  at the moment. Browning involves young animals to symbolize innocence and being put through both mental and physical pain for the satisfaction of an owner (1842). This encourages the reader to put themselves in that position to better understand how intense the conditions were.

Although The Cry of the Children is a 13 stanza poem it does not use the popular terza rima rhyme scheme (ABA BCB CDC DED) but rather an ABAB CDCD EFEF format. This is superior as it makes the poem's main idea straightforward. This leads readers to Browning's key point, the death of children because they are forced to work from a very tender age and they pray to God to be taken before their time of actual death (Beaming Notes, 2015). Browning best describes this in lines 51-52 as the children say "It is good when it happens, that we die before our time" and in lines 86-87 the children pray for the absurd noises to come to an end (Browning, 1842).

References

Beaming Notes (2015)
Barrett Browning, Elizabeth (1842). "The Cry of the Children".

Poetry by Elizabeth Barrett Browning
1843 poems

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Bulldozer Rental – John Deere 450J, is available for rent in Rochester NY, Ithaca NY and the entire Western New York region from the Duke Company.
This crawler dozer features dual-path hydrostatic drive, and heavy-duty undercarriage. It generates net power of 70 horse power at 2,200 RPMs, has a track footprint of 86 inches, operating weight of approximately 17,000 pounds, and a blade width range of 97 inches to 124 inches.
Looking to rent Dozers and Bull Dozers by John Deere? Download the detailed specifications for the John Deere 450J Dozer. Documentation includes extensive, detailed model information, rated power, base weight, engine information, cooling information, power train information and more.


The 22 most hilarious alpaca hairstyles ever. They probably are more stylish than most of us… LOL!
Still better hair than ANYONE in OneDirection!
I think number 22 looks a little like Matt Damon after a hard night of partying.
Number 22 is a very sick alpaca with sunburn due to hypersensitivity of the skin to ultraviolet radiation due to exposure to sporidesmin, a fungus that grows on grass and the alpacas inhale. I hope they managed to diagnose it and treat it before it got much worse.
The last one is quite sick with a fungal infection or possibly mange mites. I hope they get it fixed soon! Makes my heart sad to see him. 🙁 Great top knot though.
Nr. 10, isn`t that … Chewpaca?


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The History of Soul! and influence of Host Ellis Haizlip
staff | February 7, 2009
It's 1973. An impressively-dressed Ashford & Simpson launch into "Keep It Comin'," a radiant soul song about the sustaining power of love. As she sings, Simpson raises her arm above her head, the gesture simultaneously a nod to the rhythm and a revolutionary salute. Both she and Ashford are beaming. As the camera pans back…
Soul!: 1971–Miriam Makeba, Muhammad Ali, Nikki Giovanni, the Delfonics
We unearthed an episode of the late 60s/early 70s show Soul! from the WNET archives, including a number of songs performed by singer and political activist Miriam Makeba, an in-depth interview with her about her political activities, and a little about her then-husband, Black Panther Stokely Carmichael. In addition, the episode contains poet Nikki Giovanni…
Petey Greene's Washington
Petey Greene, one of the strongest characters to ever grace the small screen, was profiled in 'Adjust Your Color' (streaming below). See clips of his program and read more about Greene. Larger than life, ex-convict Petey Greene burst onto the airwaves in the 1960s with raw and uncensored radio and TV shows on racism, poverty,…
Black Omnibus, hosted by James Earl Jones
In between his Oscar-nominated role as Jack Jefferson in The Great White Hope, and as the voice of Darth Vader in Star Wars, James Earl Jones hosted a 1973 television series called Black Omnibus. Combining both interview and performance segments, the series, which only lasted 12 episodes, featured an eclectic range of prominent African-American musicians,…
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Not every social media platform will be the right place for your target audience and the same goes for the messaging used. Getting the right type of content, for the right audience segment in the right place and format at the right time is key. Paid social allows us to do that for you successfully. Whether you're looking for a quick campaign to reach a specific custom audience via Facebook or Twitter or a longer term acquisition and awareness campaign to drive traffic to your website we can help to get you up and running.
We take a holistic view with all forms of digital marketing and paid social is no different. Aligning all channels is key to getting your brand remembered in 'moments that matter' for your audience, but the audience has to be the right one. Otherwise, you're likely to just be busy fools, attracting the wrong type of visitor without much return on investment. We take your budget and refine the target as closely as possible to just get in front of those you're looking to reach. We do this in a transparent way too so you always have access to regular reports and feedback from our team. We work closely with clients in an agile manner so you never miss an opportunity.
We appreciate you're keen to increase engagement but we're also fans of ensuring your biddable campaigns on social platforms also yield a return on investment in the form of conversions. Whether it's leads you're after, newsletter subscriptions, sales or other pre-defined goals and KPIs, we'll help you achieve these through social platforms with paid spend. You'll also get your own social media expert to work with on the campaign.
Successful social media strategies connect with the right target audience. To achieve this our team create engaging content and updates for clients. We don't simply set up Twitter, Facebook and Google+ accounts for clients and then post the odd comment or two. In a competitive market it's key to create a dialogue with a client's community in order to reach out on behalf of the brand.
In an increasingly crowded social media landscape it's important to get an advantage. Paid social can help to gain the cut through you need to stand out from the competition and get right in front of your target audience quickly and easily. We take an approach of test and scale with all client campaigns meaning we can find out what's likely to work for you and your offering without wasting large spend on content that works when amplified via paid social media on platforms like Facebook, Twitter, LinkedIn or YouTube.
If you're wondering what could be possible for your brand, we'll carry out review of your current social media presence and let you know what growth you could achieve realistically and what success across social channels for your brand would look like.


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Trump, an uneven ally for GOP, tests his influence on taxes
By JULIE PACE Associated Press
When President Donald Trump announced plans to go to Indiana Wednesday to sell the GOP tax overhaul plan, party leaders cheered his engagement on the high-stakes issue. When the White House said one of Trump's traveling companions would be Indiana's Democratic Sen. Joe Donnelly — a top target in next year's midterm elections — the hopes turned to head-smacking disbelief.
The episode underscores the extent to which Trump has been an uneven — or at best, unpredictable — ally for his party, both on policy and politics. Time and again, Trump has complained about his party as loudly as he vents about Democrats, or shifted his position as Republicans leaned on him for support. The dysfunctional dynamic now stands at the center of Republicans' last chance this year to prove they can pass major legislation — a sweeping, multitrillion-dollar tax cut that GOP officials believe is crucial to the party maintaining its congressional majority in the midterms.
"Literally, if they can't do this, they can't do anything," said Tim Pawlenty, the former Republican governor of Minnesota and head of the Financial Services Roundtable, a bank lobbying group. Trump is a constructive force in the effort, Pawlenty said, "if he can stay focused and stay on message."
The president this week repeatedly demonstrated his sometimes fickle friendship. As the party licked its wounds over the failure of its health care legislation, he floated working with Democrats on that issue, something he's already done on immigration and spending matters. While he agreed to requests from Senate Majority Leader Mitch McConnell to campaign for the establishment-backed candidate in Alabama's GOP primary, he undercut his impact by pondering aloud whether he'd made a mistake. Luther Strange, the candidate Trump backed, lost Tuesday to firebrand jurist Roy Moore by nine points.
Trump quickly endorsed Moore and his tweets backing Strange were deleted.
A former Democrat who is ideologically flexible, Trump has been an awkward partner for Republican leaders since the start of his political rise. But McConnell and House Speaker Paul Ryan have privately tried to rally their members during low points in the presidency by reminding them that Trump will sign legislation a Democratic occupant of the Oval Office would not — despite the fact that the GOP Congress hasn't had any major bills to send to Trump's desk.
The White House has promised GOP leaders that Trump will indeed travel the country selling the tax legislation. Trump advisers have told congressional lawmakers and aides that the president is more deeply engaged on taxes than on any other domestic policy push during his tenure, according to a Republican official who was one of six GOP aides and operatives who insisted on anonymity in order to discuss the president's standing with his party.
But Republicans have heard similar promises from the White House before. Trump ultimately invested little time and energy trying to rally public support behind two GOP bids to overhaul the nation's health care system. As the party scrambled to salvage last-ditch legislation this week, Trump seemed more focused on stirring up controversy about protests during the national anthem by NFL players. McConnell pulled the bill without holding a vote.
Sara Fagen, a Republican strategist who served as White House political director for President George W. Bush, said that for Trump to be a successful advocate for tax reform, he'll have to repeatedly rally Americans behind the effort and personalize the impact of the tax changes for the middle class.
"If he just sits in the upper floor of the White House after 7 p.m. and fires off tweets, that's not going to help," Fagen said.
Trump's event in Indiana Wednesday got the campaign off to a conventional start. Standing in front of a massive American flag, the president largely stuck to script and talked about the tax plan with specificity. He called on both parties to join forces on an overhaul, despite the fact that the blueprint he outlined was negotiated by Republicans alone.
"Tax reform has not historically been a partisan issue, and it does not have to be a partisan issue today," Trump said. "There is no reason that Democrats and Republicans in Congress should not come together to deliver this giant win for the American people."
GOP operatives working on the 2018 midterms were miffed by the president's decision to invite Donnelly, one of the most vulnerable Democratic incumbents, to fly on Air Force One. Donnelly is fighting to keep his seat in a state Trump won in November by nearly 20 points, and to win, he'll likely need to prove to voters that he doesn't simply toe the Democratic Party line.
It's the second time Trump has given a vulnerable Democrat an opportunity to highlight bipartisan credentials. Earlier this month, he traveled to North Dakota with home state Sen. Heidi Heitkamp, another at-risk Democrat in 2018. He invited Heitkamp to join him onstage and called her a "good woman."
On Wednesday, Trump thanked Donnelly for joining him in the rally, but left the senator with a less campaign advertisement-ready endorsement.
"If Senator Donnelly doesn't approve it, because you know he's on the other side, we will come here and we will campaign against him like you wouldn't believe," Trump said of Donnelly and the tax package.
Donnelly didn't appear to flinch under that threat. He released a statement following the event that said he didn't work for "President Trump or any political party" and criticized the tax blueprint for "missing many details that will be critical to determining whether working and middle-class families truly stand to benefit."
Follow Julie Pace at http://twitter.com/jpaceDC


Comprehensive list of direct, brand, media and internet (website, search & email) advertising companies in Chevy Chase, MD. Read unbiased reviews, ratings and recommendations.
We actively work with The Nature Conservancy on a campaign to stop the spread of invasive insects with the aid of several Federal and State agencies through a Web site, Social Networking outreach, and some other outlets. Recently the campaign has been featured in Advertising Age, won a 2009 ADDY Award and will be featured in the upcoming HarperCollins book Design for the Greater Good.
Community Initiatives by Our Clients Creative Strategy is a different breed of marketing communications company. With our diverse national customer base in health care, information technology, biotechnology, financial services, publishing, nonprofit, and government, we know that different customers require different working relationships.
Customers count on Low + Associates L+A to suit big, bold marketing challenges. It takes a special type of dedication and creativity to inspire children to realize that college is more than a dream. Or to persuade Baby Boomers to change old habits and file their federal tax returns online for the very 1st time.
When it comes to growing your business nothing is better than an effective Out-of-Home advertising campaign. And when it comes to effective Out-of-Home advertising, it assists to have the correct connections. That is what Billboard Connection is all about. Billboard Connection is an advertising agency that specializes in just Out-of-Home media.
Established in 1992, BLC is a leading director and broker of business-to-business lists. Publishers, associations, seminar providers, catalogers, and computer hardware and software firms are several of the main industries that we serve. We increase list rental income while relieving owners of the burdens of marketing, selling, order fulfillment, client service, and collections.
Internet Marketing Promote your online business and internet marketing. We can assist make your site more visible and improve the effectiveness of your website. We do not promote dishonest internet marketing techniques of any type. Internet marketing is important marketing for any website that aspires to make a profit online.
Set up in 1988, Robinson & Associates Advertising. is a advertising agency situated in Bethesda, Maryland that focuses on media that give you the optimum ROI. Our core staff of directors is comprised of seasoned advertising specialists, averaging three decades each in Washington Metro Advertising.


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New solo project "SOLLEIN" by Andy Clarke from The Crawling
9 December, 2020 Against PRNews
Andy Clarke, known primarily for fronting death/doom act The Crawling, has released details of his new solo project "Sollein."
The music is penned as more of a black metal approach, focusing on the depressive subject matter, and delving into even darker places than his usual lyrical themes. The first single, "Another Side of Sadness" is due for a digital release on all major platforms Friday 18th December via Presolus Records.
"I sometimes find myself filled with creativity, but no outlet», he comments. «There are many ideas and emotions I feel need to be translated into music, but often isn't achievable in a full band set up. For this reason, I began Sollein; writing music without boundaries, no constrictions I usually feel compelled to impose on myself. I have introduced synth, multiple guitars, clean vocal over-laced with a black metal delivery. The result has been an emotive, depressive listen. This makes me happy."
DENDERA: "THE END OF DAYS (FEAT. TOM BARBER)" LYRIC VIDEO RELEASED
FEAR CONNECTION sign with Black Sunset


When The Animals' Agenda stopped publishing in 2002, Satya took over as the primary journal of the new welfarist movement, promoting the fantasy that incremental animal welfare reform could provide significant protection to animal interests and pretending that there was no inherent conflict between the abolition and regulationist approaches to animal ethics.
And now, Satya has gone the way of The Animals' Agenda and has stopped publishing with its June/July 2007 issue. Although in its final year, Satya devoted some of it pages to criticizing the regulationist approach, which is stronger today than it has ever been, Satya remained until the very end a magazine that, as a general matter, embraced the welfarist approach.
I sincerely wish Beth Gould, Cat Clyne, Martin Rowe, and all at Satya best wishes for the future. I am just sad when I think of what Satya could have done if it provided a clear voice for abolishing animal exploitation rather than collapsing under the weight of an incoherent foundering impulse that so many "animal people" feel—to "do something" about animal suffering without a theory of how this change can occur.
It is difficult to maintain such ideals when evidence of cruelty abounds. It is tempting to fight, to take up arms and to argue, especially when the tangible victories are so scarce. More animals die today, needlessly, painfully, than did 13 years ago, when our first issue came out. Our movement is more fractured. More people are willing to spend their time arguing about theory than creating positive change. But there are more of us than ever. More people willing to stand up, every day in the face of injustice.
First, violence is never an appropriate response to the problem of animal exploitation. Animal advocates should see the animal rights movement as an extension of the peace movement. Yes, there is presently a great deal of violence toward animals. There is presently a great deal of violence in the world as a general matter. There is more racism, sexism, and heterosexism than ever before. The one thing of which I am certain of is that more violence will not result in less violence. We should all reject violence. Violence only leads to more violence, as the present state of the world so sadly demonstrates.
Second, Gould needs to ask herself why the victories "are so scarce," why things are worse than they were 13 years ago, when Satya began. Perhaps she will find the answer in the pages of Satya, which has relentlessly promoted welfarist reform as an answer to the problem of animal exploitation. The victories are scarce because animal welfare simply does not work. For the most part, animal welfare protects animal interests only to the extent that it is economically beneficial to do so. This ensures that any victories will be meaningless. And the past dozen years is compelling proof that animal welfare does little more than make animal exploitation more efficient.
Third, Gould complains that "[m]ore people are willing to spend their time arguing about theory than creating positive change." This is curious to say the least. Gould, like many animal advocates, does not seem to understand that in order to identify change that is "positive," we need a theory. How are we to know whether we should campaign for "cage-free" eggs or promote various "humane" labeling programs without a theory to identify whether these things constitute "positive change"?
The animal movement has never had robust and open discussion of theory. I agree with Gould that our discourse should avoid "anger" and "recrimination," but I disagree with her that we can identify "positive change" in the absence of theory. And the movement is not "more fractured." The problem is that it is more homogenous than it has ever been.
This sounds good, but what does it mean? If Gould means to say that there are many people who are concerned about animals, she is correct, but so what? There have for several hundred years now been a good number of people who care about animals.
But caring, whatever that means, is not enough.
The Failure of Anticruelty Laws Is Heterosexism Different?


The perfect flats boat doesn't really exist, but for every angler there's always one that comes close. Over the years I've owned five different skiffs, from a beat up Gheenoe to a top of the line Maverick Mirage. They've all had their merits but my current boat is the one that comes closest to being perfect for my type of fishing. Here's a quick rundown of how I have it rigged.
For the last two years I've been guiding out of a Beavertail B-2, this is an eighteen foot skiff made in Avon, Minnesota, which is more than a thousand miles away from the nearest redfish. Beavertail, originally a duck hunting company, has almost perfected the technical poling skiff over the past five years. Since the majority of my anglers are looking to sight cast with fly rods, the five hundred pound B-2 is about as quiet and easy to pole as a flats boat can get. With a full tank of gas and two anglers it floats in only six inches of water, which is shallower than most redfish will ever swim.
I ordered the Beavertail to replace the older Maverick Mirage I was using down on Vieques, Puerto Rico. There were no boat ramps close to where I fished and the Maverick was too heavy to launch off the beach. With the Beavertail I could back right down on to the sand and have a five minute run to the island's best bonefish flats and it would prove just as useful up here in Florida.
The B-2 that I bought was a very basic model with a side console, trim tabs, and not much else. I powered it with a fifty-horsepower Yamaha two-stroke outboard. I learned the hard way with my Maverick that owning anything other than a Yamaha outside of the Continental U.S. is asking for trouble. Almost every single boat you see bobbing around the Caribbean is sporting a Yamaha. They're incredibly reliable and parts are available worldwide.
With only fifty horsepower, my B-2 is no rocket sled. It will hit thirty mph wide open, but I never needed to travel more than four or five miles to get to the fish on Vieques. I plan to eventually bump the power up to a four-stroke sixty for the longer runs that I need to make here around Pine Island.
After I shipped the Beavertail back to Florida I made a couple more additions that I think are must haves for this area. The first thing I added was a Garmin 440s. This full color GPS/Sonar unit comes loaded with charts and tide tables for the entire coastal U.S. and the Bahamas. Technology like this didn't exist for small boats when I first started guiding and I really like marking the schools of baby tarpon I find way up in the local mangrove creeks.
The second thing I added was a trolling motor. It's rare to see a small boat in this area without one but this is something I didn't need it when I had the skiff sent to Vieques. Chasing bonefish by boat in shallow water and high winds requires someone on the poling platform at all times, and that person was always me. If I wanted to catch a one on my day off I did it on foot. The flats up here around Pine Island are far more expansive and a trolling motor is a must for exploring new spots. The Beavertail's light hull allowed me to rig it with a lower thrust and less costly unit. I chose a fifty-five pound thrust Minn Kota Riptide which only requires a single battery, saving me a lot of weight on the bow.
Another must have for this area is a shallow water anchor system. Just about every flats or bay boat in Southwest Florida now sports a Power Pole. This is one of the best inventions for boaters in the last twenty years, allowing you to stop and hold position in up to eight feet of water at the touch of a button. I don't know anyone who owns a Power Pole and is not totally satisfied with it. Beavertail offers them as a factory installed option but I didn't order it and wish I had. The $1500 cost was a serious issue at the time but it would have been money well spent.
For now I use a Stick It Anchor Pin. This is an ingenious piece of hardware that I call the "Poor Man's Power Pole." The Stick It is a simple eight foot composite spike with a nylon lanyard and a T handle at the top. You simply shove it into the bottom and tie it off to the bow or stern. This holds a light skiff almost as well as a Power Pole but only costs $90. It's an easy and indestructible alternative and also a great backup system for larger boats in the shallows. At some point, however, I will add an eight foot Power Pole to my Beavertail.
Finally, the one piece of gear on my boat that gets more use than any other is my graphite push pole. By my own rough estimate I've spent at least twelve thousand hours on a poling platform over the last fifteen years. That's almost five hundred solid days with a push pole in my hands. I've owned only one model for the past ten years and that's a twenty-one foot Stiffy Hybrid. These Texas made push poles are the best on the market and at $700 they're not cheap. They are well worth the money. This is the one thing I consider indispensible on my boat and I wouldn't consider using another model.
So that's a quick rundown of how I've rigged my boat for fishing around Pine Island. I'm not endorsed by any company I mentioned above so these were my honest opinions. There are a lot of flats boats currently on the market similar to my Beavertail B-2. Most cost more and some cost less. The good news is that if you're in the market for a very shallow running skiff and the all the gear to rig it for fishing Southwest Florida, you literally have a ton of choices. It's a great time to hit the flats.


Collins sewing gauges are the perfect tools for easily and quickly measuring anything, even in small or tight spaces. 14 in 1 Measuring- A double-sided gauge with 14 functional measurements; handy for checking small measurements. Every measurement you ever wanted from 1/8 to 1 3/4 inch.


In order to perform the conversion of the PowerBuilder application first you need to extract the script files of which each PowerBuilder Target (PBT) file consist. These are the files containing the definition of each object used in the application. There is two ways to do this task using tool developed by our team or do it manually from PowerBuilder. One more benefit of using PBExtractor is collecting information about lines of code for each type of file and total amount of this files. All information is saved into "total_information.log".
Type pbextractor to "*.pbw" file and save it.
Declare members for the window.
Add 3 controls "StaticText" to window with names and text as on pictures (you can find it at downloaded file "w_pbextract.srw").
Put them inside window's border on layout editor and call Properties dialog.
Put it inside window's border on layout editor and call Properties dialog.
Specify the path to PBL or LST file in the first text box "Path to PBL or LST file:"*. The existing pbt or lst file should be specified.
Specify the folder where the extracted files should be placed in the second text box "Folder for extracted files :". The Path should end with "\" and the existing directory should be specified.
After that you will be prompted to specify the location of each object exported, which definition will be stored in its own file (SRD, SRU, SRW, SRF & etc.) in the specified location.
The same set of actions needed to be performed for each PBT file in the project to acquire the definitions of all the objects in the project.


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Q: FastAPI fileupload to S3 I am writing a FastAPI endpoint to upload a file to S3 Object Store. Following is the code snippet. However, I get an exception "expected string or bytes-like object"
I don't want to save the file temporarily and then upload it.
I reead in FastAPI documentation that the UploadFile has file attribute which is an "actual Python file (SpooledTemporaryFile) that you can pass directly to other functions or libraries that expect a "file-like" object". Since the upload_fileobj function of boto3 expects a string or bytes-like argument, I converted the file-like object to BytesIO object using the _file attribute of the SpooledTemporaryFile. But still the error "expected string or bytes-like object"
Any pointers will be appreciated.
@app.post("/uploadFile")
async def upload_file(fileobject: UploadFile = File(...),filename: str = Body(default=None),key: str = Body(default=None),):
extension = fileobject.filename.rsplit(".", 1)[1].lower()
if key is None:
    raise HTTPException(status_code=400, MissingError="Key is missing")
if filename is None:
    filename = fileobject.filename
if fileobject.filename.endswith(tuple(ALLOWED_EXTENSIONS)):
    data = (
        fileobject.file._file
    )  # Using _file attribute convert tempfile.SpooledTemporaryFile to io.BytesIO
    try:
        # Upload the file to Spaces
        upload_result = await client.upload_fileobj(
            data,
            BUCKET,
            f"{key}/{filename}",
            ExtraArgs={
                "ACL": "public",
                "ContentType": FILE_CONTENT_TYPES[extension],
            },
        )
        if upload_result:
            object_url = f"{OBJ_URL}/{key}/{file.filename}"
            doc = [{"file_url": object_url}]
        else:
            raise HTTPException(status_code=400, detail="Failed to upload in S3")
    except Exception as e:
        logging.error(f"Exception while uploading file - {e}")
        raise HTTPException(
            status_code=400, detail=f"Exception {e} while uploading the file"
        )
else:
    raise HTTPException(
        status_code=400, detail=f"File of type {extension} is not allowed"
    )

A: I had a similar issue, but the issue was with the bucket name, mine was None/empty, the error message is rather annoying, the bucket should be a non empty string.

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