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Criminal Law » VIC » Tendency And Coincidence
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George Pell Acquitted by High Court
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Bail Reform in Victoria
Supreme Court Dismisses George Pell Appeal
Cardinal Pell Was Sentenced Today
Tendency and Coincidence (Vic)
Tendency and coincidence evidence, also referred to as propensity or similar fact evidence, is evidence that an accused has a tendency to commit certain acts, based on the assertion that they have done it before, or that it is likely that an accused committed multiple acts based on the similarity of multiple allegations against them. Tendency and coincidence evidence is commonly adduced where a person is alleged to have committed child sex offences. It often consists of evidence of other complainants that they have been assaulted by the same person or evidence of prior convictions for similar offences or evidence of other illegal conduct for which the accused has not been charged, such as the 'grooming' of children.
Evidence may be adduced that because the accused engaged in sexual acts with a small child, that he has a tendency to engage in such acts, or that he is alleged to have assaulted two children in strikingly similar circumstances and that this is unlikely to be a coincidence.
The tendency rule
Under Victorian law, evidence of the character, reputation or conduct of a person or a tendency that a person has or had to act in a particular way or have a particular state of mind is admissible only if:
The party seeking to adduce the evidence gave the other parties reasonable notice in writing of their intention to do so;
The court thinks that the evidence will have significant probative value;
The probative value of the evidence substantially outweighs its prejudicial effect.
(Evidence Act, Sections 97 and 101)
Steven Odgers sets out the features relevant to determining whether evidence is more probative than prejudicial in Uniform Evidence Law in Victoria and this list has been reproduced by the Victorian Supreme Court.
These features are:
The number of occasions the conduct occurred;
The time gap between occasions;
The degree of similarity between different occasions;
The degree of similarity in the circumstances on different occasions;
Whether the tendency evidence is disputed;
The issue to which the evidence is relevant.
In a case where tendency evidence involving multiple complainants is proposed to be adduced, the evidence will be inadmissible if there is any 'reasonable possibility' that there has been concoction, collusion or contamination among the complainants.
The coincidence rule
Coincidence evidence is evidence of two or more events when the evidence is being used to establish that the accused did an act or had a state of mind on the basis that the similarity of the events makes it unlikely that the events were a coincidence.
In order for coincidence evidence to be admissible
(Evidence Act, Section 98)
There are two types of coincidence evidence. The first is where two or more events have occurred in circumstances where the conduct is ambiguous. The similarity of the events can be used to argue that it is unlikely the events occurred accidentally or coincidentally and that they were, in fact, the result of criminal actions.
The second type of coincidence evidence is where there is evidence that two or more similar allegations were made in circumstances where it is implausible that two or more complainants have independently come forward to make similar yet false allegations against the same defendant. The similarity of the allegations leads to the conclusion that the witnesses are telling the truth.
As with tendency evidence, coincidence evidence will be inadmissible if there is a reasonable possibility of concoction or collusion among the complainants.
Tendency and coincidence
In many cases, the same evidence is capable of being relied on as both tendency and coincidence evidence. For example, where two sexual assault complainants give evidence that the same defendant assaulted them, this could be used as tendency evidence (ie. If the court is satisfied that Complaint A is telling the truth, this establishes that the defendant has a tendency to commit sexual assaults and therefore, it is likely that he sexually assaulted Complainant B) or as coincidence evidence (ie. it is unlikely that two independent complainants have made similar but false allegations against the same person). The prosecution will usually choose to pursue the stronger of these two arguments, rather than asking the jury to consider the same evidence as both tendency and coincidence evidence.
If you need legal advice about a criminal matter or any other legal matter please contact Go To Court Lawyers.
Criminal Law, VICCriminal law, evidence law
In many circumstances, criminal offending will have a significant impact on other people. The impacts of crime on victims can be significant and diverse, and may include psychological and emotional harm, physical injury as well as financial loss. This article deals with restitution orders, the purpose of which is to ensure that victims of crime…
Arrest Without A Warrant (Vic)
In Victoria, the power of arrest is governed by legislation. However, the common law still determines how a lawful arrest is required to be affected. In some circumstances, police must have a warrant to lawfully arrest a person. In other situations, it is lawful to arrest without a warrant. This article summarises the situations where…
On 30th March 2020, the Victorian government put in place strict emergency restrictions in an attempt to limit the spread of the Coronavirus. On 1 June 2020, these restrictions were relaxed in Stage Two of a three-step plan to reopen Australia announced by the Prime Minister last month. A lot of emergency restrictions remain in…
On 7 April 2020 the High Court granted former Cardinal George Pell leave to appeal against the decision of the Victorian Court of Appeal to uphold the jury's findings of guilt against the Cardinal in December 2018. After hearing his appeal, the High Court found that the jury ought to have entertained reasonable doubt as…


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Q: html disabled button, display error on click If I set button to disabled, and someone clicks it, how can I make it display another div, which contains explanation why its disabled?
I have no clue how to do this, and would realy appreciate some help.
Thank you!

A: I had a problem like this a while ago. I think the solution was to wrap a div around the button and detect a click on the div, via jquery. Not pretty but gets the job done.

A: you can make it using javascript onClick event.
There are many ways to do that. You can create an element using document.createElement and a text node using document.createTextNode to create your own message panel.
or you can just create a div then target it using querySelectors of javascript then use innerHTML.
I wrote some codes here for you. pls check the link:
https://jsfiddle.net/jLt5hjn8/

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Update: Round Two poems are now open for voting! You can see (and vote on) my Round Two entry here.
There is some serious madness going on this month at ThinkKidThink.com. Ed DeCaria has masterminded a tournament involving 64 writers who are going head-to-head in a children's poetry showdown. Over the next few weeks there will be several rounds of competitions that include well-known children's poets as well as relative newcomers, all battling to see who will ultimately be crowned the champ.
So who's the judge? You are! That's right. Voting is open to the public. All you have to do is read each pair of poems and decide which one you like best. The poets with the most votes move on the next round and the madness continues until there is only one poet left standing.
If you'd like to see my first entry in the tournament, you'll find it here.
So what are you waiting for? Head over to ThinkKidThink.com and cast your votes for the best kids poems in the tournament.


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Gisela Raquel Mota Ocampo (Temixco, Morelos; 13 de marzo de 1982 - Pueblo Viejo, Temixco, Morelos; 2 de enero de 2016) fue una política mexicana afiliada al Partido de la Revolución Democrática (PRD).

Mota era licenciada en Derecho y fue diputada federal por representación proporcional durante la LXII legislatura. El 1 de enero de 2016 comenzó su mandato como alcaldesa de Temixco.

Asesinato
El 2 de enero de 2016 fue asesinada en su casa de Pueblo Viejo por un grupo de hombres armados.

Véase también
 Elecciones estatales de Morelos de 2015
 Cártel de los Guerreros Unidos

Referencias

Nacidos en Temixco
Políticas de México
Políticos de Morelos
Presidentes municipales de Temixco
Diputados de la LXII Legislatura de México
Miembros del Partido de la Revolución Democrática
Presidentas municipales de México
Políticos asesinados de México
Políticos asesinados
Fallecidos en Temixco

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H.E. McCracken eyes new athletic field
Jack Cavanaugh
jack.cavanaugh@blufftontoday.com
Following years of growing enrollment and limited space, the Bluffton schools campus on H.E. McCracken Circle will be getting a new athletic field.
A request was submitted by Robert Oetting, the Beaufort County School District's facilities planning and construction officer, to the town of Bluffton development review committee on Tuesday for approval of the new field.
The field will be large enough to accommodate both football and soccer, and it is hoped it will provide relief to the multiple athletic teams that need practice and competition space in the spring and fall seasons.
"If you're in the Bluffton area, you know all the athletic fields are in short supply and in high demand," Oetting said. "Now that McCracken is going back to a full middle school, we're looking at providing a middle school field.
"This is a multi-phase project, and the first phase is providing a football-sized practice field, a soccer-sized practice field where McCracken could hold competition."
Oetting said the district would like to add a baseball field and possibly a third field in the future.
A concrete pad will also be laid down to accommodate a portable bleacher stand.
Costs associated with the new field were not known as of last week and it is not expected to be ready by the start of the 2016-17 school year, Oetting said.
Pat Rooney with the town's growth management department said development plans would be resubmitted once necessary permits are acquired, including updates to the plans' stormwater reports.
"I think it helps McCracken get its own identity," former athletic director Ron Deitz said. "For a number of years they've had to use various fields of other schools and parks and rec.
"So it's nice they can now be affiliated with their own fields."

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A campaign I produced for hair stylist Chris King has been selected for this years "The Work 2017" - Campaign Brief in Print Craft.
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The competition for the title of "Best Sniper"
According to the combat training plan for 2019, approved by the Minister of Defense, the competition for the title of "Best Sniper" was held among the military units of the Azerbaijan Army. The competition, organized to determine the military snipers with the skills of a well-aimed shot, was held in the special training area of the Ministry of Defense. After checking the relevant equipment of servicemen, they took the pre-established positions and met the standards.


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I'm an infectious disease doctor. Yes, I'm vaccinating our 5-year-old against COVID-19. Here is why you should too.
Carter Giglio, 8, joined by service dog Barney of Hero Dogs, shows off the bandage over his injection site after being vaccinated at Children's National Hospital in Washington.
(AP Photo/Carolyn Kaster)
I am an infectious disease physician. When it is our turn to vaccinate our five-year-old son against COVID-19, I will do so with confidence and without hesitation. I am encouraging every parent with eligible children between ages five and 11 to do the same. Here is why.
The U.S. Food and Drug Administration (FDA) recently authorized the Pfizer-BioNTech vaccine for children between five and 11 years of age. Subsequently, members of the Centers for Disease Control and Prevention's Advisory Committee on Immunization Practices voted unanimously to recommend vaccination for all children ages five to 11, a recommendation quickly endorsed by CDC director Dr. Rochelle Walensky.
The rush to vaccinate children in this age group in the United States has now begun.
Click here for more articles in our series about vaccine confidence.
Health Canada is reviewing a similar submission from Pfizer to allow its vaccine to be used in children aged five to 11. Approval is expected in the coming weeks. The National Advisory Committee on Immunization (NACI) will then provide guidance for its use in Canada, after which we expect to have the vaccine authorized for all children in Canada in this age group.
Reviewing the evidence
Why vaccinate kids against COVID-19?
Concerns about side-effects
Benefits of vaccination far exceed potential risks
Many parents in Canada have indicated hesitancy to vaccinate their children, and understandably all parents have questions about weighing the risks and benefits. Let's review the evidence.
Pfizer's clinical trial conducted in the United States in kids aged five to 11 began early in 2021, and a significant surge of COVID-19 occurred soon after as the highly contagious Delta variant swept across the country. The data reported from the clinical trial thus far is encouraging.
Ethical decisions: Weighing risks and benefits of approving COVID-19 vaccination in children ages 5-11
The antibody responses in children aged five to 11 with two 10-microgram doses, given three weeks apart, were comparable to those in persons aged 16 to 25 who were given two 30-microgram doses three weeks apart. Being fully vaccinated reduced the chances of being infected with COVID-19 by over 90 per cent, an impressive number especially amidst the Delta surge.
No concerning safety events were identified in over 3,000 children who received the vaccine, although followup intervals were short.
Data from Pfizer's clinical trial in children, conducted in the U.S., is encouraging.
(AP Photo/Mary Altaffer)
A question commonly asked by parents is this: "Kids don't generally get very sick or die from COVID-19 compared to adults, right? So why vaccinate them if their risk is so low?"
Yes, the risk of children getting very sick or dying with COVID-19 is low, but the relative risk of severe outcomes and death that kids face when they acquire COVID-19 is extremely high. COVID-19 was the sixth highest cause of death from disease in children ages five to 11 in the U.S. in 2020, comparable to rates of death seen in children with heart or lung disease. If there were a way to prevent death in children with heart or lung disease as simple as a safe two-dose vaccine, there would be very little hesitation from parents to take advantage of it.
Besides hospitalization and death, COVID-19 infection poses other significant risks for children, including the risk of multisystem inflammatory syndrome in children (MIS-C) and longer-term post-COVID-19 complications ("long COVID") similar to adults. MIS-C can occur two to six weeks after COVID-19 infection, nearly two-thirds of affected children will require critical care support, and between one and two per cent of affected children will die.
About seven per cent of children in the United Kingdom who recovered from COVID-19 infection reported ongoing symptoms 12 weeks after being diagnosed, which affected various aspects of their quality of life: missing school, being less able to perform physical activity and mental health concerns.
MIS-C and long COVID in children are best avoided through prevention of COVID-19 infection by being fully vaccinated.
The primary side-effect of concern in young children receiving the COVID-19 vaccine is myocarditis, or inflammation of the heart muscle. In one recent Israeli study, the risk of myocarditis was highest in male patients between ages 16 and 29 after a second dose of an mRNA vaccine, at roughly 11 out of every 100,000 males. A second Israeli study identified males between ages 16 and 19 as being at greatest risk. The risk of myocarditis in females across all age groups was negligible in both studies. Deaths due to vaccine-induced myocarditis are extremely rare, and nearly all cases recover fully.
A seven-year-old gets the Pfizer-BioNTech COVID-19 vaccine in Bronx, N.Y. The United States has approved the vaccine in children ages five to 11, and Canada is expected to follow suit.
In Pfizer's clinical trial of children between ages five and 11, no cases of myocarditis have been detected, but ongoing surveillance will be necessary as cases of myocarditis in children of this age group are expected to be extremely rare, given that myocarditis is typically a post-pubertal phenomenon. Also, since the vaccine dose being given to children aged five to 11 is one-third the dose given to persons over 12, an even greater reduction in vaccine-induced myocarditis is likely in this younger age group.
The risk of damage to the heart from infection with SARS-CoV-2 is statistically much higher than the risk of vaccine-induced myocarditis. COVID-19 infection can lead to a variety of complications of the heart, some serious. Such complications include damage to heart muscle from myocarditis itself, as well as inflammation of blood vessels supplying the heart muscle caused by the virus.
Many parents worry about the possible effects of COVID-19 vaccine on fertility and future pregnancies. No evidence exists right now to demonstrate any concerns with COVID-19 vaccine and fertility, pregnancy or breast-feeding. Tens of thousands of women have received vaccine while being pregnant, and no safety signals have been identified.
Parents are concerned about the lack of long-term safety data available for the mRNA vaccines. No reasonable scientific basis exists to indicate that long-term side effects of mRNA vaccination will occur. mRNA is degraded in the body very quickly, which is why we would typically expect to see vaccine side effects like myocarditis within the first two months of vaccine administration, or not at all. Billions of doses of COVID-19 vaccine have been administered worldwide with no long-term side effects identified, providing further evidence for the long-term safety of mRNA vaccines.
Unfortunately, SARS-CoV-2 is not going to ever go away. Our best-case scenario is endemicity, and even that reality is unpredictable given the potential emergence of new viral variants. We cannot expect our children to live in "bubbles" forever. We must prepare them as best as we can to safely navigate this new reality.
Based on the scientific evidence at hand, the benefits of vaccination for five-to-11-year-olds far exceed any potential risk.
(AP Photo/David Zalubowski)
Based on the scientific evidence at hand, the benefits of vaccination for my five-year-old son far exceeds any potential risk. That is why he will be vaccinated as soon as he is eligible, and also why practically every expert group on child health across the world has come out in favour of universal vaccination of children, including the American Academy of Pediatrics. We have not even brought up the significant societal benefit of moving closer toward herd immunity through universal vaccination of eligible children.
Navigating the COVID-19 pandemic has been difficult and disruptive for children and their families. We now give routine childhood vaccines to our kids without hesitation, and they have dramatically improved the quality of life and life expectancy of children worldwide. Getting every child between ages five and 11 fully vaccinated against COVID-19 helps bring us all one step closer towards normalcy and protects our children from severe outcomes of COVID-19 infection.
That is why I am going to vaccinate our five-year-old son with confidence, and why I will strongly encourage all parents to do the same.
Do you have a question about COVID-19 vaccines? Email us at ca‑vaccination@theconversation.com and vaccine experts will answer questions in upcoming articles.
Dr. Alexander Wong has previously consulted for Pfizer with regards to its vaccines to prevent pneumococcal infection, and received honoraria from Pfizer for leading scientific discussions for healthcare professionals on pneumococcal vaccines.
Sleeping longer than 6.5 hours a night associated with cognitive decline according to research – what's really going on here?
Vaccine trial misconduct allegation – could it damage trust in science?
Vaccine trial misconduct allegation - could it damage trust in science?


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About Amat
ProjectsHubAmat for youRegeneration OperaUnconventional SingerUnconventional Orchestra
femfestival
Amat for events
Are you a company?Are you a private organization?Are you a public institution?Are you a private Citizen?
Our artistic team is available for civil and religious ceremonies, parties and private events with an assorted repertoire ranging from classical to pop. Please contact us beforehand to set the date and choose the musical programme for your event.
We offer several types of programme, depending on location and requirements. We create tailor-made events for our customers: you can shape it according to your liking.
THE EVENT YOU DESIRE
tailor-made design
Thanks to its experienced artistic team, Amat is able to design the perfect event together with the customer, tailored to specific needs.
The ensemble ranges from solo instruments (violins, flute, guitar, etc.) to different chamber, instrumental and vocal ensembles (trio, quartet, quintet, etc.).
With our guidance, you can choose the most suitable repertoire and programme for ceremonies and events.
The ensembles
Unconventional Singers
The Unconventional Singers are an original and well-matched group of opera singers, able to perform any kind of repertoire, reinterpreting it with contemporary eyes and a touch of irony.
Madrigals, opera, musicals, operettas, with diversions into film music and pop: they never hold back. On the contrary, they raise the challenge with an artistic proposal that aims to reach out to audiences and spread the word.
Unconventional Wind Quintet
The wind quintet is one of the chamber ensembles of the Amat Unconventional Orchestra. It performs together with the symphony orchestra and, separately, in chamber concerts, covering a repertoire ranging from the 17th to the 20th century.
Unconventional String Quartet
The string quartet is composed of soloists from the Amat orchestra. It performs a varied repertoire ranging from baroque to contemporary music.
Some of our most successful concerts
Lasciatemi cantare
A tribute to the all-time Italian voices
A vocal journey through Italian music, from its beginnings to the present day. The Unconventional Singers reinterpret the history of music in a spirited and brilliant show, unusual and full of surprises.
The group takes the audience through the centuries, in a whirl of colours, styles and epochs, giving a light-hearted and ironic taste of Italian vocal music from the 16th century to the present day: from Monteverdi to Celentano, passing through the opera of Rossini, Verdi, Puccini, the musical and the operetta.
Ensemble: Vocal group, piano.
Corazon Malherido
Gypsy melodies
The Unconventional Singers offer an evening of gypsy tones, flamenco melodies and tango rhythms, all accompanied by the instrument that is the symbol of Spanish culture, the Guitarra.
The music of Mario Castelnuovo Tedesco's Romancero Gitano, with its warm and refined atmospheres, is combined with the intense popular melodies of Garcia Lorca and the canciones of Heitor Villa-Lobos.
Ensemble: vocal group, guitar, conductor
Spritz & Songs
Lightness and bubbles
The Unconventional Singers perform songs harmonised for a cappella voices, mainly from the repertoire of the 30s, 50s and 60s, later becoming famous and part of contemporary pop culture.
The group, made up entirely of opera singers, entertains the audience with a light national and international repertoire, from ethnic music to film music, from the rock of the Beach Boys to the melodies of the Musical. The perfect repertoire to be enjoyed with a drink.
Ensemble: Vocal group
Una serata con l'opera italiana
The most beautiful overtures and opera arias
A selection of compositions from the great opera repertoire: from Rossini to Verdi, from Donizetti to Puccini. Overtures, arias, duets and concertos take the audience into the magic of Italian opera.
Ensemble: wind quintet/piano, four opera singers
Dal palcoscenico al grande schermo
Concert for wind quintet
Our wind quintet will take you on an imaginary musical journey through the most famous themes of Italian and foreign opera, to the unforgettable notes of the soundtracks of the most renowned movies.
From Mozart to Morricone, from Don Giovanni to Moon River.
A cena con Rossini
A journey through the senses
A unique experience, with an actual culinary and musical event at the same time, organised in collaboration with the structure's kitchen and chef. It is a dinner prepared with the recipes that Gioachino Rossini loved and that he himself experimented with, describing his passion for food, excellent wine and music.
Actors and singers interact with chefs and sommeliers, performing musical pieces related to Tournedos alla Rossini, Rombo in Wagnerian sauce, and the delicious Petite. The served dishes become an essential part of the evening's script, in a mix of music, acting and delicious cuisine.
Ensemble: 3 opera singers; one actor, piano (or archicon quartet conductor for larger venues).
If you are interested, please write us
We will contact you as soon as possible
Academy Music Art Theatre S.r.l. Social Enterprise
Sede legale: Viale Trento, 6 Siena
Sedi operative: Banchi di Sotto, 8 Siena;
Borgo Santi Apostoli, 22 Firenze
info@amatlab.com
© 2023 amatlab.com


If you are getting ready to move from one home to another, you could be thinking about handling the move on your own. However, for many people, this is not a good idea. For example, if you suffer from back pain, it is probably going to be a better idea to hire a team of professional movers. Here's why.
First of all, you should know that moving your own belongings could turn out to be very painful. If you have already been suffering from back pain, you might find that it will get a whole lot worse after you have been bending to pack and moving heavy furniture. The pure pain that you can save yourself alone can definitely make it worth it to hire a moving company to help you.
Beyond the temporary discomfort that you could suffer from attempting to handle your move yourself, you could find that you could do permanent damage to your back. This could be true if you already have an injury, since you could make it worse. Even if you don't have an existing back injury, moving heavy furniture the wrong way and doing all of the other things that go along with a move could cause you to injure your back. Hiring a professional company could help you avoid this permanent damage.
Of course, the effect that moving your own belongings could have on your body are probably the most important thing to think about. However, there are other reasons to consider hiring professional movers as well. For example, you might find that it takes you a long time to get the job done. After all, you probably don't have a team to help you or the same equipment and know-how that a moving company has. If you want to get your move taken care of as quickly as possible, hiring a moving company can help you do so. Then, your belongings can be moved while you focus on doing other things to get prepared to move to another home.
As you can see, if you have been suffering from back pain, you should probably avoid handling most of the moving-related duties that need to be done. Instead, consider hiring a moving company such as Rodbev Removals to help you. Then, you can avoid these three problems and more.


text:
Many times we wonder if we really can change things. Some wish to change all of society, while others want to resolve a specific problem, like education, homelessness, or environmental issues. Passion drives them, but many of us question whether our actions really matter.
Simon Mainwaring's current bestseller We First (See Beth Kanter's book review) certainly challenges us to believe that change of all kinds can happen. Mainwaring advocates for a sea change in capitalist culture towards mandated ethical corporate social responsibility and cause marketing. He advocates for a We attitude instead of a Me attitude. His suggested primary catalyst for change is, you guessed it, social media.
If They Can Do It… From Ignite Better Baltimore
It's easy to fall in love with social media, and believe we can change the world with it. Certainly, it is a powerful tool set for grass roots activism. The accomplishments of Middle East dissidents have shown us that with hard work over years it is possible to overcome established power structures and current media influences with these tools (see above video). Anyone of us can do this.
In the end social media are just tools. People change society, collectively. Individually, it takes hard work to get our peers one by one to move with us. Grassroots movements are not built in a day, and many are never fully realized. But as time evolves with momentum and success, we can move en masse towards desired change. The organizers behind Egypt's January 25th revolution — Ahmed Maher, Asmaa Mahfouz, Wael Ghonim, and Israa Abdel Fattah — were unknown activists working behind the scenes since 2009.
You have to give Mainwaring credit. He advocates for change with We First, and leads by example with his marketing consultancy of the same name. As a long term resident in Washington, DC, his idealism is admirable. How that change occurs is another question.
The mandates from We First are reminiscent of the Obama campaign's promises to sweep Washington, DC into the 2.0 conversation revolution. Three years later… In many ways Washington is still mired in bureaucratic reality. While some data has opened up, Congress is still a frustrating nightmare, and Obama's progressive election platform of "Yes, we can" feels like the bitter empty promises of a dying love affair.
That doesn't mean that changing the face of capitalism can't occur. Again, any of us can become change agents, even if we are affecting one person at a time. Certainly, this book would be well served as an ethical challenge to business students. How Mainwaring convinces Wall Street and the Fortune 500 to change their ways remains to be seen. Kudos to Simon for throwing down the gauntlet, and taking an activist's role.
What do you think? Can we change the world?
Tags:changeMainwaringObamaWe First
Chicago Marathon: Supporting the Brain Injury Recovery Foundation
14 Stunning shots in my 2023 National Parks Calendar
An Unexpected Blue Ridge Journey
Let the Fireworks Begin: Some Photography Tips
Photo Essay: 3 Days in Big Bend National Park
Evolution Revolution
Full Frame News
Fundraising Wall
Pop Philosophy
xPotomac
Zoetica


She'd been training for the annual AIDS Lifecycle race from San Francisco to Los Angeles when she had a major accident that lead to shattered bones, titanium plates, and extensive rehabilitation. She'd been recovering well but at the time of the race she was uncertain whether she'd be able to bike twelve miles or two hundred. She set out with her team anyway and 545 miles and five days later she crossed the finish line in great spirits. Triumph in the face of adversity turned the tattered jersey into a cherished keepsake. But what to do with it?
My first thought was to frame it and hang it. My second thought was to create a poster around it to make it something special and commemorate the event with art and in my mind it was always going to be the Saul Bass look.
I used a vinyl cutter to create stencils for screen printing then built the frame for the poster so that it would have sufficient depth to hold the jersey. Magnets hold the jersey in place, allowing it to be arranged aesthetically without damaging the printed poster.


Koplin Del Rio is pleased to announce an upcoming group exhibition, Hypnagogia.
throughout history including the likes of Thomas Edison, Beethoven and Aristotle have translated their hypnagogic visions into incredible innovations and masterpieces.
exhibited in galleries across the country and is in a number of prestigious private and public collections.
Mikel Glass – Based in New York City, Glass has worked in his Hell's Kitchen studio for 25 years. A painter and sculptor, he has always repurposed found objects from his surroundings to create sculptures and installations, most notably through his creations as half of the kinetics team, Baltzerglass. These interests culminated in 2009 with a mid-career retrospective titled, "The Discarded" at the Colorado Springs Fine Art Center. Glass received an MFA from New York Academy of Art and a BA from Pomona College in Claremont, CA. His work has been exhibited in solo and group exhibitions nationally and can be found in many notable private and public collections including, Blue Cross/Blue Shield, the Regis Collection, and the Ralph Lauren collection.
Alex Gross – Born in New York and based in Los Angeles, Gross creates deftly rendered surrealist paintings that touch on themes of consumer and pop culture, technology, globalization and mortality. In 2000, Alex was the recipient of the prestigious Artists Fellowship from the Japan Foundation. He spent two months traveling throughout Japan and collecting vintage Japanese magazines, posters, photos, and more. In 2004, Taschen published Alex's first book, "Japanese Beauties", a compilation of Japanese Advertising imagery from 1900 until 1970. His work has been exhibited nationally and internationally with notable exhibitions at the Grand Central Arts Center, Laguna Art Museum, and most recently at The Long Beach Art Museum earlier this year as part of the "Masterworks" exhibition.
F. Scott Hess – Born in Baltimore and based in Los Angeles, Hess is a narrative realist painter with a firm foothold in old master craft and technique. His recent work covers a variety of themes from generational divides to chronicling the fragmentation of our increasingly virtual existence. His work is in the collections of Los Angeles County Museum of Art, Oakland Museum of California, Orange County Museum of Art, The Smithsonian Institute, San Jose Museum of Art, Boise Art Museum, Laguna Art Museum and Long Beach Museum of Art. He is a recipient of a National Endowment for the Arts Visual Fellowship and a J. Paul Getty Museum Individual Artist's Fellowship and currently teaches at the Laguna College of Art and Design.
Jerry Meyer – Born in Wilkes-Barre, Pennsylvania and based in New York, Meyer is a visual artist and sculptor who creates multimedia installations by repurposing found objects, and incorporating photography and light and sound elements. Meyer has always been curious about what is hidden beneath the surface: as a young child taking his toys apart, an adolescent fascinated by subways, as a practicing and teaching psychiatrist and psychoanalyst and as a full-time visual artist whose aesthetic and sense of irony is informed by an awareness of unconscious wishes and conflicts. Meyer studied art history at Brown University and attended medical school at Yale. Meyer's constructions, including commissioned pieces, are in numerous collections and his exhibition history includes national and international shows. Meyer is also part of an upcoming group exhibition at the Long Beach Museum in 2016.


Barnet and Southgate College, in partnership with the London Borough of Barnet, The Barnet Times Series and sponsored by Middlesex University and Redrow Homes.
Now in its third year, Barnet School Awards were launched to elevate and celebrate the amazing and unique achievements of students and staff in Barnet schools, highlighting the great work happening in our local schools and the community.
The awards are open to anyone attending or working in a school in the Borough of Barnet.
Nomination period is now open!
You can download the judging criteria here.
The nomination period closes on Monday 29th April 2019 at 5pm.
See pictures from the Barnet School Awards 2018 here.


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Artist: John Mayall
Title: Interview
Author: Lisa Torem
Article Series (0) Pictures (18) Releases (2) Articles (3)
In the mid-to-late 1960s, guitarists Eric Clapton, Peter Green and Mick Taylor pushed through the John Mayall and the Bluesbreakers' revolving door. Chicagoan Harvey Mandel graced that stage in the early 1970s. The list goes on. Mayall, the legendary British blues harpist/pianist and bandleader extraordinaire, has nurtured an unprecedented number of musicians. But how did he get his start?
Although his career blossomed after moving to London in 1963—he would ultimately settle in California —one needn't forget the groundwork laid earlier in Manchester, where all-night sessions transpired at the Twisted Wheel, where Mayall performed with the Blues Syndicate. At the Marquee Club, with a line-up that included John McVie (Fleetwood Mac), word of Mayall's talent quickly spread.
Throughout his storied career, he has revered blues, but has also courted a variety of other genres. 1971's 'Jazz Blues Fusion' is but one shining example of his musical versatility. Yet fans continued to clamour for the Bluesbreakers' material. Hence, in 1982, Mayall reunited with Mick Taylor, John McVie and Coli Allen for a two year world tour. Always one eager to collaborate, Mayall enlisted the skills of fellow musicians again for 2001's 'Along for the Ride'. "Friends" this time included Gary Moore, Steve Cropper, Otis Rush and Greg Rzab, a Chicago bassist who went on to become an integral part of Mayall's most recent line-up.
In 2008, he launched his solo world tour, including drummer Jay Davenport, who continues to serve as chief percussionist. In 2018, Texan Carolyn Wonderland became this OBE appointee's first, female lead guitarist/vocalist.
With Rzab, Davenport and Wonderland, Mayall will tour the UK this November. This celebratory '85th Anniversary Tour' follows an extensive US tour, starting in early June. Not surprisingly, this "Godfather of British Blues" shows no signs of slowing down. In this interview with Pennyblackmusic, John elaborates on his upcoming tour, talks about the guests on new album, 'Nobody Told Me' and pays tribute to his father's influential record collection.
PB: Murray Mayall, your father, was a guitarist. In what way did he influence you?
JM: My father had a very good record collection and I learned a lot from listening to all of these jazz and blues records, not so much blues, but from the jazz and guitar players that were prominent in his collection, so, without being conscious of it, you pick up these things and they become part of your upbringing.
PB: In 1964 with the Bluesbreakers, you supported American acts such as John Lee Hooker.
What did you glean from such experiences?
JM: Yes, in the early days we were the ones that were chosen to back John Lee Hooker. That was a great opportunity to play with an American hero of ours. We played a whole tour with John Lee and we did another one with T. Bone Walker. We did several gigs backing up the great Sonny Boy Williamson. When you're working with your heroes, it's a great experience. You learn a lot from them about dynamics, without sitting down and talking about it, just by experiencing it alone.
PB: Since the Bluesbreakers days, many musicians have crossed your path. Do you have any recollections of working with bassist Jack Bruce?
JM: He wasn't really in the band for very long. The main thing that I can remember about Jack is that he got to play with Eric (Clapton) in the same band. The two of them got together and started talking privately behind my back, and they got the idea to put Cream together, so…I don't know exactly, but I think Ginger Baker had a lot to do with it, as well, so, whatever it was, the fact that Jack was in the same band as Eric, in my band, gave them the idea that they could get together and put Cream together, so that's how that came about.
PB: Chicago bassist Greg Rzab first played with you from 1999 to 2000, returning in 2009. Another Midwesterner, Chicagoan Jay Davenport has been your drummer since 2009. Rhythm guitarist Billy Watts has also been a long-term player, but your most recent addition is Texan Carolyn Wonderland, who began performing with you in 2018, debuting at the New Orleans Jazz and Heritage Festival last April, according to your website. Tell us about her.
JM: Carolyn is a really great guitar player and a singer. I've seen her play many times in different clubs and concerts over the years. She is a good choice, I thought, to put in the band this time, and luckily, she said yes to the offer, but it's been a wonderful experience seeing somebody playing as well as she does, and the audiences really love her.
PB: So you worked as part of a trio for the last year, but more recently, as part of a quartet. How do such formats ultimately affect the arrangements?
JM: You adapt to what the instrumentation is. Obviously, you get to feature yourself a lot more and you make up for the lack of a fourth person by putting other different things that you play in there. Whatever the line-up is, you do the best you can to make the best music you can out of it. It's a very exciting thing to play with a trio, but it's also great to get back again with a quartet format.
PB: For the production of 'Nobody Told Me', you worked with a series of guests, including Steven Van Zandt, Todd Rundgren and many more, but the album features the work of guitarist Joe Bonamassa. What was the studio chemistry like between you and Joe? His guitar was featured on 'What Have I Done Wrong?' and 'Delta Hurricane.'
JM: It was great. Joe was the only one who got to work with us live in the studio. But it was a great experience for all of us. Having all these guest guitar players added individuality to the tracks. These things are very informal. Nobody was in the studio more than a few hours. We were all speaking the same language.
PB: It only took nine days to complete the album, but how long did it take you to write the original tracks?
JM: When I have an album to record, I usually, maybe a couple of weeks before we actually go into the studio, think of subject matter or a song that I could write, or songs by other people that I can relate to. It all happens very quickly really.
PB: In your title song, 'Nobody Told Me,' you sing, "All these crazy changes, as the nights and days go by…" Were there specific incidents that inspired those lyrics?
JM: There probably were many, many, many, but you can't really write about individual ones, it's more of a general thing that people really do experience. They go through different things, have different experiences. They have enough material so that they can write a song about it.
RE: Similarly, on 'It's So Tough,' as a storyteller, you don't shy away from expressing your opinions.
JM: You have to relate to what's going on around you, so anytime I'm going to make an album I look around and pick up a newspaper and you can always find subject matter to write about. It's always been the way. You want to keep your ideas current and put them into song.
PB: Regarding the selection of guest artists, Rush guitarist Alex Lifeson is not generally considered a blues player, yet he totally nailed the Jeff Healey cover, 'Evil and Here to Stay'. That was a refreshing surprise. Had you intuited that kind of result?
JM: No, but the wonderful thing about it was, once the word was out that we were going to have guest guitar players, the ones that you hear on the album that came through, they were the ones that wanted to do it. I had no pre-conceived ideas about what they would be playing on the album. They added their talents to it and they all sound different from each other and they are all very proud of what they did, so I'm really happy that they all came forward.
PB: The cover of Magic Sam's 'What Have I Done Wrong' differs radically from the original version. For example, your rendition relies heavily on horns and blazing guitar. This arrangement contrasts so vividly…
JM: Well, I always try and do something different with it—in each song that I do, if I know that something was previously recorded by another artist, I don't want to do the same thing. I want to make it my personal take on the subject, so the story that it tells is something that I can relate to. I use whatever instrumentation that I think is necessary for it and put that on there.
PB: The keys of the tracks are listed on the credits. Do you expect the listeners to play along?
JM: I've always done that because musicians want to know how to play some of the songs that I do—it's always very helpful for them to know what key it's going to be in. It's something that people have remarked on over the years as being a helpful guide to upcoming musicians.
PB: Over the course of your career, you have fluctuated between a hard-blues-based song list and softer, more reflective, acoustic-based material. What factors influence these choices? Life in California versus living in the UK? Or your mood on a particular day?
JM: I don't think it's any of those things, really. If I write a song about some subject, there's usually enough material in it to write a song about. It's quite easy really to write a song once you know what you're going to be singing about, so you pick a subject and you pick as many aspects to it as you can and just put them into verse—so it's a process as simple as that for me.
PB: What do you believe you have passed on and/or learned from working with other artists?
JM: You learn a little something from everybody you work with. The reason you chose them in the first place to play in your band is so that you can enjoy what they're doing, and you may not specifically try and learn something from it, but it brushes off, in certain things, in the creation of the music every night.
It's a learning experience every day. Certainly I like to do new things every time we play and you put those thoughts also into recording.
PB: 'Room to Move' from the 1969 album, 'The Turning Point' has been the quintessential crowd-pleaser since its inception. What's it like to perform this signature piece at this stage of your career?
JM: It's something that allows total freedom to let the harmonica do its job and to put little rhythmic noises into your microphone, so it's something that people enjoy over the years. And we found that If we play it in a show live, it's always something different and a communication thing that people enjoy.
We don't play it every night but I know that when we do people really relate to it and have fun with it.
PB: As a multi-instrumentalist, if you had to define your relationship with said instruments…
JM: The keyboard has always been my main instrument, but guitar and harmonica would be in second and third places, I suppose. The harmonica is more linear. It has no chords, but the piano has the most versatility for me. I'm not very good at the guitar, to be able to do the same things…
PB: What advice can you offer to an up-and-coming band leader?
JM: I don't know about the bandleader part; it can be quite trying, but the main job of a bandleader is to make sure that the people you are putting in your band are the right ones, who can get along with each other in addition to playing music. I think the music is second place really. You have to get along with these people and basically live with them on the road. That's the main thing. You have to get the right people in that department before they even play a note.
PB: Soon you will be embarking on two major tours: In June, key cities in the USA and in November, in the UK on behalf of your 85th Anniversary Tour. What are your expectations? Is the upcoming tour unique?
JM: All the tours are different in the sense that we get to new places, some familiar places, so there is not much difference in the structure of the tours. We will just have to go out there and play and create music every night.
There's a different show every night, a different set list. There are so many things to draw from that I don't usually have any trouble putting together something. There will be some new stuff and some old stuff. But the main thing we should do is to reflect on what we're doing now—communicate that energy with us to the audience. That's what we do.
Our tours are very simple. We don't have a big backline of people. We just have one tour manager that goes with us. We keep it very, very simple so we can travel light and be from one place to another, whereas some of the bigger bands have so much equipment and parts to their entourage that they can't do it as fast as we can, so we like the momentum of it all and the idea of playing something different every night.
PB: As for the UK, will you be performing in places that are already familiar or places that will be new?
JM: I'm not sure about the new ones, but probably the majority of the concerts that we play we've played in many, many times over the years, but there's always some surprises, here and there, but it doesn't really matter where you play as long as you treat the audience with appreciation and do the best you can with them and the music that you're going to give them.
PB: Do you expect to have free time during the tour?
JM: The thing is, you're working every night in a different town which means that you're travelling most of the day and then they check you into a hotel. Then you go to the gig and you have to sleep. It's the same pattern every night so every day you're travelling mostly, so there isn't much time for sightseeing, other than looking out of the bus window.
PB: Did your move to California influence your career?
JM: It has nothing to do with my career at all. Where a person lives has to do with where they're most comfortable. I've lived in California for more than half my life now. It's something that agrees with me, but might not agree with somebody else. Everybody finds the right place where they feel most comfortable.
PB: Your voice is in excellent shape. Is this simply good luck or do you work with a vocal coach?
JM: No, I've never worked with a coach. I just do the best I can with what I've got. It seems to be something that has held up over the years and it's got a bit more gravel in it, I suppose, as age goes on, but as long as I get the energy and the strength of the song over that's the main part.
PB: Thank you.
https://www.facebook.com/JohnMayall/
https://www.johnmayall.com/
Commenting On: Interview - John Mayall
Purple Pyramid Records,
On the heels of new album, 'Nobody Told Me', and looking forward to an extensive UK tour in November with new guitarist Carolyn Wonderland plus Greg Rzab and Jay Davenport, Lisa Torem finds that British blues legend John Mayall has much to talk about.
John Mayall:Opera House, Buxton, 30/10/2014
Nicky Crewe find nearly eighty-one year old blues legend John Mayall performing very much in the present at a memorable gig at the Opera House in Buxton
John Mayall:Mayne Stage, Chicago, 18/9/2012
Lisa Torem finds septarian musician John Mayall continuing to push his own musical limits in an explosive set of blues rock at the Mayne Stage in Chicago


text:
using Microsoft.AspNet.Identity;

namespace PatentSpoiler.App.Security
{
    public class BCryptPasswordHasher : IPasswordHasher
    {
        public string HashPassword(string password)
        {
            return BCrypt.Net.BCrypt.HashPassword(password);
        }

        public PasswordVerificationResult VerifyHashedPassword(string hashedPassword, string providedPassword)
        {
            return BCrypt.Net.BCrypt.Verify(providedPassword, hashedPassword)? PasswordVerificationResult.Success : PasswordVerificationResult.Failed;
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
More extensive summaries to follow, but for now, a few shots from another magical experience on the Brigg (wonder how many times I've said that over the last three years or so?). It's the time of year when wader passage is reaching its most dynamic, and it's more than possible to see twenty species in our (comparatively tiny) recording area presently; but for the sheer child-like thrill of having a pristine shorebird from the tundra trotting around one's feet - to the point where, for long periods, photography is pointless, with the bird within touching distance - there's nowhere quite like the Brigg.
Back on the radar
Grey Heron coming in to land on the Brigg
Well, it's been a while, hasn't it? As longer-term viewers are doubtless aware, there's something of the ebb and flow involved in upkeeping these bulletins, and after a relatively flowing spring and summer it's been a rather more ebbing August. Touchingly, the radio silence has inspired various messages of concern and encouragement (thanks folks!), but it's nothing beyond a combination of the above and circumstances / priorities taking necessary precedence.
Greenshank at the Dams - it's been a productive few weeks for waders (more to follow)
By way of explanation, it's all down to a lack of time. On top of working a lot of late (no complaints, mind, especially as it involves being in the field all day), I'm presently studying for a BSc, and on top of that, as per usual I've spent as much time hammering the patch as I can get away with, without inspiring either cardiac arrest or divorce (the former thankfully much closer than the latter, at least as far as I'm aware). On top of that, for several years now I've been heavily and happily involved in Filey Bird Observatory, and one of the various roles I'm responsible for is the group's online presence, including the website.
After Woodcock, Yellow-browed Warbler, Pied Fly, Bonxie and Brown Rat, the latest addition to this particular 'patch list' (the patch in question involving a couple of square metres of shelter in front of the Brigg hide ...)
Arguably the most important (and unarguably the most time-consuming) aspect of the site is the latest sightings section, which I update regularly (most days or every day during busy times, every few days in quieter periods). As wardens, recorders etc. at other observatories and groups will attest, it's quite a job if you want to do it properly and maintain a high but accessible standard - a couple of paragraphs and photos may look like a cosy five minute's work, but collating, writing and editing actually account for between half an hour and an hour each time (sometimes more); and after long sessions in the field / working / studying, those couple of hours before falling asleep become increasingly precious, especially during migration seasons. Hence, something has to give, and as a lesser priority, it's often the content on these here pages.
Marsh Harrier and 'friend' - after a poor spring for large raptors, August has seen a gradual improvement
On top of that, it's been a very productive couple of weeks birding here on the patch, and finding and enjoying birds remains somewhat more of a thrill than writing about or editing photos of them.... but, as of now, I hope to be posting with a much-increased regularity, beginning with summaries of August, within a day or two. Watch this space....
It's 3 a.m on a Saturday night / Sunday morning here in a typically sleepy Filey, and I've just returned from another joy of a day in my neighbourhood. Not that it's been particularly effort-filled; indeed, after staying up til 3 a.m last night in order to hit an assignment deadline and a subsequent late start, unusually it was a day without birding until well into the afternoon.
With heavy showers forecast (and arriving on cue), comrade Dan and I decided on a stakeout of our local wetlands - the Dams and East Lea - in the hope of grounded waders by mid-p.m.; not much joy except for Green and Common Sandpipers, a few Lapwings, Curlew and Snipe, but a very smart Hobby at East Lea more than compensated.
From there, back for a brief dinner and then onto the Brigg. A mild and pleasant evening saw us lugging down the required gear for an attempt at storm-petreling after dark, but not before a brief and relaxed sea-watch - which, with effectively nothing on the move, still provided a close-in Bonxie on the sea, a particularly zealous Arctic Skua harrying Kitiwakes and a Little Egret lolloping south over the sea.
As dusk fell, we set up the nets and prepared the sound system in the hope of attracting our quarry towards the plateau at the base of the Brigg, by the sea-watching hide. Summer-plumage Knot and Turnstones, a beautiful sunset and patrolling Common Pipistrelles kept us company until darkness finally descended, and at 2308, success, despite often dazzlingly bright moonlight; another two birds buzzed the nets and subsequently disappeared, but it was mission accomplished with the first Stormy of the year trapped, ringed and released.
Carting the gear back up the slope, the path was littered with toads and Great Crested Newts, doing their nocturnal thing.
Just another day here in Filey, and yet, what a privilege.


I say this with all of the sagacity of Herbert Hoover who is quoted above: New Hampshire will once again exceed the U.S. rate of employment growth in 2015 and will have the highest growth rate in the Northeast. It has been our state's decade long nightmare to have sub-par job growth after becoming accustomed to superior job growth for much of the prior three decades. After several years of playing the pessimist it is nice to be able to argue that New Hampshire will once again be a leader in economic performance. Private sector job growth has accelerated and NH is moving up in the state rankings over the past twelve months. A steep decline in energy prices is helping the state by lowering the price of fuel oil, gasoline, and natural gas, lowering some costs for businesses and increasing disposable income of households in a state and region burdened by higher energy costs. Energy producing states are feeling the brunt of price declines. A year ago North Dakota could not be displayed on the graph below without ruining the scale of the Y axis, now they, along with Alaska, Wyoming, Oklahoma and other energy producing states are the laggards. Energy isn't the reason NH had sub-par job growth but a reduction in energy prices is helping accelerate growth in the state.
The quality of job growth is also improving, with jobs in better paying industries increasing more than jobs in industries that tend to have fewer well-paying jobs. The troubling exception is in professional, scientific, and technical industries where there has been no job growth.
Private sector job growth is accelerating despite the fact that help-wanted ads have declined. I believe this indicates that more jobs are being filled, lowering the number of unfilled jobs, and thus help-wanted ads, even as job growth is increasing. One exception may be jobs in professional, scientific, and technical fields which comprise the largest category of help-wanted ads but where industries that employ the largest number of these occupations appear to have had no net job growth over the past year. A large number of these jobs appear to be going unfilled and indicate a technical and professional labor supply problem in the state.
I expect New Hampshire to add about 16,000 non-farm jobs in 2016, a rate of about 2.5% annual growth. This is a rate higher than any in the past decade and comes with a few caveats. First, energy prices must remain stable and relatively low, this I think is a lock. NH faces more upside potential (things will get better) than downside risk on the energy front. Second, the pace of government job cuts has to slow or reverse. The reduction in local government employment has been a significant drag on overall employment growth in the state, subtracting about 0.5% from the state's total non-farm job growth rate. And stop please, anyone who thinks cutting local government jobs is a reason for accelerating private sector job growth. Third and most importantly, NH's labor force has to grow at rates above the past few years. I have recently written about the labor force being the most significant constraint on the NH economy, and largely responsible for NH's sub-par job growth (as opposed to some fundamental erosion of the business climate). One thing is clear, labor force growth will not come from just absorbing the "slack" in NH's labor market. The chart below shows that NH is essentially at full employment with the exception of individuals who are working part-time for economic reasons (that is they would like to work full-time but can't get full-time employment). There will always be some level of unemployment regardless of the strength of the economy, both for frictional reasons as people change careers or jobs, as well as structural reasons as the economy and industries change and the demand for different skills and occupations shifts. There are now more people working part-time for economic reasons in NH than there are unemployed individuals. Three quarters of part-time workers in NH work part-time by choice according to my analysis of Bureau of Labor Statistics Current Population Survey data. The remaining 25 thousand or so part-timers wanting full-time work shows an equal number of men and women, spread fairly evenly over the age distribution between 22 and 64. More than one-third have at least an associate's degree and 24% a bachelor's degree. This source of labor can be more fully utilized boosting overall output but they are already working and don't expand the size of the labor force. Discouraged workers number less than 1,500 with about that number again who are conditionally discouraged but would enter the workforce for the right job. They are predominately male (80%) and older (75% age 45+) and overall have lower levels of educational attainment (although a percentage of college grads is included).
Hope for expanding the labor force in NH comes mostly from a return to net in-migration from other states. NH's primary source of for increasing the skill and talent of its labor force for three decades, this source became a net negative factor in recent years. Data on this comes with a long lag but some unofficial, non-government statistics suggest that in-migration is returning and accelerating in some parts of the state, supplying an influx of talent and additional labor that will contribute to expanding differential rates of growth in the state. Areas of the state that have seen labor force growth in recent years have been adding jobs at a much faster rate than the remainder of the state and is one reason why I advocate giving as much attention to making a community, region, or state "attractive to individuals and families" as making them attractive to business. The Seacoast will continue to lead in job growth because of the region's ability to attract "talent" and expand its labor force. Job growth in the Manchester region is picking up and I expect a stronger performance for that region in 2016, while the Nashua region will continue to lag.
This entry was posted on September 28, 2015 at 4:44 pm and is filed under forecast, NH Economy. You can subscribe via RSS 2.0 feed to this post's comments.


Smiles Brands, Inc. job listing appears to be retail sales position within dental care - disguise as a Patient Service Rep.
If you have customer service or dental experience, this is a great opportunity for you. We are currently seeking self-motivated , high energy and enthusiastic people to join our growing call center in Plano, TX.
The primary role of the Inbound Patient Services Representative will be to assist patients who need to complete dental treatment in process and schedule appointments with our dental offices.
A comprehensive benefits package is offered, which includes: Medical, Vision, Life Insurance and 401K. Equal Opportunity Employer.


About Tidelands and "Dog Named Bart": "Refreshing, stimulating, and likely to induce daydreaming. It doesn't sound much like anything else." – My Old Kentucky Blog Bay area-based duo Tidelands returns on March 3rd, 2015 with a new EP "Old Mill Park," the follow-up to its 2012 sophomore full-length album "We've Got A Map." The release of the new EP is preceded by the single "Dog Named Bart" (including vocal contributions from John Vanderslice and frequent Tidelands collaborator Debbie Neigher.) Comprised of guitarist and vocalist Gabriel Leis and drummer Mie Araki, Tidelands is a duo by circumstance instead of design. Teaming up amid the ashes of a previous band, the pair started using loops to fill out its sound. "That created a sound of its own, and directed my songwriting for the first couple years of the band," says Leis. "What I didn't count on was becoming reliant on it." There's a fine line between a tool and a crutch, and the songs on "Old Mill Park" are responses to the band's acknowledgement of this fact. "I wanted to write and record songs that would stand on their own with just an acoustic guitar and my voice," Leis explains. This time around, the basic guitar, upright bass, drum, and vocal tracks were all recorded live in the studio as full takes. Only later did the band "get all Tidelands" with the songs, building them up with strings (once again collaborating with the Magik*Magik Orchestra), keys, horns and harmonies to create the most realized and memorable Tidelands tunes to date. Suckers for handclaps will revel in "Dog Named Bart," the first single from the new EP. The track also features the fantastic drumming of Araki, the trumpet of John Freeman, and arrangements by Minna Choi of Magik*Magik Orchestra. "I gotta give a shout out to JV for altering the phrasing and delivery of the vocals that we all sung together," acknowledges Leis of Vanderslice's essential contributions. With all of the teamwork on "Old Mill Park," it's clear that Tidelands has successfully broken out of the box that being a "duo by circumstance" may have put them in. "Old Mill Park," the new EP by Tidelands arrives on March 3rd, 2015.


So, what is Multiple Sclerosis (MS)?
You might have wondered and may have been too embarrassed to ask me. Well, 10 months ago, I was oblivious to it. It was something other people, much older people get. Since then I've found out quite a lot and I thought it might be quite useful to write about it here.
Around 100,000 people in the UK and about 2.5 million people across the world have some form of MS. It affects almost three times more women than men. People commonly get diagnosed in their prime of their lives, at between 20 and 40 years old.
MS is a neurological disease. There is currently no cure although there are a number of treatments available for some types of MS. Nerve fibres across the whole of the body are coated in something called Myelin. In MS the Myelin coating gets damaged, causing messages to the central nervous system to get interrupted and stop travelling smoothly.
Physical symptoms: Fatigue, numbness, tingling, loss of sight, spasms, problems with balance, stiffness, pain, speech problems, bowel and bladder problems etc.
Now I don't know too much on this yet. I'm still waiting for my appointment to discuss my options. There are a number of treatments, so-called Disease Modifying Therapies. They won't cure a patient but can reduce the number of relapses and also the severity of them. As such they are only available to patients with the relapsing, remitting type.
Everyone is different. Apart from the symptoms which vary hugely, everyone deals with it very differently. I wear my heart on my sleeve. I need to talk about it to help me digest and comprehend. Others might never tell a soul.
Everyone fights an invisible battle. So many people I call my friends, have now told me that they too suffer with some invisible illness. So many of my friends are in pain EVERY day and I had no idea! It has opened my eyes to how you really cannot tell what is going on in somebody's head or body just by looking at them. I have become a lot more understanding. I would have been one of those impatient people that barged me out the way last Christmas, when I was walking very slowly through town during shopping peak times, possibly looking drunk!
MS is invisible most of the time. Nobody can see that my hands have been numb for months. I can still do most things. Crazy, how you get used to it! Nobody can see the absolute exhaustion that is fatigue. I feel the need to explain all the time to make my friends understand how I feel. But I am also constantly torn between how much I actually do explain because I don't want anyone to see me as disabled. I want them to treat me as me. I want to be a normal as possible. It's so confusing and a total roller coaster.
The fear. Combined with endless questions, I'm worrying a lot. How bad will I get? Will I need to give up work? Will I need a wheelchair in years to come? Will treatment work? Will my son get it? Will I become a burden to my husband one day? Some scary stuff and not easy to switch off completely.
What I'd like most from my friends and family is what they are doing already: Letting me know that they care how I'm feeling but not leaving me out of any plans, supporting me to be strong and never to give up.
As always, thanks for reading and I hope it has given you at least some information that you didn't already know.
Thanks for sharing Kat, it's really good for family and friends to understand the facts and how you're feeling. Your positive attitude and practical approach is obviously keeping you strong. Sending massive hugs and give me a shout if there's anything I can do.


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Oliver Farrow
composer, sound designer and performer
listen 👂
educator 👨🏫
The Personas Function Band
info ☀
Oliver Farrow is a composer, sound designer and performer based in Birmingham, UK. He works with writers, theatre companies and filmmakers.
Oliver's commissions include soundtrack composer for feature dance film 3AM Waitress (July 2021) and stage production Around the World in 80 Days (July 2021) for RoguePlay Theatre, West Midlands Circus & Creation Centre.
Previously he created a sound installation about Balsall Heath for The GAP Arts Project that was performed in the Building for Belonging Exhibition, in Birmingham (Jan 2019). Oliver has also provided sound design for an Arts Council England funded short film Waiting, about patients and families waiting with illness by Catherine Baker (July 2019).
Oliver is composer, keyboardist and music director for The Personas Function Band where they recently performed his songs at TILT Festival (July 2021). He was sound designer and music director for a gig-theatre piece by Kit Sinclair, performed at The Lyric Hammersmith in London (March 2020). Oli is also involved in a number of projects with Infinite Opera as performer and synthesiser/accordion player for feature film Autohoodening (Aug 2021) and chorus singer and actor in three performances of the beer opera, Besse in Digbrew, Birmingham (2019).
His electronic music has been featured on Howard Skempton's mixtape, broadcasted on BBC Radio 3 Late Junction (Dec 2016), as well as a short film for Flatpack Film Festival (2016), soundscape for Radiophrenia Scotland (2019) and a solo-performance with a sampler at Spectrum in New York (2017). In Sept 2021, his track Dragon Ride recently won two small prizes in the HOFA Song contest.
Oliver regularly collaborates with soprano and librettist Roxanne Korda to explore a broad interest of music theatre production. This includes electroacoustic performance and filmmaking. In 2020 they released a short film The Biscuit Song (June 2020) and electronic EP Formations (2020).
Oli was composer and conductor for a recent sharing of Lipote, a UV opera about trees and the connective network underground, written by Rox, alongside designer Wanshu Li, two dancers and a seven-piece chamber ensemble in RoguePlay Theatre (Aug 2021). The full production will be premiered in 2022.
Other upcoming work as composer and music director will begin in October 2021 on verbatim theatre project In Our Skin, by Greg Homann supported by Midlands Arts Centre (MAC), about documented experiences of gay men living in Birmingham (UK) and Johannesburg (South Africa) with the full show taking place in 2022.
A post shared by oli (@olfarrow)
'Working with Oliver has been an absolute pleasure from beginning to end. He took on board of our concepts and ideas and added his own personal thoughts to deliver a compilation of music that was beautifully tailored to both concept and content of the work. The production quality was fantastic, his communication and response to feedback was hugely professional and timely, and he has access to great session and live musicians. I hope to work with Oliver far into the future.'
Kim Wildborne about 3AM Waitress
Artistic Director of RoguePlay Theatre, West Midlands Circus & Creation Centre
oliverfarrowmusic@gmail.com | 07568353575
CV- Oliver FarrowDownload
© 2022	Oliver Farrow


Since qualifying in 2012, Randal has specialised in all areas of family law including the complex and emotional issues in family relationships such as: children, divorce, finance, alternative family arrangements, pre-marital agreements, "living together" agreements, international relocation and property matters.
Born and raised in Canada and educated both in Canada and the UK, Randal brings international qualifications and experience to his legal work.
Randal knows that no two families are alike and I have a broad humanitarian and compassionate attitude, he understands that solicitors can, at times, seem remote. He deals with matters in a friendly and approachable manner whilst always retaining a professional outlook. Finding creative solutions to often very difficult circumstances is his strength.


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Q: Evaluating Hankel and Bessel Function please I need help in evaluating this integral
$$
\int_{0}^{z}yH_{n}(y)J_{n}(y)dy
$$
where $H_{n}(y)$ is the Hankel function and $J_{n}(y)$ is Bessel function.
The first thing that came to mind was applying the derivative identity
$$
\dfrac{d}{dx}[y^{n}J_{n}(y)] = y^{n}J_{n-1}(y)
$$
to the integral and using integration by part to solve it. Please any solution or idea will be appreciated. Thanks


On occasion, a problem or question arises within the Church that does not easily fit into a particular category. Maybe you have a question regarding an aspect of canon law that you need answered. Maybe you have a Church problem about which you want to consult a professional. Maybe you believe that you have a right that is being violated or you are being harmed in some way by someone associated with the Church, and you want to know if you have any recourse available to you.
We at Canon Law Professionals know that sometimes it is hard to find someone who can provide those types of answers. That is why Canon Law Professionals offers consultation and opinions on virtually any issue regarding canon law. While some questions may be able to be answered in a phone call, most opinions will be provided in writing though e-mail, fax, or mail. Some of the more complicated questions may require multiple correspondences to provide an accurate assessment of the case to which the law is to be applied.
Read more about CLP General Consultation and Advocacy Fees.
For particular questions, please write to Dr. Ritty.


Nov. 9, 2018 6:15 a.m.
A Fly Jamaica Airways plane headed to Toronto and reportedly carrying dozens of Canadians has crash landed in Guyana after reporting a technical problem shortly after takeoff.
In a statement this morning, the airline says it believes all 118 passengers and eight crew were safe following the crash in Georgetown.
It says Flight OJ256 "suffered an accident on landing," but offered no other details on the nature of the accident or possible injuries.
St. Lucia News was reporting that six people were injured in the incident, but were stable and being treated at the Diamond Regional Hospital in Georgetown.
It reports that there were 82 Canadians on board.
It says the Boeing 757 aircraft with 118 adults and two infants on board was forced to return to the Cheddi Jagan International Airport minutes after departing for Canada because of technical difficulties and overran the airstrip.
The flight reportedly left Guyana at 2:10 a.m. local time today and at 2:21 a.m., the pilot indicated an hydraulic problem, requesting permission to return.


My summer tires "failed" in frigid temps. Let me explain (and I consider myself lucky). I parked on some snow, in gravel, maybe 2-3 inches, I guess there was some ice, and it was on a very slight slope, but very slight. I parked very close to my wooden privacy fence, to test out the parking sensors and for fun. E-brake on, in park, got out, locked up and walked away to stand nearby for five minutes or so.
I heard a sound, my heart sank, the car slid into the fence, but luckily it only moved about 2-3 inches because I parked so close, and luckily the fence held without any damage, and luckily I didn't have a front plate on yet, and it just barely touched the plastic plate holder area - literally no damage, but a SIGN, a WARNING from the motor-gods. I took it to heart and ordered a set of winters. Eff that noise.
I guess the heat from driving warmed the snow enough to melt, then ice and there was zero traction once it was ice. I also know there is zero traction on icy surfaces from driving it, but parking on bumpy gravel in the icy snow on only a slight incline was what did me in. I absolutely do not trust my summer tires in the cold and ice.
I have experienced that several times. My driveway is steep enough, when coated with ice, to cause sliding with parking brake engaged. With the service brake engaged, it would stay still, but when only 2 tires were braked, it would slide.


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Health workers say stop arms sales to Saudi!
Posted on June 9, 2016 by Lin	• Posted in Blog, The 5% Campaign, What interests us	• Tagged Arms trade, Saudi Arabia, UK, Yemen
The Medact Arms Control Group:
Open letter to the Secretary of State of Business, Innovation and Skills (BIS), Sajid Javid. BIS are in charge of licensing arms sales.
STOP FUELLING THE YEMEN CONFLICT
End all UK arms sales to Saudi Arabia
It is now over a year since the recent outbreak of armed conflict in Yemen began, forcing 2.4 million people to flee their homes, and leaving over 22 million people in need of humanitarian support. The conflict has killed over six thousand people, and left the health care system on its knees.
Humanitarian agencies are struggling to respond and the country stands on the brink of famine. A senior representative of Médecins Sans Frontières (MSF) has described the current level of humanitarian assistance in Yemen as a "drop in the ocean."
The underlying causes of the conflict between the Huthis and the current regime in power are complex, with the latter being supported by a coalition of other states led by Saudi Arabia and supported by the United States. Both sides in this conflict stand accused of serious violations of international law, including war crimes, with particular condemnation of the aerial bombing campaign that is targeted at Huthi-controlled areas.
Accusations of war crimes levelled at the Saudi led coalition in particular have included attacks on three Médecins Sans Frontières facilities which resulted in the death of both patients and healthcare workers.
As health professionals, we have a duty to speak out against all causes of ill health in Yemen. This must include the sale and export of UK weaponry that is fuelling the conflict.
Between April and September 2015, the UK approved sales of around £2.8 billion worth of combat aircraft and bombs to the Royal Saudi Air Force. A recent legal opinion by Matrix Chambers concluded that the UK Government is in breach of its obligations arising under the Consolidated Criteria on Arms Exports, the EU Common Position on Arms Exports and the Arms Trade Treaty by authorizing transfers of weapons to Saudi Arabia that could be used in Yemen.
We therefore join human rights organisations, the European Parliament, the Dutch parliament, Human Rights Watch and Amnesty International in calling for an immediate end to UK arms transfers to all sides in this conflict. We also echo the advice of the Chair of the International development committee, Stephen Twigg MP, that the UK Government should retract its opposition to calls for an independent international inquiry into the alleged abuses of international humanitarian law during the conflict.
http://www.medact.org/campaigns-actions/open-letters/end-uk-arms-sales-yemen/
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Ho-Chih Lin
I am the lead researcher for the five percent campaign. In this blog I share some of my thoughts on issues that interest us at TPNS.
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