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THE 50TH ANNIVERSARY OF KUBRICK'S IMPOSSIBLE MASTERPIECE
RETROSPECTIVE REVIEW
By Daniel Lammin
"The most terrifying fact about the universe is not that it is hostile but that it is indifferent; but if we can come to terms with this indifference and accept the challenges of life within the boundaries of death - however mutable man may be able to make them - our existence as a species can have genuine meaning and fulfilment. However vast the darkness, we must supply our own light." - Stanley Kubrick, September 1968
Truly great works of art defy description. You can try to put them into words - just as I'm about to - but they'll always inevitably be inadequate. How can you ever adequately describe Beethoven's 9th Symphony? Or Stravinsky's 'The Rite of Spring'? Tony Kushner's 'Angels in America' or Shirley Jackson's 'The Lottery'? You can say what you literally see in Picasso's 'Guernica' or Da Vinci's 'The Last Supper', but what you see doesn't capture what they mean, what you feel when you look at them. Truly great works of art speak to something deep down inside of us, something primal. You stand in their presence and you know something more about yourself, about us, why we're here, where we may be going, what we are capable of.
It's 2000, and I'm almost fourteen years old. My friend Chris had asked me to find him this film from my local library, and being a kid determined to please everyone, I tracked it down for him. Before I gave it to him though, I decided to watch it myself. It had an enigmatic title and I vaguely recognised the name of the director. I was staying with my grandmother, and took over one of her spare TVs. It was tiny, the screen barely bigger than a cereal box, and the VHS, while widescreen, was worn from overuse. These were the circumstances under which I first saw Stanley Kubrick's '2001: A Space Odyssey', essentially the worst circumstances in which one could possibly watch it. Even so, with my teenage face barely centimetres from the screen, my eyes wide with amazement and awe, I saw something that I couldn't describe, felt things I'd never felt before. I felt every molecule in my mind and body shifting permanently in response to what I was seeing on that stupidly tiny screen. It felt like something deep inside of me that had lain dormant was starting to wake up.
It seems ridiculous to believe a film could do that to anyone, but '2001: A Space Odyssey' is not like any other film. In fact, it feels weird to even consider it a film. It feels like something birthed from the fabric of the universe itself, like something totally inhuman and yet deeply human at the same time. You don't so much watch it as be consumed by it, whether it be on a tiny television or in the cosmic presence of it in 70mm. You can objectively sit back and take it apart, examine all its mechanics and movements and try (futilely) to explain their logic, but like any truly great work of art, it is a thing wholly of itself, much like its most iconic character, a man-made creation that has achieved its own sentient intelligence and imagination. You watch it, and in its overwhelming perfection, it watches you right back.
'2001: A SPACE ODYSSEY' TRAILER
Using the most basic of narratives (the appearance of a mysterious black monolith sends a group of astronauts on a trip towards Jupiter, only for their lives to be threatened when their computer system turns against them), Kubrick and co-writer Arthur C. Clarke attempted to pull back the fabric of the universe and expose what lay beneath, even before a human being had stepped on the moon. Science fiction until this point had been about fantastical concepts (the classic 'Planet of the Apes' was released on the same day as '2001' in 1968), but what Kubrick was reaching for was something more tangible: a universe that looked like what we were seeing through our telescopes, what science and mathematics suggested may lay out there in the dark. The view of the earth that Dr Haywood Floyd (William Sylvester) sees on his gloriously mundane flight to an extraordinary spinning space station was very similar to what Apollo 11 would see a year later, but it was one that audiences had not yet seen before. The scale and poetry of Kubrick's vision of first our world from space, and then the universe itself, still defines much of our collective popular understanding of all that lies within that dark tapestry of stars.
The canvas is immense, and much has been written about the manner of how Kubrick achieved that canvas, with special effects that even after half a century and insane developments in computer visual effects still put every film made after it to shame. What is extraordinary and overwhelming about that canvas is what he chooses to do with it. '2001' erupts from the time and space of its title to present a fable on our existence as a species, beginning with the birth of cognitive thought and imagination on prehistoric Earth, an ape-like creature striking the ground with an animal bone, and ending with a sequence where the concepts of time and space are ripped apart before your eyes. Artists since the dawn of time have sought out the answer to the question of why we are here, what is our place within the universe, and Kubrick - perhaps the greatest artist in the medium of film - uses every single tool at his disposal to drive deeper and deeper to understanding that question.
It becomes clear very quickly that narrative has no place in this search, and what we have in the way of narrative and dialogue is there to serve the infernal engine of the film. As would be integral to his work following '2001', Kubrick's primary cinematic tools are image and sound, and the symphonic way in which he combines them. "A film is - or should be," he said, "more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later." Every element of the film, whether it be a sweeping special effect shot with an inspired musical accompaniment, or a startling close-up of a human face amidst deafening silence, is in service to the central conceit and theme of the film. Not a second of its two and a half hours is wasted - even the Overture is integral to the journey you're being taken on.
It feels like something birthed from the fabric of the universe itself, like something totally inhuman and yet deeply human at the same time.
And in much the same way that the film defies words to describe it, Kubrick finds words themselves inadequate to his intention. The dialogue is sparse and direct, without embellishment of character or circumstance. It's as lean as everything else in the film, and as a consequence, the truly great moments when words become necessary are gargantuan. The music of Kubrick's film is extraordinary, and I don't mean the score. Everything in the film moves as if it were a piece of music, whether a ship in motion or a body flung across the emptiness of space. So much has been said about his use of music, but all the more astounding are the film's silences, at moments broken by nothing more than a human breath, at others complete and overwhelming.
Which is all to say that the craft of '2001' is perfect, perhaps more so than any other film ever made. It's the finest example of what cinema is and what can happen when all the technical elements that make it up are in perfect balance. It is pure cinema, pure art, pure experience, pure expression. But in taking it apart, you inevitably lose the power of it. '2001' is a film you must submit to, that you must give your everything to while watching it, because if you don't, it will offer nothing back in return. And if you do, what it will offer has all the potential to leave you changed for the better.
For me, '2001' is sacred. To watch it is an experience as religious and spiritual as standing inside an enormous cathedral, reverently contemplating your place in creation. Ever since seeing it on that absurdly small television as a teenager, I've been trying to find any experience that makes me feel the same way I did when I first watched it. To see '2001' is to hear the sound of the universe, to hear its pulse, to hear its breath. I've read and seen so much about how Kubrick made this film, and yet I still have no idea how something this immense and this perfect can possibly exist.
'2001: A Space Odyssey' is one of the greatest artistic achievements in the history of our species. It connects us with the infinite, brings us closer to that from which we came, whether a sentient entity or the erupting chaos of the universe. It represents the pinnacle of how cinema can connect with a us, how a series of seperate elements can go beyond the sum of their parts and become something both new and primal all at once. I treasure its existence, and seek guidance from it in understanding myself as an artist and as a human being. Even calling it a masterpiece doesn't feel adequate enough. '2001: A Space Odyssey' is fifty years old, a hundred years old, millions of years old, five minutes old, a few seconds old, born only now and in this moment. It is imagination at its grandest, ambition at its highest and cinema at its greatest.
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The herb acts as an astringent, expectorant, aimostyptiko, antispasmodic, anticancer, diuretic, hypnotic and tonic. The infusion of flowering tops of the plant indicated by the leucorrhea, metrorrhagia and the prostate. Mainly used as a tonic for the uterus to control menstrual bleeding. The tea flowers are also soothing and helps to make good sleep, purifies the blood, has expectorant properties and reduces infections, especially the urethra and prostate. 15g.


For our collab with Siren we decided to go all out with hops. No special ingredients, no additional fruit or spices, just loads more hops! Like, loooooooads more.
Didgeridank is so full of hops that it's gone full on psychedelic. When we tasted it for the first time it was full on bright green. Then it settled to a really vibrant yellow. Then it went a glorious golden colour. We're half expecting it to be purple once you pour it from the bottle!


You are playing Mini Race Rush. Do not forget to play one of the other great Racing games at GamesXL.com!
Race your mini car and collect as many stars as possible within the specified time. Beware of the other mini cars, they will chase you and try to bump into you. You must prevent this, because with every collision you lose stars. Use the shield to protect yourself against collisions, the bomb to blast other cars and the ice star to freeze the other cars. Can you unlock all 7 levels? Get in your car and race!


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Aaaaaand I'm BACK! It feels like it's been forever since we've chatted. I believe that was the longest blogging break I've taken in the two years I've been running this site. Don't get me wrong, it was a great break, but I've missed this crazy internet world and YOU.
How was your holiday break? Did you have a good Christmas? New Years? The husband and I were in bed on New Years by 10 pm which was a record for us. We go to bed so early. I'm talking like 915. ? Yeah…we are party animals. ?
There will also be more videos! There are plans to have either a GIF, step by step photos, or a video for every single post in 2016.
But (disclaimer time) since I'm really not all that fancy and we eat steak in our home like maybe four times a year, I've also made this salad with chicken which is also ?. And meatless? It makes an awesome side dish!!
After the amount of sugar consumed in December, I'm thinking we're all ready for some more veggies right?! ???
To have a truly authentic Cubby's salad copycat, you can pick up a jar of roasted red peppers which is what they use in the salad. We tend prefer the crunch of the red pepper in this salad!
The dressing is pretty identical to the one at Cubby's — very "herby" from all the cilantro, tangy, and a little bit sweet. Everything just gets blended together which is super easy! If you don't absolutely LOVE cilantro, you likely won't like this dressing and I would recommend trying a different recipe or pre-made dressing. But for cilantro lovers (?) watch out this is good!!
To quickly toast the almonds, place the almonds in a single layer in a heavy skillet (you don't need to add anything else) and stir them around on medium-low heat. It only takes about 2-3 minutes (sometimes less depending on how much heat they are getting) until they are toasted and smelling quite fragrant. Just make sure you are stirring them around and watching constantly so they don't have a chance to burn!
Rub and knead cracked pepper and seasoned salt into the steak or chicken.
In a small bowl, whisk together the soy sauce, olive oil, sugar, minced garlic, and onion powder.
Place the steak or chicken in a plastic sealable bag and pour the marinade over. Rub the marinade through the bag into the meat.
Place in the fridge for at least 2-3 hours (the longer you marinate, the better the meat tastes (and the moister tri-tip steak will be)! I like to do it for 6-8 hours). Flip the marinating meat on the other side halfway through the marinading period.
Wash and thoroughly dry the lettuce. Chop all the lettuce into smaller pieces. Halve the cherry tomatoes. Chop the red bell pepper (remove stem and seeds). Chop the green onions.
Dressing recipe below this recipe.
Using a zester, zest the lemon to get about 2 teaspoons lemon zest. Squeeze to get 3 tablespoons lemon juice. Squeeze the lime to get 2 and 1/2 tablespoons lime juice.
For the cilantro, chop off the stems (no need to remove all the stems) and lightly pack into a cup measurer to get 1 cup. This is just over half of a large bunch of cilantro.
I've been craving healthier stuff lately too. Despite my best efforts, I still ate a whole lotta bad stuff over Xmas. The break was nice, I'm sad that we're back to work on Monday. Sigh. My husband and I managed to stay up til midnight on new year's… quite impressive for us really. Total party animals.
Happy New Year, Chelsea! This salad looks absolutely gorgeous! Just the dish to get me back on track after the holidays. I love that you gave a chicken option, too!
This looks super fast and easy.


This winter, Superfab has again called on its favorite maker, artist and designer friends to conceive of original, limited edition and one-off pieces made from the off-cut and reject materials of our last year of work. Come the first weekend of December, all these items and more will be up for sale at a weekend-long pre-holiday party at our shop on SE 26th & Division Street. Proceeds from all sales will be split between the makers and this year's chosen beneficiary, P:EAR. Join us to collect a cool thing or two for your house, your friends or yourself and take in some tasty food, festive drinks, and good vibes in the process.
Featuring original works by: Richard Koehler (FOLK), Evan Livingston & Anna-Jael Hotzel (Yellowboat Design Studio), Thomas C. Bradley, Matthew Philip Williams, Lee Croy (ALDC), Mel Flanagan, Megan Brevig & Trish Boyle (Baby Dear Harvest), plus Andy Powell, Dave Collins, Lissa Rasmussen, Colleen Stokes, Daniel Texada, Dave Suhay, Jack Harrison, and the rest of team Superfab.
Secondhand and 'scratch and dent' works will also be available courtesy of AK Studio, FOLK & ALDC.
Additional information available at www.superfabyardsale.co.
Superfab is a design lab and fabrication house founded on the premise that design thinking, experienced hands and new era tools – when working together – can yield meaningful new possibilities in the world. Founded in 2013, the endeavor has grown from a one man shop to a lean and effective group of 18 who consistently execute exceptional works for some of the most forward thinking designers and influential companies on the planet.
Learn more about our work at www.superfab.co.
p:ear has identified a strong model for helping people end their homelessness. p:ear assists youth to recognize themselves as strong and capable people, while providing them with supportive relationships and engaging opportunities.
Besides providing a foundation of food and safety for these youth through the Food and Kitchen Program, p:ear has 3 Main Areas of Focus: Education, Arts and Recreation. From interdisciplinary custom workshops and mentoring to our p:ear works job training programs (including the p:ear barista school, p:ear prints and the bike mechanic school), youth are guided through increasing levels of depth, engagement and responsibility, with an emphasis on the social, fiscal and practical skills that will serve them in their future.
Learn more about P:EAR at www.pearmentor.org.


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The Factory (ang. fabryka) – nieistniejące atelier, założone przez Andy'ego Warhola w Nowym Jorku przy 47. ulicy, na piątym piętrze budynku 231 East. Artysta tworzył tam wraz ze swoimi asystentami w latach 1963–1968.

Zobacz też
 Dziewczyna z fabryki

Sztuka współczesna
Kultura w Nowym Jorku

redpajama_set_name: RedPajamaWikipedia


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Analysis and Theme of The Way through the Woods by Rudyard Kipling
August 24, 2020 September 25, 2014 by Website Contributors
This poem analysis of 'The Way through the Woods' by Rudyard Kipling is divided into four parts – context, rhyme scheme, themes, and deeper meaning.
Context: This part of the poem analysis focuses on both the context of publication of the poem, and the possible context for writing it as well. 'The Way through the Woods' is part of Kipling's collection of short stories known as Rewards and Fairies. In this collection, each short story is both preceded and followed by a poem. The poems in the collection include the very famous poem 'If', and a lesser known one entitled 'Cold Iron' , along with 'The Way through the Woods', among others.
It has been speculated that the particular forest path that Kipling writes about had been the site of an unnatural death, and had been closed down as a result of that. Perhaps Kipling had heard the local population telling such stories, and been inspired to write a poem about the same. Though there is no concrete evidence behind such a supposition, it is not entirely incredible to think that ghost stories could have got Kipling's creative juices flowing, since anyone familiar with Kipling's writing would know that he is fond of writing about action and adventure, and ghost stories evoke the same kind of romantic visions that many of Kipling's poems and stories do.
Rhyme Scheme: No consistent rhyme scheme is followed throughout the two stanzas of this poem by Kipling. However, end rhymes are common enough here. For example, the lines 2 and 4 (ending with the words "ago" and "know") rhyme. So do lines 9 and 11 (ending with the words "sees" and "ease"), lines 10 and 12 (ending with the words "broods" and "woods"), lines 14 and 16 (ending with the words "late" and "mate"), lines 18 and 20 (ending with the words "few" and "dew"), and lines 21 and 23 (ending with the words "through" and "knew"). In addition to this, both lines 24 and 25 end with the same word – "woods". This echoes the fact that the last word of the first stanza is also "woods". Finally, what is not often noticed, but which once noticed cannot escape the reader's attention, is that both the third and the seventh lines of each of the two stanzas contain internal rhymes. So in line 3, "rain" rhymes with "again". In line 7, "underneath" rhymes with "heath". In line 15, "cools" rhymes with "pools". And in line 19, "beat" rhymes with "feet".
Themes: This part of the poem explanation focuses on three key themes explored by Kipling in 'The Way through the Woods' – the metaphysical presences in earthly life, the power of nature over man, and how history can never entirely be obliterated.
Also Read: Summary and Analysis of The Tuft of Flowers by Robert Frost: 2022
Earthly life is, by definition, confined to the physical. However, there are always events that occur in life, for which we cannot find any rational explanation. In 'The Way through the Woods', the poet-narrator first builds up suspense by alternating between a time when the forest path existed, and another time when it has disappeared among the undergrowth of the forest. The poet-narrator then makes it clear that an observer will hear horse's hooves where the forest path had been despite no horse being visible, and the swishing sound of a woman's skirts even though there was no woman actually present at the scene. Perhaps this is the ghost of the woman whose unfortunate death had led to the closing down of the forest path. However, Kipling does not provide enough material to confirm such a reading, and this could in fact be intentional. By describing something that does not have any material existence on earth, Kipling is hinting at the presence of the metaphysical within the space of the forest ('meta' meaning beyond).
It is human intention that has resulted in the forest path being closed down, this is true. However, nature has entirely reclaimed the place where the path had once existed. The creatures of nature are seen frolicking around the trees and shrubs, and the rainy weather is what is responsible for the sense of finality one experiences regarding the complete disappearance of the forest path. This poem was written at a time when industries were spreading rapidly, and the English countryside was becoming scarce of forestry as a result. In such a milieu, by showing how a forest can cover up and swallow whole a man-made path, Kipling is arresting that Mother Nature still holds her sway over the earth, and can never be removed from her position by puny man.
Also Read: Analysis of 'Lorelei' by Sylvia Plath
However, where mankind has once lived, the place is bound to be indelibly stamped by some sign of their previous habitation. The forest path may have disappeared, but the rider who had ridden over that ground on her horse can still be perceived. Human history operates in the same way – civilizations may disappear under the dust on the earth, but traces of their existence always remain, and are unearthed to begin new historical expeditions now and then. These historical expeditions then tell untold stories of our very ancestors.
One other way in which Kipling explains the persistence of history is by showing us the vestiges of an earlier way of life in the English countryside that he depicts in ''The Way through the Woods'. During the Victorian era, common land was taken any from peasants, and the estates of rich landowners were often fenced in, with all roads and pathways leading to them being closed off. Kipling might be describing such a road leading to an eminent man's estate. There is strong evidence in the poem itself to suggest the same, when the poet-narrator mentions "the keeper" in line 9. Gamekeepers would patrol the area in and around closed-off estates to prevent poor peasants from stealing rabbits or pheasants. Perhaps Kipling is describing one such gamekeeper who knows the area around the estate he patrols very well, and knows that a forest path existed there seventy years ago.
Also Read: To a Mountain Daisy Analysis and Summary by Robert Burns
Deeper Meaning: There is a theory that says that the forest path in 'The Way through the Woods' is a metaphor for how mankind itself has lost its way. Being written at the beginning of the modernist age, this poem could be speaking about the alienation of mankind from the kind of life that had existed before industrialization and urbanisation, when man had lived in close contact with nature. However, such a life no longer exists, except in folk-lore and tales.
This theory may seem like a case of over-analysis, but has been included in this poem explanation to give a sense of completeness to what can be derived from the seemingly simple content of the words in Kipling's poem.
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Categories Poets with initials P to T, Poets with initials R, Rudyard Kipling
Analysis of Keeping Quiet by Pablo Neruda
The Way Through The Woods: Summary 2022
3 thoughts on "Analysis and Theme of The Way through the Woods by Rudyard Kipling"
Martyn Briggs
"The way through the woods" poem precedes the story "Marklake Witches" in "Rewards and Fairies", essentially a children's book, although perhaps it would now be regarded as a "young adults" book. Published in1910, "Rewards and Fairies" is a follow up to "Puck of Pook's Hill" in which two children, Dan and Una are introduced to individuals from Britain's past by the magical Puck, an ancient being who embodies the world of tradition and is independent of time. After the children have encountered people from many different past eras, Puck takes away their direct memories, leaving them with only partial sense of what has gone on. Each encounter is preceded and followed by a poem which comments on, or has some relationship to the story being told.
In "Marklake Witches" Dan is absent, and 13 year old Una meets a 16 year old young girl called Philadelphia ("Phil") from the Napoleonic period – the early 19th century. From the start, it is obvious that Phil is soon to die from consumption, although neither she nor Una knows this. We learn that Phil is a keen horsewoman who loves to ride in the woods of her father's estate.
When Puck restores Una to the real world and takes away her literal memory of the encounter, she and Mrs Vincey, a farmer's wife who comes to fetch Una, seem to hear a galloping horse, though it is unlikely that a galloping horse can be near.
Kipling is surely suggesting that after Phil's death her father, in his grief for her' has shut up the road on which she loved to ride. It has been overgrown by nature, but perhaps her ghost still haunts it. There are many other references to the supernatural in the book. Of course this suggestion does not preclude other meanings in the poem.
Excellent confirmation of my own thoughts on the themes.
I enjoyed the inline rhymes but had really noted them.
I wonder why some of the lines flow so beautifully and others faulty. I.e. When the night-air cools on the trout-ringed pools. Very succulent on the tongue.
Trevor Irwin
I loved the clarity and the sense of this analysis and found it very helpful. I'm a 64 year old Australian living in Melbourne and I have a PhD on Robert Lowell. I run my own tuition agency for secondary students mainly of Asian culture. I am trying to show one girl how to write a coherent essay and think I'll refer her and some others to this perfect example. Ithink you mean 'attesting' at one point not 'arresting' though the later meaning is also interesting. Thank and good luck with your studies.

redpajama_set_name: RedPajamaCommonCrawl


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Anaheim Priest Named in Lawsuit Alleging Sexual Abuse
SANTA ANA (CNS) - A judge today cleared the way for the public identification of a Roman Catholic priest named in a lawsuit alleging he molested a 6-year-old boy at a Catholic school in Stanton in 1994.
Father Edward Poettgen had previously been listed anonymously in the lawsuit filed in June. An Orange County Superior Court judge ruled today that the plaintiff could publicly identify the priest.
Poettgen, who was most recently assigned to St. Boniface Catholic Church in Anaheim, has been placed on administrative leave, said Tracey Kincaid, a spokeswoman for the Diocese of Orange, who added she could not comment further on pending litigation.
Kincaid did not immediately respond when asked when Poettgen was placed on leave.
Attorney Vincent Finaldi, who represents the unnamed plaintiff, said when he deposed Poettgen last week, the priest said he was still in active ministry at the church.
Finaldi said his client reported the alleged abuse last January. The plaintiff claims Poettgen molested him while he was enrolled as a student and in the parish of St. Polycarp Catholic Church in Stanton.
"They've known about this for over a year and haven't informed parishioners," Finaldi said. "It's crazy."
Finaldi said Poettgen served on a board of consultants that decided to settle all its lawsuits in 2007 alleging clergy sex abuse.
"They say he doesn't have any other allegations against him, but we've heard that before and proven it wrong," Finaldi said. "We'll have to see what the discovery turns up."
A trial date has not yet been set.


A vinyl decal for your car, boat or truck is the perfect way to tell the world that you are a Trapper Tackle fan.
Each of our two-color die-cut vinyl decals has an outdoor life expectancy of 5 years.
The lettering is against a transparent background, so order white lettering if you are applying to a dark surfaces or black lettering for a light surface.
1 - Put a strip of painters tape on one of the vertical edges of the front of the decal. Half of the tape on the decal and half off.
3 - Remove paper backing from decal so adhesive is exposed.
4 - Hold un-taped end of decal with very little tension on the masking tape. Starting at the taped end of the decal, use a squeegee to apply the decal to the surface while maintaining very little tension on the masking tape.
These rod sleeves look awesome and fit snug so they'll stay on.


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Defend Our Capital Act of 2015
Opinions 2
Official information provided by the Congressional Research Service. Learn more or make a suggestion.
The Congressional Research Service writes summaries for most legislation. These summaries are listed here. Causes will update some legislation with a revised summary, title or other key elements.
Suggest an update to this bill using our form.
A bill to restore Second Amendment rights in the District of Columbia.
Defend Our Capital Act of 2015 This bill requires the District of Columbia Chief of Police to issue a five-year license to carry a concealed firearm on or about the person to any qualified individual who completes the application process. The District of Columbia Code is amended to authorize certain individuals to carry firearms in certain places and for certain purposes. The federal criminal code is amended to allow an individual who is not prohibited by federal law from possessing, transporting, shipping, or receiving a firearm, and who is carrying a government-issued photographic identification document and a valid license or permit issued pursuant to state law to carry a concealed firearm, or who is otherwise entitled and not prohibited from carrying a concealed firearm in the individual's state of residence, to possess or carry a concealed handgun (other than a machinegun or destructive device) shipped or transported in interstate or foreign commerce in any state other than the individual's state of residence (reciprocity) if that other state: has a statute that allows state residents to obtain licenses or permits to carry concealed firearms; or does not prohibit the carrying of concealed firearms by state residents for lawful purposes. A qualified member of the Armed Forces shall be exempt from the prohibition against knowingly possessing or causing a firearm or other dangerous weapon to be present in a federal facility if that facility is any land or building owned or leased by the Department of Defense. The Uniform Code of Military Justice is amended similarly to declare that the possession of a concealed or open carry firearm by a member of the Armed Forces on a military installation, if lawful under the laws of the state in which the installation is located, shall not be an offense subject to court-martial. The federal criminal code is amended to allow a qualified member of the Armed Forces with required identification to carry a concealed firearm shipped or transported in interstate or foreign commerce. The D.C. Official Code is amended to declare that nothing in a certain prohibition against killing wild birds and wild animals in the District of Columbia, or any other provision of law, shall authorize or be construed to permit the District of Columbia Council, the Mayor, or any District governmental or regulatory authority to prohibit or unduly burden the ability of persons otherwise not prohibited from possessing firearms under federal law from acquiring or using for lawful purposes any firearm neither prohibited by federal law nor subject to the National Firearms Act. The District shall not have any authority to enact laws or regulations that discourage or eliminate the private ownership or use of firearms for legitimate purposes. The Firearms Control Regulations Act of 1975 (FCRA) is amended to repeal the District's registration requirement for possession of firearms. The current ban on the possession and control of a sawed-off shotgun, machine gun, or short-barreled rifle shall continue. The bill prohibits dealing, importing, or manufacturing firearms without complying with federal law requirements. In the case of a sale or transfer of a handgun to a District resident, a federally licensed importer, manufacturer, or dealer of firearms in Maryland or Virginia shall be treated as a dealer licensed in the District if certain requirements are met. The bill prohibits selling, transferring or otherwise disposing of any firearm or ammunition to any person if the sellers or transferors know that such person is prohibited by federal law from possessing or receiving it. The bill bars any individuals prohibited by federal law from possessing a firearm in the District. Specified District policies and requirements regarding the keeping or storing of firearms are repealed. The bill eliminates criminal penalties for possession of unregistered firearms and ammunition. Amends the District of Columbia Code to: (1) allow District property owners to prohibit or restrict the possession of firearms on their property, and (2) prohibit the use of toy and antique firearms to commit a violent or dangerous crime. Authorizes the District to prohibit or restrict the possession of firearms, except to certain lessees, within any building or structure under its control, or in any area of it, which has implemented security measures to identify and exclude unauthorized or hazardous persons or articles. Repeals: (1) FCRA requirements that a gun offender register and verify certain identifiable information with the Chief; and (2) specified District of Columbia Acts, in order to conform with this Act. Restores and revives any provision of law amended or repealed by such Acts as if they had not been enacted into law. The federal criminal code is amended to repeal the federal interstate handgun transfer ban. The ban on possession of firearms and dangerous weapons in federal facilities shall not apply to the lawful storage or possession of one within a publicly accessible, non-sensitive area of real property (without security measures) owned or leased by the federal government.
IntroducedDecember 3rd, 2015
hr402-114
s1839-114
Sen Rand Paul
(R - KY)
AndrewGVN's Opinion Against
Guns should not be permitted at all in the D.C. area. The District of Columbia needs to be secured, as many Congress members are in the area, and of course, the president.
Alis's Opinion Against
I dislike 2nd amendment right EVERYWHERE!!!


Karla Armendariz, a communication sciences and disorders major, is studying a tool to help children with complex communication needs.
Karla Armendariz conducted a pilot of the Early Development of Emotional Competence (EDEC) assessment with Mexican-American families under the guidance of her faculty mentor Krista Wilkinson, professor of communication sciences and disorders. EDEC helps bring to light the relation of language and emotional competence and aligns it with the values and goals of the family.
UNIVERSITY PARK, Pa. — Hearing one word — "Mom" — set the course of Karla Armendariz's career path.
In addition to her regular curriculum, the Penn State senior is conducting research on the Early Development of Emotional Competence (EDEC) Assessment, a tool for children with complex communication needs. EDEC helps bring to light the relation of language and emotional competence and aligns it with the values and goals of the family.
Under the guidance of her faculty mentor Krista Wilkinson, professor of communication sciences and disorders, Armendariz conducted a pilot of the EDEC assessment with Mexican-American families. The assessment was translated to Spanish for purposes of the pilot.
Karla Armendariz, a Communication Sciences and Disorders major, is studying a tool to help children with complex communication needs. Thanks to a college grant, Armendariz was able to pilot the program over the summer with Mexican-American families.
Armendariz is in the process of comparing data from her pilot study with that of data from other pilot studies conducted in other populations, with the goal of examining the importance of this assessment tool across cultures.
Something else Armendariz experienced while working in the special needs classroom was seeing a student with autism, who had just moved from Mexico to the United States, have trouble communicating with his teacher.
Armendariz's research was made possible through a College of Health and Human Development (HHD) Smith Endowment. Armendariz was one of many students in the College to receive funding to support research projects.
Karla Armendariz is conducting research on the Early Development of Emotional Competence (EDEC) assessment,a tool for children with complex communication needs. EDEC helps bring to light the relation of language and emotional competence and aligns it with the values and goals of the family. Under the guidance of her faculty mentor Krista Wilkinson, professor of communication sciences and disorders, Armendariz conducted a pilot of the EDEC assessment with Mexican-American families. The assessment was translated to Spanish for purposes of the pilot.
Armendariz advises any undergraduate student who may be undecided about participating in a research project to jump in with an open mind. This opportunity, she said, provided her with knowledge and tools needed to continue and excel in her studies, and to pursue a career in her field after college, with real-world experience already under her belt.
Armendariz said without financial support from the college and guidance from Wilkinson, she would not have been able to conduct the research project; nor would she have received feedback and advice on how to handle different aspects of research, from data collection to dealing with patients and collaborators.


text:
Sarah Palin nuked Greenland and the president guzzled Clorox: Who's to blame for this timeline?
We crack wise about the "worst timeline." But aren't we just trying to duck responsibility for this horror show?
By Andrew O'Hehir
Published May 24, 2020 12:20PM (EDT)
Sarah Palin, nuking Greenland and Clorox disinfectant	(Photo illustration by Salon/Getty Images/AP Photo)
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A few years ago, astrophysicist Neil deGrasse Tyson hosted a debate at the Hayden Planetarium in New York on what he called the "50/50 proposition" that the universe we perceive is a computer simulation created by an outside intelligence. This was somewhere between a prank and a thought experiment: It's not clear whether Tyson actually believes that is likely or plausible, and it wasn't lost on anyone that this entire hypothesis is a way to reverse-engineer divine creation in vaguely scientific language.
I don't claim to understand the cosmological issues involved, but in philosophical or theological terms, there's no discernible difference between suggesting that our reality is an enormous video game designed by unimaginably superior aliens and "In the beginning God created the heavens and the earth." Both propositions can be understood to explain certain things that otherwise lack explanation; neither can ever be proved or falsified, which puts them outside the realm of human knowledge.
I've been thinking about improbable explanations and the limits of human knowledge a lot lately; I bet we all have. Reasonable explanations, after all, are hard to find: In a span of less than nine months, we have seen the president of the United States, apparently just spitballing, suggest detonating nuclear bombs inside hurricanes and injecting household disinfectants into human bodies. Lest we forget — and the human mind cannot encompass all the absurdities — Donald Trump also suggested buying Greenland from the Danish government, and that one wasn't a freestyle brainstorm yanked directly from his capacious ass. He was apparently dead serious, as indicated by his description of Prime Minister Mette Frederiksen's response as "nasty," an adjective only used for women Trump feels have humiliated him.
In a sequence of events nearly as embarrassing, we saw former New York Mayor Mike Bloomberg embraced by mainstream pundits and numerous Democratic insiders as the perfect Trump-remedy nominee and likely next president — an elite consensus that was then rapidly consigned to the memory hole as soon as Bloomberg stood on a stage and tried to talk on live television. Seriously, do you now remember that every New York Times fence-straddling columnist and every American big-city mayor had inhaled the fumes off Bloomberg's kazillions and boarded the zombie bus? Does Tom Friedman now remember writing, three months ago, that Bloomberg had "the right stuff" and was "a moderate progressive with a heart of gold but the toughness of a rattlesnake," in a stentorian call to arms that never once mentioned Joe Biden? Shruggie! Didn't happen!
In the kind of perfect counterpoint that only makes sense in the nightmare logic of 2020, we saw Sarah Palin, once upon a time, in the real world, the Republican vice-presidential nominee — and without a doubt the stylistic and rhetorical precursor to Trump — wearing a genuinely terrifying pink-and-turquoise bear costume and performing "Baby Got Back." By general consensus, that event signaled that we had snapped the tether to previously existing reality and caused all descriptive language to wither into meaninglessness.
We often resort to metaphors about a narrative frame in our vague, vain efforts to comprehend the tragedy, degradation and idiocy of America in 2020: Year 4 of Donald Trump, Year 1 of the coronavirus pandemic. The simulation is breaking down, we may say, or this is the "worst timeline," an offhand reference to alternate-universe fiction or our pop-science understanding of multiverse theory. Or we tell each other, wow, the show really went off the rails this season: The writers got their contract renewals and are doing ayahuasca with a shaman, or phoning it in from the Maldives. Somebody should tell them, ha ha, that they've literally lost the plot.
The problem with these jokes — and I've indulged as much as anyone — is that we're letting ourselves off the hook. America in 2020 has become a nation of passive consumers, of watchers and commenters and sarcastic, superior know-it-alls. To a large extent, that's why we have Trump and the pandemic in the first place. They were not inflicted on us by the designers of the simulation. We called them into being, as an expression of who we are and what we have become. Our worst and most toxic delusion is that we can find a way to undo those things and get back to the "real" world, the "normal" timeline, the way things are supposed to be.
Way, way back in that forgotten land of so-called real reality, I sat in a middle-school cafeteria in New Hampshire in the winter of 2016 and listened to Jeb Bush tell an audience of sober, normal-looking country-club Republicans that we had to get back to "regular-order democracy" or we were in big trouble. You know who introduced him at that event and aired out a few homespun gags about how crazy Bush's principal opponent was? Sen. Lindsey Graham of South Carolina, that's who. Even at the time, the plaintive, pleading appeal to a fading sense of shared normalcy struck me as important. But of course I really had no idea; nobody did.
If we keep blanking out on the most absurd and ghoulish sideshow elements of our national tragic farce, I guess that's understandable. Many of us have spent most of the last two months indoors, with our children out of school going through the largely empty rituals of "remote learning." Nearly 100,000 people have died in a viral pandemic that didn't have to be anywhere near this bad — and the true number is probably quite a bit higher, despite a passionate crusade by the paranoid right to prove that it was all a plot hatched by pointy-headed liberals who went to school and learned big words, and quite likely none of it happened at all.
Oh, and while that's been happening the Trump administration has launched an entirely unsubtle authoritarian assault on the so-called institutions of democracy and the so-called rule of law. The rest of us are fighting back vigorously with can-you-believe-this Facebook posts, Zoom cocktail hours, pious sermons about "self-care" and episodes of ritual wailing.
I have moments of grudging admiration for the cosplay fascists of the anti-lockdown "movement," fighting for their right to go back to Buffalo Wild Wings or whatever. In their version of the simulation, at least they're acting (in both senses of the word), even if their worldview consists almost entirely of paranoid imagination and their conception of "freedom" is impoverished beyond anything Orwell could have imagined. To the rest of us, of course, they present as another impossible plot twist in a laughable series, another thing that couldn't have happened but did. We watch, we are amazed; we feel increasingly powerless.
If we go with the parsimonious explanation that reality is actually reality, at least for now, then we need to start taking responsibility for having created it — and for changing it. There has been way too much faith that the conventional narrative would take over at some point and set everything to rights. This was essentially victimology — we were stricken, sad and helpless, but Daddy would save us — and an especially pathetic appeal to mythology.
We had the Russia investigation, apparently lifted from an airport paperback thriller, with its endless Dan Brown-style promises that a vast conspiracy would soon be unveiled. We had lantern-jawed Robert Mueller, with his lugubrious prep-school headmaster's demeanor and his Brooks Brothers suits, projecting a vision of honor and rectitude that made him a #Resistance hero until it was revealed to be utterly useless against the rising tide of Trumpian unreality. (How many other supposed investigations were there that were sure to bring down Trump? How many times has Rachel Maddow looked into the camera and said, in tones of deep meaning, "The Southern District of New York"? WTAF?)
We had a hastily-baked impeachment over a scandal that didn't bear looking at too closely — remind me again why the U.S. is involved in a proxy war on Russia's western borders? And when you and I got to vote on that? — and wasn't even close to the worst thing Trump has done. All of it amounted to a desperate appeal to an old order that had already failed, a "normal" status quo ante that was exactly what got us here in the first place.
When I say we should take responsibility for our current ludicrously disordered reality, I don't just mean by electing somebody who isn't Donald Trump. I won't argue against that outcome, but the exaggerated focus on the endless carnival of presidential politics — culminating in an election decided by a handful of votes in a handful of states — is an important aspect of American pathology, not to mention the systematic disempowerment of the American public.
Moreover, the entire 2020 campaign, to this point, feels like another perverse plot element introduced by the aliens for shits and giggles, and in that sense the encroaching sense of morbid anxiety around the November election is justified. Will we ever get to that part of the story? If we do, will the pages be blank? Will Joe Biden, not much more than a video shimmer in a locked-down basement of the matrix, or a peripheral character the writers have barely sketched in, even play a role in whatever gothic drama unfolds over the next few months?
To be amazed and entertained by the spectacle of Sarah Palin riding a nuke into Greenland in her pornographic furry suit while democracy evaporates into the salty residue of fascism — and what are horror and outrage, if not modes of entertainment? — is to become uncredited co-authors of this grotesque narrative, while protesting that we have no idea how any of this could possibly have happened. Humans default to metaphor in order to deflect responsibility, which may have been the point of Neil deGrasse Tyson's exercise. Where are the brilliant but malevolent aliens who programmed this godawful simulation? Look in the mirror.
Andrew O'Hehir
Andrew O'Hehir is executive editor of Salon.
MORE FROM Andrew O'Hehir • FOLLOW andohehir • LIKE Andrew O'Hehir
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Like all hard working people, we need to take a break from time to time. We promise to return and do our best with even more inspiration and zeal!
Our summer vacation will last from July 23 to August 11, 2018.
We wish everyone an excellent rest too, have fun!


My recipes are grain free, refined sugar free, and often dairy free. My recipes are good for anyone but especially for those with celiac or other autoimmune illness or even allergies. All of my recipes are gluten free and grain free. But not all gluten free recipes out there are grain free. I don't eat any grains which means no rice and no corn. I only use coconut oil, butter, avocado oil, olive oil or grapeseed oil. Also no nitrates, no hydrogenated oils, and no sulfates.
I don't think I could stay on this change in diet if I didn't also have items that I felt were indulgent and tasty no one likes to feel deprived. I have to read each and every label to protect myself. Every so often I find that a company has revamped their recipe and I can no longer eat the product. Which means when it comes to sweets, treats, and desserts I need to make them from scratch.
I have been watching my family eat pumpkin pies from Costco and I too wanted a pumpkin pie. Since I am hosting Thanksgiving for my family and my husband's mom and sister I needed to create a pumpkin pie recipe so that I too could indulge in dessert. I started with creating a coconut evaporated milk. This is the one I will be serving for Thanksgiving this year. I wanted to reduce my carbs and calories so I decided to make this a crustless Pumpkin pie. However, if you want a crust you could use my recipe Diary Free Pie Crust, Almond Flour Pie Crust, Graham Cracker Like Pie Crust. I used a 9-inch deep dish pie pan 6 cup capacity.
Preheat oven to 425 F.Grease and flour a deep dish pie pan. Smear oil over the bottom and sides of a pie pan. Add 2 tablespoons or more of almond flour and tilt and shake until the pan is floured.
Beat eggs and monk fruit sweetener until well combined.
Combine the ingredients together. Add spices and evaporated coconut milk to the pumpkin mixture.
Pour into an oiled and floured pie pan.
Bake at 425 for 15 minutes. After 15 minutes reduce heat to 350 and bake 40-50 minutes.


The Forgestar wheels brand of racing alloy rims is a prominent adversary on race tracks widely recognized and purchased by racecar drivers and wheel experts. The Brand is known for its peculiar and dynamic features that not only gives your vehicle the best stance but also helps boost momentum. The Forgestar wheels brand of wheels have continued to live up to expectations, defiantly toping market charts as one of the best racing wheels , highly recommended by formula one . The exclusive and innovative rotary forged flow forming Forgestar wheels technology gives each wheel unbeatable strength and high performance. Forge star wheels enable customers to make their choice through a wide variety of awesome designs and a range of offsets for each wheel width. The proprietary method of wheel customization ensures that customers are offered the best designs and perfect racing fitment to suit their needs. Safety and performance is a key priority to the Forge star brand. Every design is put through series of test using various computer simulations in order to determine strength, fatigue and stiffness. The mass of the wheels is also optimized to decreased rotational inertia. The test conducted on finished product goes beyond the conventional SAE, JWL VIA standards DURABILITY AND PERFORMANCE TEST. The importance of safety standards cannot be over emphasis when it comes to the Forge star brand. The techniques and procedure are performed simulating all terrain and opposing forces which could occur in real life situations. These standard safety tests include SFI, SAE (J2530) and JWL VIA. Forgestar wheels for sale are available at Revwerks and will be debuted at the world famous auto show at SEMA wheel and tire council is proof of the company's dedication and passion in ensuring that customers get the most improved quality of alloy wheels. The certification are as follows JWL: this standard is originated in japan and is a quality standard for Japanese made wheels brands. The japan light alloy wheels standard is overseen and managed by the japan alloy wheel testing council in japan. This stipulated test was put in place by the ministry of land, transport, infrastructure and tourism in japan. The test requirements for the JWL are as follows. • Dynamic test for cornering and fatigue • Dynamic test for impact • Dynamic test for rotational/radial fatigue. VIA: this is an independent establishment which possess its own set of parameters which also encompasses the JWL standards. Therefore, a VIA stamp n a wheel means it can be considered JWL certified and also VIA registered CUSTOM OFFSETS The fitments and stance of wheels can be customized to the best upgrades your vehicle could ever have with an abundant variety to pick form. We assist by giving individuals professional advice on the best suiting from super deep tire fitments to negative cambers and stretched tire fitments. These ingenious concepts are sure to give you that lush look you desire for your vehicle. The innovation of this lbrand of wheels has prompted a fairly large amount of Forgestar wheels reviews online. All of which are positive from what we can see so far. The new improved rotary forged technology of the brand gives each wheel that lightness that allows racecars build incredible speed. Load rating: the F14 drag wheels by Forge star features one of the highest load ratings compared to regular cast drag racing brand of wheels. Proficiency: with over 30 years of experience in the wheel industry the Forgestar brand thrives on passion and great performances which is evident in the manufactured products such as its weight, performance, strength, safety and beauty. The method of making wheels both lighter and yet strong has always been in contemplation until the Forge star rotary forged flow forming process came as a solution. This intricate technology utilizes a low pressure casting with a high- tech machine which spins initial casting, heating the external part of the casting and with steel rollers pressing against the rim area to extend the rim toils final shape and width. The factors required for this process is heat, pressure and spinning. This creates a rim width with the strength that matches a forged wheel. This technology not only produces wheels with exceptional quality but also improves its mechanical strength elongation and also reduces the thickness of the rim which of course is responsible for the extra weight here by making the resultant product extremely light weighted and with great resistances to impact. The Rotary Forged Process of building forgestar wheels includes the spinning of a specially designed cast wheels with the application of heat on the exterior portion. Heat and pressure is applied on the hydraulic rollers which is used to form the barrel. • Strength of aluminum and mechanical properties are enhanced as the rollers extend outwards on the alloy barrel. The resulting product is higher, stronger with performance that matches that of forged rims. VIRTUAL DESIGN AND FINISHING Every wheel begins as an idea sketched and developed. Each wheel is peculiar and carries signatory features which are unique to previous designs. The basic is constructed with the use of CAD software. Every design and modification can be simulated on a screen with the latest 3D Technology. The final design can be rendered to view the realistic version of the wheel. Each new design is then put through various test using finite element analysis (FEA). This computer program enables manufacturers to observe performance, strength, fatigue and stiffness in various simulated stress conditions. Upon completion of these test a prototype is developed and put through various examinations. This prototype, if found structurally defective can be disposed or upgraded. The last and final stage is the application of finishes. The Forge star brand provides the most stunning custom finishes. This is done using powder coating which is applied generously through electrostatics using heat, for a long lasting finish. Which beats the conventional finishes done using paint. Where can you get the best deals in Forgestar wheels mustang fitment? We have that covered at Revwerks. You can purchase your choice of Forge star designs at our give away sales. Look out for trending Forge star wheel series such as CF10, CF5, CF5V, CF10D and the drag racing Forgestar F14 wheels. Revwerk.com offers the best fitments and professional advice on the perfect choice for your vehicle.


text:
Moustey is een gemeente in het Franse departement Landes (regio Nouvelle-Aquitaine). Het plaatsje telt ongeveer 600 inwoners en maakt deel uit van het arrondissement Mont-de-Marsan.

Het dorp wordt weleens Moustey-les-deux-Églises genoemd. Het dankt die naam aan de twee kerkjes die daar sinds de 13de eeuw pal naast elkaar staan, namelijk de église Saint-Martin en de église Notre Dame. Hier werden vroeger de pelgrims, op weg naar Santiago de Compostella, onthaald. Tegenwoordig is in de église Notre Dame een museum gevestigd met twee permanente tentoonstellingen over de rituelen in het volksgeloof van de streek én de religieuze betekenis van de pelgrimage.

Demografie
Onderstaande figuur toont het verloop van het inwonertal (bron: INSEE-tellingen).

Externe links

Gemeente in Landes


text:
Квемо Мсхалґорі () — село в Грузії.

За даними перепису населення 2014 року в селі проживає 444 особи.

Примітки

Села Грузії


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The solution to keep up with social media is here!
At only $7/month, enjoy 300MB of dedicated access to Facebook, Instagram, WhatsApp, Twitter and Snapchat with the Social Data bundle from touch.
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These are pictures from us trying to get a picture of her tooth. I thought they were amusing.
You can kinda see it on the last picture if you make it really big.
Nothing much else going on around here, obviously:) The second tooth is still in hiding!
I see it!! Too cute.... I can;t wait to see yall again!!
It's a tooth!! I can see it!! She's growing up too fast. I promise that I'll come visit before she has a complete set. Miss you guys!!!


Restaurants Open Near Me: The travelers will not just meet awesome people residing alongside the fresh gushing river , but willas well enjoy the several other activities this city has to offer. Scenic attraction , learning to fish at the river and a lot of other holiday attractions. A perfect dining area for those who enjoy food.
. Team your favorite beverage selecting from lots of options. It is absolutely a remarkable experience for your taste buds , family and even friends.
For some time , the city of Sault Ste . Marie has been inviting visitors from all across the world. North 82 is one such popular restaurant where the vacationers definitely relish their food. All adventure seekers rejoice in their favorite snacks when they are here. The ambience in this eating place is tourist-friendly providing yummy food for adventure lovers.
North 82 presents a relaxed ambiance to accommodatefamily time. Whether you are a small family of 4 or like to enjoy a wonderful gathering , this is a wonderful location to make happy moments with them. In addition , should you wish to host a birthday celebration or arrange special candlelight dinner event , we have party rooms too.
Are you a huge gang of family and friends touring this city? North 82 is the best spot for drinks and lengthy chats.
At North 82 , customers will find an incredible menu . There is something for each and every one to try. The meals are fairly priced. The experienced and expert chefs at the restaurant ensure that their clients get complete worth for their money therefore they offer the finest of food together with awesomeservice.
. The restaurant ensures that their staff is well skilled to manage many guests coming to their restaurant.


THE tenants at the Flower Pot pub in Aston have won an award from the Campaign for Real Ale for services to the industry.
Landlord Tony Read and his partner Pat Thatcher were honoured for their outstanding service as publicans at a presentation evening last week.
The couple marked 25 years at the Brakspear pub in February and are the company's longest serving tenants.
They took over in 1992 when they learned the landlord was leaving and have been there ever since.
The pub was built in 1895, has a large garden and is a popular stopping point for walkers and cyclists, particularly in the summer.
It includes Britain's largest private collection of cased fish with more than 100 examples adorning the walls, including a pike that had weighed more than 50lb when it was alive.
Films and TV shows, including Miss Marple, Pie in the Sky and The Sculptress, have all been filmed at the pub over the years.
Last year, the couple hosted a fireworks display which raised £800 that they used to install a defibrillator at the pub.


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redpajama_set_name: RedPajamaGithub


text:
Massimo Andrea Ugolini (n. San Marino, 26 de julio de 1978) es un político y banquero sanmarinense.

Tras finalizar sus estudios superiores, comenzó en el mundo de la banca.
Años más tarde inició su carrera política como miembro del Partido Democrático Cristiano Sanmarinese (PDCS), con el que tras presentarse en las listas a las Elecciones parlamentarias de 2012, logró un escaño en el parlamento nacional "Consejo Grande y General de San Marino".

Desde el día 1 de abril de 2016 y hasta el 1 de octubre de 2016, junto a Gian Nicola Berti, fue Capitán Regente de San Marino, en sucesión de Nicola Renzi y Lorella Stefanelli.

Referencias

Enlaces externos

 Ficha en el PDCS

Capitanes regentes de San Marino
Sanmarinenses (capital)
Sanmarinenses del siglo XXI


Congratulations to Midwest Community Cat Alliance for receiving the most votes in our quarterly Gift of Charity contest! They were the recipients of a $500 gift from AutoCenters Nissan to help aid their efforts.
MCCA is a group of volunteer animal advocates that work with the animals in government run control centers located in Farmington, Park Hills, Desloge, Fredericktown, Ironton, Bonnne Terre, and Ste. Genevieve in Missouri in order to save cats from being euthanized. They works to place the cats with a licensed rescue group so they can obtain much needed veterinarian services. The rescue group will then place the cat up for adoption and find them a home.
Visit their website HERE to donate, or learn more!


text:
Seen and Heard International
SINCE 1999 A LIVE REVIEW SITE FOR OPERA, BALLET, CONCERTS, BROADCASTS, AND THEATRE
UK Concerts
International Concerts
International Opera
UK Opera
Ballet and Dance Reviews
Broadcasts & Others
Broadcasts and Film
Season Previews
Mostly Mozart Festival 2013
Bayreuth-2014
Buxton Festival-2014
Cheltenham Music Festival 2014
Dresden Music Festival 2014
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Moritzburg Festival 2011 – Music making of breathtaking elegance and ferocity
23/02/2014 14/08/2011 by Stan
Germany Purcell and Dvořák: Nicola Benedetti, Benjamin Schmid, Mira Wang (violin), Max Mandel (viola), Julian Steckel (cello), Antti Siirala, Andreas Haefliger (piano). Moritzburg Castle, Dining Hall, 12.08.2011 (LV)
Purcell: Trio Sonata No. 7 in E minor, Z 796
Dvořák: Piano Quintet in A major, op. 81
The well-heeled Moritzburg Festival patrons who filled the dining hall at Moritzburg Castle heard a performance of Dvorak's Piano Quintet that transformed the music from merely a beloved to a fiery masterpiece. Seated on a narrow raised stage in a room festooned with dozens of the trophy antlers that were the natural province of a royal hunting palace, five musicians named Schmid, Wang, Mandel, Steckel and Haefliger dispensed with what little rehearsal they had been able to accommodate into the Festival's busy timetable and showed that when the full range of Dvorak's brilliant instrumental and keyboard writing is pushed to the limit, the result is music making of breathtaking elegance and ferocity.
While the string players were playing with over the top intensity and brilliance, Andreas Haefliger drove them further with piano playing of almost impossible inner clarity, dazzle and verve, reminiscent of and yet totally eclipsing his classic 1999 Decca recording with the Takacs Quartet. Afterwards, asked whether he had Dvořák's Piano Concerto in his repertoire, Haefliger admitted it was not but that the incendiary nature of the evening's experience was causing him to reconsider.
The abbreviated program, designed to accommodate a gala dinner featuring a four-course onslaught of dishes prepared by starred Dresden chefs, began with Nicola Benedetti, Steckel and Antti Siirala serving up their own starred menu of English delight, in keeping with the Festival's English theme, as beautifully anachronistic as it was sumptuously delicious.
Laurence Vittes
The Moritzburg Festival web site is Here.
Categories Concert Reviews, International Concerts, Previously Published Tags Laurence Vittes, Moritzburg Post navigation
Edinburgh International Festival 2011 (2) – Stefan Vladar displays outstanding pianism in Mahler song recital
Proms Matinée (1) – Music to celebrate Sir Richard Rodney Bennett's 75th birthday
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Kirill Petrenko and the Berlin Philharmonic start 2021 by exploring themes of life and death in literature and paintings (21/01/2021)
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The Event Horizon: hope and ambition from Simon Armitage and The Hallé (16/01/2021)
The digital premieres of The Planet – A Lament and Wide Slumber for Lepidopterists from PROTOTYPE (15/01/2021)
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The Kathleen Ferrier Awards Competition 2020 announces winners (09/01/2021)
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Lucerne Festival's plans for Summer 2021 (02/12/2020)
Longborough Festival Opera's exciting 2021 update (02/12/2020)
Garsington Opera has announced its 2021 season (02/12/2020)
Rosenblatt Recitals at Home in aid of Target Ovarian Cancer – details of the programmes and a review (01/12/2020)
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Buffalo Ridge is a 20 acre field on top of one of the hills that runs north/south down the center of our land. This is the way it looked in 2001 – planted with soybeans.
In 2004 the farmer had planned to plant it in corn. I don't like to plant into corn stubble, so that year we asked the farmer not to plant, and Mike mowed it several times over the summer. In the fall, we had the farmer spray it with glyphosate, and that winter – the winter of 2004/2005 – I planted prairie seeds. There was lots of snow that winter, so I did most of the planting on snowshoes.
This is the same view in July of 2009 – when the prairie was 4 years old.
One of the wonderful things about planting a prairie is watching wild creatures interacting with the plants. This moment happened in May 2007, as I was walking along the path.
This is an aerial of the farm showing the location of Buffalo Ridge.
Click Here for a list of the seeds I planted, and which ones I've observed growing.


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Home » Knowledge Hub » Resources & References » What is FATF?
What is FATF?
The Financial Action Task Force (FATF) is an intergovernmental organization that works to combat money laundering and terrorist financing. It was established in 1989 by the G7 countries, and it now has 37 member countries and jurisdictions.
The main role of the FATF is to set international standards for combating money laundering and terrorist financing. These standards are known as the FATF Recommendations, and they are designed to prevent the misuse of the financial system for illicit purposes. The FATF Recommendations provide a framework for countries to develop and implement effective laws, regulations, and policies to combat money laundering and terrorist financing.
In addition to setting international standards, the FATF also conducts assessments of its member countries to determine their compliance with the FATF Recommendations. These assessments, known as Mutual Evaluations, help the FATF identify any weaknesses in a country's anti-money laundering and counter-terrorist financing regime and provide recommendations for improvement.
The FATF also works with international organizations, such as the World Bank and the International Monetary Fund, to promote the implementation of the FATF Recommendations globally. By doing so, the FATF helps to protect the integrity of the global financial system and prevent the use of the financial system for illicit purposes.
This page was last updated on January 2, 2023.