text:
THE COMEDY HYPNOTIST
FREEPHONE:- 0800 611 8848
Corporate Entertainment / Corporate Hypnosis
Wedding Entertainment / Wedding Hypnosis
Birthday Party / Birthday Hypnosis
Stage Hypnosis / Stage Hypnosis Shows
Poster & Publicity
Impromptu Hypnosis
Hypnosis Law
History of Hypnosis and Stage Hypnosis
This page is to give additional information about us The Comedy Hypnotist.
So what do you need to know about us?
Well John Penman - The Comedy Hypnotist - is one of the most sought after Hypnotists, Magician and Hypnotherapist in the UK today. The following will give you an insight to why that is and give you more infomation About Us at The Comedy Hypnotist.
John has been involved with Hypnosis ever since he first witnessed a Comedy Hypnosis show performed by Andrew Newton back in the 1980's.
Since then he has studied the works of the most talented people in the field including Milton Erickson, Richard Bandler, Paul McKenna to name a few.
John also studied with Communicating Excellence under Nigel Hetherington and gained first a Practitioner Level in Neuro Linguistic Programming and then went on to gain a Diploma in Clinical Hypnotherapy. These qualifications and his skills as a performer have combined to make a very competent and skilled Hypnotherapist. He also studied Eye Movement integration (EFT) and Emotional Freedom Techniques (EFT), which are used to supplement his Hypnotherapy treatments.
John also runs a local Hypnotherapy Practice in south beach in Northumberland and further details can be found at this site Northern-Hypnotherapy.co.uk
He has been performing Magic and Hypnosis for many years and has been lucky enough to perform all over the UK, Europe and even the USA. Being friends with the best Magicians and Hypnotists in England has only strengthened Johns own performance skills which is why he ranks with the best.
To find out more about John Penman the magician then look no further than this site John Penman - Magician
Where will we travel to?
John Penman - The Comedy Hypnotist - is quite prepared to quote and travel to anywhere in the UK. He is also quite willing to talk with anyone about overseas work but please note that longer lead times are needed to put all the relevent logistics in place. His passport is up to date and he has no flying or travel restrictions.
The Business Address
21 Blackthorn Drive,
Windsor Park,
South Beach Estate,
NE24 3XW
Contact Telephone Numbers
07962166580 or 0800 611 8848
enquiries@thecomedyhypnotist.co.uk
Email: enquiries@thecomedyhypnotist.co.uk
Thurseday 9.00 - 21.00
Saturday 9.00 - 21.00
Sunday 9.00 - 21.00
Copyright © The Comedy Hypnotist 2016


text:
Written by A.J. Maciejewski for Versus on January 4, 2021
In such a short time, PlayStation 5 has seen 2 of the most enjoyable 3D platformers ever made so let's see which one will claim top prize.
There are oodles of fun to be had in both of these top-notch platformers
Both Astro's Playroom and Sackboy: A Big Adventure are played rather similarly as you run and jump around imaginative stages while hovering to reach further and utilizing a wide variety of gadgets within unique scenarios. One aspect that sets both apart is that Astro's Playroom generally features more elaborately laid-out levels that make exploration rewarding as you'll discover plenty of fantastic treats tucked away in its many nooks and crannies including loads of PlayStation accessories, consoles, and memorabilia from the past decades. Meanwhile, Sackboy: A Big Adventure also has tons of secrets scattered across its stages although the levels are mostly designed in a more linear fashion and mastering them relies on your ability to quickly solve puzzles, conquer tricky platforming segments, and deal with pesky enemies. It may have less of an emphasis on exploration but Sackboy: A Big Adventure's challenge definitely takes the cake. v1d30chumz 35-153-100-128
As I mentioned, there are a lot of gadgets that help bring variety to these delightful adventures. First, Astro's Playroom will have you control a space ship, roll around in a pinball, leap all over in a frog suit, scale cliff sides, and hang glide through a futuristic city. Each one of these gadgets makes the gameplay completely different as you'll find yourself taking advantage of motion controls, the touchpad, and other features in supremely clever ways. Sackboy: A Big Adventure's gadgets are basically incorporated into the core gameplay so you'll still be running and jumping around but you may have a boomerang, grappling hook, or sticky feet to help you accomplish some pretty nifty tasks. However, because Astro's Playroom goes above and beyond with its variety, I have to give it the win in this category.
Astro Bot hangs out with Dante as he deals with a pesky Marionette
No matter which one you prefer, there's no denying that playing Astro's Playroom and Sackboy: A Big Adventure is an absolute delight and for different reasons. For starters, Astro's Playroom has an overall infectiously energetic vibe that's sure to put a smile on your face. Plus, the absurd amount of references to PlayStation games both mainstream and obscure is absolutely wonderful to see on display. On the other hand, Sackboy: A Big Adventure is bursting with spectacle from start to finish. Not only does it feature a phenomenal cast of characters and some of the most brilliantly-crafted levels in the genre, its soundtrack is awe-inspiring. From popular hits to classic grooves, it's great fun to listen to the music as you play through levels that impressively go with the beat. On top of all this, it's full of that renowned LittleBigPlanet charm with expressive emotes, cute costumes, and hilarious animations so Sackboy wins here, too.
Last but not least, let's discuss a couple of stand-out features in these excellent platformers. The most notable aspect of Astro's Playroom is that it shows off what the DualSense controller is capable of by incorporating haptic feedback and adaptive triggers in seamless ways that make its gameplay and world feel all the more immersive. This especially comes into play when you're utilizing one of the many gadgets. For example, feeling the engines roar as you fly around in a ship with resistance on the triggers is just awesome. Finally, I find that the coolest part of Sackboy: A Big Adventure is that you can play it cooperatively. There aren't many multiplayer 3D platformers so the fact that you can enjoy the entirety of Sackboy's journey with your gaming chums makes for one rewarding and extremely enjoyable experience and the co-op mechanics offer even more fun. Overall, this co-op implementation chalks up another win for Sackboy.
Hey; wait for me, Sackboy!
Well, it's time to pick a winner and this is a tough one because they're both fantastic games but I have to choose one and it's...
Winner Sackboy: A Big Adventure
Like many PS5 owners, Astro's Playroom marked my first experience with the console and it showed off the hardware in a wonderfully captivating way. However, the fact that Sackboy: A Big Adventure is one of the best co-op games ever made means that those who prefer playing with friends will have an excellent time with it. In the end, you really can't go wrong with either and both made me have renewed faith in 3D platformers so here's hoping there will be many more in PlayStation 5's future!
That's just my opinion. Agree? Disagree? Vote now!
Astro's Playroom Review
Sackboy: A Big Adventure Review
Demoniaca: Everlasting Night Review
White Shadows Review
Nova-111 Review
Chorus Review
Top 10 Games We Reviewed in 2020
Top 10 Sega Genesis Shoot 'em Ups
Top 10 Donkey Kong Country Memories
Mega Man 5 Boss Order / Weaknesses Guide
NES Super Mario Bros. Games
Gameplay video playlist for Astro's Playroom vs. Sackboy: A Big Adventure 20:10
Previous versus Tetris 99 vs. Super Mario Bros. 35
Next versus Super Meat Boy vs. Super Meat Boy Forever
Sections on this page: Gameplay, Gadgets, Presentation, and Odds and ends.
You may also be interested in these: Solar Ash Review, Super Sami Roll Review, Demon Turf Review, The Lightbringer Review, KeyWe Review, Kena: Bridge of Spirits Review, Sonic Colors: Ultimate Review, Psychonauts 2 Review, Pile Up! Box by Box Review, and OMNO Review.
Discover more 3D platformers.
Filed under: Articles › Versus.
Comments for Astro's Playroom vs. Sackboy: A Big Adventure
A.J. Maciejewski (crazyaejay): Thanks for reading my thoughts on these 2 incredible platformers! So far, I think I've played Astro's Playroom and Sackboy: A Big Adventure more than any other PS5 title. Anyway, which one did you vote for and why?

redpajama_set_name: RedPajamaCommonCrawl


The Rooster is finding it very hard to crow again. He has forgotten how to crow all together! See how his friends help him find his call again. Read aloud ideal for kids between 2 to 4 years old.
Click Clack Moo – Cows That Type. A read-aloud ideal for children aged 3 – 5 years old.
Another great read aloud for kids aged between 2.5 to 4 years old by Eric Carle and Bill Martin Jr.
Words of this read-aloud are by Bill Martin Jr. and illustrations by Eric Carle. Ideal for kids around 2.5-4. They start like this: Brown bear brown bear what do you see?


text:
Q: Double loop in Django template I have been trying to do this nested loop for couple of hours, but so far none of my results worked. Here is what i have so far:
index.html
{% for category in categories %}

{{ category.name }}

        {% for subcategory in subcategories %}

{{ subcategory.name }}

                {{ subcategory.description }}
                {{ subcategory.count_threads }}

        {% endfor %}

{% endfor %}

views.py
class IndexView(ListView):
template_name = 'myForum/index.html'
context_object_name = 'SubCategory_list'
queryset = SubCategory.objects.all()

def get_context_data(self, **kwargs):
    context = super(IndexView, self).get_context_data(**kwargs)
    context['categories'] = Category.objects.all()
    context['subcategories'] = SubCategory.objects.all()
    return context

models.py
class Category(models.Model):
name = models.CharField(max_length=255)

def __str__(self):
    return self.name

class SubCategory(models.Model):
name = models.CharField(max_length=255)
description = models.CharField(max_length=255)
category = models.ForeignKey('Category', default=0)

def __str__(self):
    return self.name

Output
Output
My problem is that SubCategory - News, belongs to Infromation, category Off-Topic belongs to General. For some reason loop displays all of subcategories, and i can't figure out how to narrow it to current Category.

A: You can change the inner loop to:
{% for subcategory in category.subcategory_set.all %}

This will loop over the subcategories for the current category.
Since you are looping over categories in the outer loop, you can change the queryset in the list view to use the Category model. You can cut down the number of queries by prefetching the subcategories.
It also looks as if you can remove the get_context_data method, since the list view already makes the queryset available in the template context.
class IndexView(ListView):
    template_name = 'myForum/index.html'
    context_object_name = 'catrgories'
    queryset = Category.objects.all().prefetch_related('subcategory_set')

redpajama_set_name: RedPajamaStackExchange


Goran Sudžuka is a comic book artist and illustrator. His most notable work includes Outlaw Nation (Russ Manning Most Promising Newcomer Award 2001), Y-the Last Man, Wonder Woman and Daredevil. He's worked for DC Comics/Vertigo, Marvel, Image, Delcourt, and others. He lives and works in Zagreb, Croatia.


text:
The Walters Art museum American & French 19th c
Portrait of George Washington ca, 1825 by Gilbert Stuart (American, 1755-1828)
In 1793, after working in London and Dublin for 18 years, Stuart returned to America. Two years later, he painted his first portrait of George Washington, showing the right side of the president's face, a format since known as the Vaughan type. In the spring of 1796, Washington again sat for Stuart, and the resulting portrait, which was never finished, was originally acquired by the Boston Athenaeum. Depicting the left side of the face, this second version was replicated many times, becoming an icon of American art. The Baltimore art collector Robert Gilmor, Jr., for a fee of $150, commissioned the artist to paint this example of the Athaeneum format. It was Stuart's last likeness of Washington.
If you are ever in Baltimore Maryland. The Walters art museum should be top on your list to see. It's FREE to visit the world class collections that I call a mini Louvre. For five years I live two blocks away from this extraordinary museum and visited often. The is the last post of a series of post of the wonderful collections at the Walters. Next we will be visiting the collections at the Baltimore Museum of Art. Jean-Auguste-Dominique Ingres is one of my favorite artist and the Walters has 4 of his paintings, the most you will see in one place outside of France. My best friend has a Ingres in his private collection. The photo's of this Walters series were taken in about a hour just for you when I was in Baltimore last October for a good friends wedding, enjoy.
The Walters Art Museum, located in Baltimore, Maryland's Mount Vernon neighborhood, is a public art museum founded in 1934. The museum's collection was amassed substantially by two men, William Thompson Walters (1819–1894), who began serious collecting when he moved to Paris at the outbreak of the American Civil War. His private collection became one of the largest and most valuable in the United States. And his son Henry Walters (1848–1931), who refined the collection and rehoused it in a palazzo building on Charles Street which opened in 1909. Upon his death, Henry Walters bequeathed the collection of over 22,000 works and the original Charles Street palazzo building to the city of Baltimore, "for the benefit of the public." The collection touches masterworks of ancient Egypt, Greek sculpture and Roman sarcophagi, medieval ivories, illuminated manuscripts, Renaissance bronzes, Old Master and 19th-century paintings, Chinese ceramics and bronzes, and Art Deco jewelry.
The Woman of Samaria (Rebecca ) 1859-1861 by William Henry Rinehart (American, 1825-1874)
DThe Gospel of John relates the story of a Samaritan woman who is asked by Jesus for a drink of water. After talking with him, she realizes that he is the Messiah. Rinehart represents the woman, standing with her water vase. A native of Maryland, the artist, with the financial help of William T. Walters, settled in Rome in 1858. There, he sculpted idealized figures as well as portraits of visiting Americans. He worked in a neoclassical style but was also influenced by the emerging naturalistic trends in sculpture.
Bust of Mrs. William T. Waltersca, 1862 by William Henry Rinehart (American, 1825-1874)
Ellen Harper (1822-62), the daughter of a prosperous Philadelphia merchant, married William T. Walters in 1846. When she accompanied her husband on visits to artists' studios, her genial personality contrasted with his gruff manner. Ellen died of pneumonia after visiting the Crystal Palace in Sydenham in 1862. This bust was finished after her death, and her friend Rinehart maintained that producing it was the saddest duty he ever had to fulfill.
Portrait of Dr. Meer ca. 1795 by Rembrandt Peale (American, 1778-1860)
Rembrandt was the son of the well-known Neoclassical portraitist, Charles Willson Peale, who used his influence to launch his children's careers as artists. In 1795, Charles used his connections to get 17-year-old Rembrandt a sitting with the growing American legend George Washington. Rembrandt would later paint many portraits of Washington, as well as of Thomas Jefferson. The younger Peale enjoyed a long, prosperous career, churning out likenesses of the most distinguished members of Colonial America. Due to heavy demand, he often relied on studio assistants. Consequently, the mature work can seem slightly formulaic. However, this early work, probably done at about the same time that the precocious young artist was introduced to Washington, has a refreshing liveliness. The sitter, whose profession and identity remain somewhat unclear, is captured as though directly engaging us. He points to a skull, which is typically used in still-life painting as a symbol of human mortality. Scholars have not yet determined if the prominent skull refers to the sitter's professional status (a medical doctor?) or if it has some other, as yet undeciphered symbolical role.
Portrait of Miss Moffat ca, 1826 by Sir Martin Archer Shee, P.R.A. (Irish, 1769-1850)
Shee, a fashionable portrait painter, chose his subjects from the worlds of the theatre and high society. Although the sitter has not been identified, this portrait was exhibited at the Royal Academy in London in 1826. Four years later, Shee was elected president of the Academy. Miss Moffat is portrayed removing a strand of pearls from a gold jewel box .
Bust of Dr. Dio Lewis ca, 1868 by Edmonia Lewis (American, 1845-after 1911)
Edmonia Lewis, the first African-American sculptor to receive national recognition, was born in the village of Greenbush, near Albany, New York. Her father was Haitian, and her mother was partly Native American, of the Chippewa tribe, and partly African American. Lewis attended Oberlin College in Ohio and in 1863 moved to Boston, where she received instruction from the sculptor Edward Brackett. Two years later, she left the United States for Rome. She adopted the prevailing neoclassical style of sculpture, as seen in this nude bust, but softened it with a degree of naturalism, as reflected in the rendering of the facial features. Most sculptors relied on the local craftsmen actually to carve their works, but Lewis, sensitive to speculation that she was not responsible for her sculptures, carved them personally. She had a successful career, specializing in biblical subjects, themes recalling her Native American and African ancestry, and portrait busts. Her sculpture "The Death of Cleopatra" was favorably received when it was shown at the Philadelphia Centennial Exhibition in 1876. Dioclesian Lewis (1823-1886) trained in medicine at Harvard College's medical department and practiced briefly in Buffalo, New York. He is remembered chiefly for lectures and publications dealing with preventive medicine and physical hygiene, as well as for his support of liberal causes, including the women's temperance movement. In 1865, he opened in Lexington, Massachusetts, the Training School for Teachers of the New Gymnastics. His faculty members included Theodore Dwight Weld, the noted abolitionist, and Catherine Beecher, sister of Harriet Beecher Stowe, author of the novel that stirred abolitionist fervor, Uncle Tom's Cabin (1852).
Portrait of Mrs. Decatur Howard Miller (Eliza Credilla Hare)ca, 1850 by Alfred Jacob Miller (American, 1810-1874)
In this elegant, colorful portrait, a companion to Walters 37.2558, Miller excels as a portraitist. He shows his sister-in-law standing with her back to a mirror, which, in turn, reflects her bare neck and shoulders. Hanging from her right shoulder is a red velvet drapery with a green lining. Beside her on a table is a bowl containing a large goldfish. Mrs. Decatur H. Miller, née Eliza Credilla Hare, was the daughter of Jesse Hare of Lynchburg, Virginia, and Baltimore, and of Catherine Welch. Her father was an extremely wealthy tobacco manufacturer who introduced the use of licorice in the manufacture of chewing tobacco. Eliza was married to D. H. Miller on October 14, 1847.
Collision of Moorish Horsemen 1843-1844 Eugène Delacroix (French, 1798-1863)
Delacroix described the spectacular and violent military pageantry at the court of Sultan Abd-er-Rahmen of Morocco (1778-1859), which he witnessed while accompanying Count Charles de Mornay on a diplomatic expedition on behalf of King Louis Philippe of France in 1832: "During their military exercises, which consist of riding their horses at full-speed and stopping them suddenly after firing a shot, it often happens that the horses carry away their riders and fight each other when they collide."
The Christian Martyr 1853 Charles François Jalabert (French, 1819-1901) (Artist) & Paul Delaroche (French, 1797-1856) (Artist)
Two Romans watch as a girl who has refused to sacrifice to pagan deities is martyred by drowning. This copy of Delaroche's "Christian Martyr Drowned in the Tiber during the Reign of Diocletian" (1853, now in the State Hermitage Museum, St. Petersburg, Russia) was begun by Delaroche but completed by Jalabert, his most devoted pupil. Such collaboration of student with master was a common practice during the 19th century.
Oedipus and the Sphinx 1864 by Jean-Auguste-Dominique Ingres (French, 1780-1867)
The Sphinx, a mythical creature-part lion, part woman-grimaces in horror as Oedipus solves her riddle: "What is that which has one voice and yet becomes four-footed, two-footed, and three-footed?" Oedipus replies, "Man, for as a babe he is four-footed, as an adult he is two-footed, and as an old man he gets a third support, a cane," and the Sphinx hurls herself onto the rocks below, which are strewn with the bones of her victims. Ingres, who frequently repeated the subjects of his paintings, first depicted this story at the beginning of his career and returned to it several times, making variations in the composition, such as reversing the direction in which the figures faced.
Reclining Venus 1822 by Jean-Auguste-Dominique Ingres (French, 1780-1867)
Ingres was deeply inspired by ancient Greek and Roman art as well by Italian painting of the High Renaissance. Although he spent much of his career in Rome, he resided in Florence from 1820 to 1824, where he painted this copy of Titian's "Venus of Urbino" (1538), from the collection at the Pitti Palace. "The Venus of Urbino" had inspired generations of artists. Ingres's version is the same size as the original. He intended it to serve as a model for his close friend, the sculptor Lorenzo Bartolini (1777-1850), who was creating a sculpture based on the same subject.
The Betrothal of Raphael and the Niece of Cardinal Bibbiena 1813-14 by Jean-Auguste-Dominique Ingres (French, 1780-1867)
Although he trained in the studio of the celebrated Neoclassical history painter Jacques-Louis David (1748-1825), Ingres defies easy classification. This intimate painting reflects Ingres's Romantic fascination with the lives of artists of the past whom he admired-in this case, Raphael. In this scene, Cardinal Bibbiena presents his niece as a bride for Raphael, a demonstration of the extraordinary esteem the cardinal felt for the handsome young artist. Ingres was careful to use historical sources in his imaginative depiction of this pivotal moment. Raphael's features are based on a portrait of a young man that was once thought to be a self-portrait (National Gallery of Art, Washington, D.C.); Bibbiena's likeness is based on a portrait by Raphael (Pitti Palace, Florence); and the cardinal's niece was inspired by Sebastiano del Piombo's image of a woman once identified as Raphael's mistress, called "La Fornarina" (also in the Pitti Palace).
Paris Kiosk 1880-1884 Jean Béraud (French, 1849-1935)
Like a number of other 19th-century artists, Béraud first trained to become a lawyer before discovering his true calling. In 1872, he enrolled in the studio of the portraiture specialist Léon Bonnat. While he began as a portraitist, he eventually became known for his highly detailed scenes of urban life. Working from a carriage that he converted into a mobile studio, Béraud recorded life on the grand boulevards of Paris. The corner represented here can still be recognized as the intersection of the Rue Scribe and the Boulevard des Capucines. Like Degas, Béraud depicted modern life in all of its variety with journalistic accuracy. Béraud, however, delighted in recording even the smallest details, which are so precise that we can make out an advertisement for "Yedda," a popular ballet, and just below it, another playbill for a comic opera called "La Fatinitza," which opened in Paris in 1879.
Art and Liberty 1859 by Louis Gallait (Belgian, 1810-1887)
This painting typifies the so-called "juste-milieu" (middle path) for which Gallait was so admired during his lifetime. The subject is Romantic in its idealization of the poor but virtuous itinerant musician, who bows to no authority but his own artistic muse. At the same time, it is restrained in its emotional tenor and painted with great technical assurance in the rendering of the body and in the carefully described details of the musician's dress. This is a reduced version of this subject now at the Musées royaux des Beaux-Arts of Belgium. When the larger version was exhibited at the Salon of 1851, critics praised the composition for its masterful drawing and melancholic dignity.
Italian Brigands Surprised by Papal Troops ca, 1831 Horace Vernet (French, 1789-1863)
In this scene, papal troops intercept brigands who are looting a coach and carrying off its passengers. During the 19th century, brigands, or "banditi," posed a real threat to travelers in rural areas of the Italian states, but they were also idealized as daring outlaws. Horace Vernet, the director of the Académie de France in Rome (1828-34) and professor at the École des Beaux-Arts in Paris (1835-63), was regarded as a leader of the "juste-milieu," or the middle course between the opposing Romantic and Neoclassical factions in French painting. He chose dramatic, often contemporary, subjects but rendered them with the smooth brushwork and attention to detail associated with the Academic tradition.
At the Café ca, 1879 by Edouard Manet (French, 1832-1883)
Manet was the quintessential "Painter of Modern Life," a phrase coined by art critic and poet Charles Baudelaire. In 1878-79, he painted a number of scenes set in the Cabaret de Reichshoffen on the Boulevard Rochechouart, where women on the fringes of society freely intermingled with well-heeled gentlemen. Here, Manet captures the kaleidoscopic pleasures of Parisian nightlife. The figures are crowded into the compact space of the canvas, each one seemingly oblivious of the others. When exhibited at La Vie Moderne gallery in 1880, this work was praised by some for its unflinching realism and criticized by others for its apparent crudeness.
Portrait of Estelle Balfour by 1863-1865 Edgar Degas (French, 1834-1917)
Estelle Musson Balfour (1843-1909), the artist's cousin from New Orleans, visited France in 1863-65. She was in mourning for her husband, who had been killed at the Battle of Corinth, Mississippi, while fighting on the side of the Confederacy in the Civil War. At the time that this portrait was painted, Mrs. Balfour was going blind. Degas, too, would eventually lose his sight, and this painting explores the experience of seeing those who cannot see.
Springtime 1872 by Claude Monet (French, 1840-1926)
Monet moved to Argenteuil, a suburban town on the right bank of the Seine River northwest of Paris, in late December 1871. Many of the types of scenes that he and the other Impressionists favored could be found in this small town, conveniently connected by rail to nearby Paris. In this painting, Monet was less interested in capturing a likeness than in studying how unblended dabs of color could suggest the effect of brilliant sunlight filtered through leaves. During the early 1870s, Monet frequently depicted views of his backyard garden that included his wife, Camille, and their son, Jean. However, when exhibited at the Second Impressionist Exhibition in 1876, this painting was titled more generically, "Woman Reading.
Still Life ca 1859 by Johann Wilhelm Preyer (German, 1803-1889)
On a table covered with a red cloth are a slender glass of sparkling wine, a silver salver bearing oysters, a slice of lemon, a bunch of purple grapes still attached to a sprig of vine with one large leaf, and several almonds. A housefly is perched on the stem of the vine.
Portrait of Napoleon III ca, 1868 by Adolphe Yvon (French, 1817-1893)
Yvon served as the principal battle-painter of France's Second Empire (1852-70), executing a number of monumental canvases for the palace at Versailles. The French emperor is shown in his prime, two years before the defeat of his forces in the Franco-Prussian War (1870-1871).
Circular Medallion ca, 1805 by Piat Joseph Sauvage (Flemish, 1744-1818)
On this medallion, Napoleon is idealized as a Roman emperor crowned with a laurel wreath. He is identified as the French emperor (r. 1804-14 and 1815) and as king of Italy (r. 1805-14). Sauvage, who left his native Antwerp for Paris in 1774, became famous for painting porcelain to resemble marble.
The Waning Honeymoon 1878 by George Henry Boughton (American, 1833-1905)
Boughton was the son of a Norwich farmer who was taken to America while still an infant. He initially opened a studio in Albany, New York, listing himself as a landscape painter. He eventually settled in London where he produced historical genre scenes, many of which were set in New England. In this autumnal scene of the English Regency, a young couple is seated at the fork of diverging paths, an ominous sign for their future.
The Blind Beggar ca, 1856 by Sir Lawrence Alma-Tadema, R.A., O.M. (Anglo-Dutch, 1836-1912)
Bathed in sunlight, an attractive young woman in Dutch country dress leans from an open window in one corner of a vine-covered cottage. She reaches out to drop coins in the hat of a young man outiside her window, who is wearing a patched and dirty tunic. He is soliciting charity on behalf of an elderly woman, who waits beside him in a wheeled, hand-drawn conveyance. A glimpse of a distant landscape is visible over the brick wall to the right. Although Alma-Tadema was only 20 when he painted this scene, he already shows in it the narrative skills that will bring him such success with his later re-creations of life in Greek and Roman antiquity. This genre scene was the artist's first major commission.
Diogenes ca, 1860 by Jean-Léon Gérôme (French, 1824-1904)
The Greek philosopher Diogenes (404-323 BC) is seated in his abode, the earthenware tub, in the Metroon, Athens, lighting the lamp in daylight with which he was to search for an honest man. His companions were dogs that also served as emblems of his "Cynic" (Greek: "kynikos," dog-like) philosophy, which emphasized an austere existence. Three years after this painting was first exhibited, Gerome was appointed a professor of painting at the Ecole des Beaux-Arts where he would instruct many students, both French and foreign.
Princess Kotschoubey 1860 by Franz Xaver Winterhalter (German, 1805-1875)
Although born a peasant in the Black Forest region of southwestern Germany, Winterhalter became the foremost portraitist of European royalty and nobility. Hélène Bibikoff was initially married to Prince Esper A. Belosselsky-Belozersky and subsequently to Prince Kotschoubey, the son of the chancellor of the Russian empire. A woman of great wealth, even by the standards of her time, the Princess travelled extensively, mingling in the European courts, and entertaining lavishly. Her palace on the Nevsky Prospekt, St. Petersburg, was the setting for balls that rivaled those of the court in all its grandeur. She is reported to have maintained her role as a social leader at the imperial court with autocratic zeal. Winterhalter has depicted her in one of his customary formats, three-quarter length, nearly life-size, and painted against an overcast sky. She wears a black silk gown, black lace, and jewelry, including a necklace of large pearls, a pearl brooch with a large pendant pearl, a flexible, serpentine bracelet, and several rings.
Othello by William Mulready 1840-1863 (British, 1786-1863) (?)
Mulready spent most of his career in London painting genre subjects. Many of his major works are now on display in the Victoria and Albert Museum. Here, he has portrayed the African-American actor Ira Aldridge (1805 (?)-1867), who won renown in Europe for his Shakespearean roles, including Othello, Lear, and Macbeth. This half-length portrait shows Aldrige in battle armor, with a flag at his right, in front of a stone archway.
The Scarlet Letter 1861 by Hugues Merle (French, 1823-1881)
Nathaniel Hawthorne, author of "The Scarlet Letter" (1850), regarded this painting, which William Walters commissioned from Merle in 1859, as the finest illustration of his novel. Set in Puritan Boston, the novel relates how Hester Prynne was publicly disgraced and condemned to wear a scarlet letter "A" for adultery. Arthur Dimmesdale, the minister who fathered her child, and Roger Chillingworth, Hester's elderly husband, appear in the background. Merle's canvas reflects some of the same 19th-century historical interest in the Puritans as Hawthorne's book, a fascination that reached its peak with the establishment of Thanksgiving as a national holiday in 1863. By depicting Hester and her daughter, Pearl, in a pose that recalls that of the Madonna and Child, Merle underlines "The Scarlet Letter"'s themes of sin and redemption.
Odalisque with Slave 1842 by Jean-Auguste-Dominique Ingres (French, 1780-1867)
An odalisque (female member of a harem) reclines exposed in the harem listening to a servant's lute music. This painting was commissioned by King Wilhelm I of Württemberg and was executed by Ingres with the assistance of his pupil Paul Flandrin. A version of this subject painted three years earlier shows the odalisque in an enclosed room rather than with the garden vista in the background (Fogg Art Museum, Cambridge, Massachusetts). This exotic composition, which was inspired by a passage from Lady Mary Wortley Montagu's Turkish Letters (1763), may have been conceived by Ingres in response to his rival Eugène Delacroix's success as a painter of Near Eastern subjects.
Saïd Abdullah of the Mayac, Kingdom of the Darfur (Sudan) 1848 by Charles-Henri-Joseph Cordier (French, 1827-1905)
Cordier submitted a plaster cast of the bust of an African visitor to Paris to the Salon of 1848, and two years later he again entered it as a bronze. A young African woman served as the model for the companion piece in 1851 (Walters 54.2665). Regarded by 19th-century viewers as powerful expressions of nobility and dignity in the face of grave injustice, these sculptures proved to be highly popular: casts were acquired by the Museum of National History in Paris and also by Queen Victoria. The Walters' pair were cast by the Paris foundry Eck and Durand in 1852.
African Venus ca, 1851 by Charles-Henri-Joseph Cordier (French, 1827-1905)
Cordier submitted a plaster cast of the bust of an African visitor to Paris to the Salon of 1848, and two years later he again entered it as a bronze (Walters 54.2664). A young African woman served as the model for this companion piece in 1851. Regarded as powerful expressions of nobility and dignity, these sculptures proved to be highly popular: casts were acquired by the Museum of National History in Paris and also by Queen Victoria. The Walters' pair were cast by the Paris foundry Eck and Durand in 1852. These bronzes were esteemed by 19th-century viewers as expressions of human pride and dignity in the face of grave injustice.
Labels: Baltimore, Jean-Auguste-Dominique Ingres, Maryland, The Walters art museum
The Chess-Players--Check Mate 1836 by George Whiting Flagg
Hecuba and Polyxena, after 1814 Merry-Joseph Blondel
The Walters Art museum Ancient Egypt
Mummy and Painted Cartonnage of an Unknown Woman ca. 850-750 BC (Third Intermediate)
Mummification preserved mortal remains in order to house the Ka, or life force of the individual, as it needed to return to the body to find sustenance. The human-shaped covering, called "cartonnage," is composed of layers of linen and plaster. Its painted decoration includes the floral wreath on the wig, a broad collar, and a winged scarab beetle. Five additional registers of decoration show the protective four sons of Hours, the sacred boat of the funerary-deity Sokar, a mummy of Osiris on a funerary bed, a divine falcon god, and a short hieroglyphic text with an offering formula. See the additional media for a facial reconstruction of the mummy, courtesy of Michael Brassell, as well as a color reconstruction of the cartonnage.
Temple Relief of Nectanebo II ca. 350 BC (Late Period)
Once decorating the lower section of an interior temple wall, this relief depicts gods carrying offering trays supporting cartouches bearing the name of King Nectanebo II, and liquid and floral offerings. The deities bring the agricultural wealth of the nome, or region, they represent in a procession. The hieroglyphic texts praise the king and the god Onuris-Shu. Unlike the sunk relief used on exterior walls, interior walls were decorated with raised relief.
Fragment in Sunk Relief of Female Deity Bearing Offerings ca. 1270 BC (New Kingdom)
These two (together with Walters 22.100) well-preserved painted relief sculptures originally belonged to a depiction of a procession of gods, who represented the 42 nomes, or regions, of Egypt. They once decorated the lower part of the southeast wall of the First Hall, containing eight columns, within a temple dedicated to the god Osiris, built at Abydos by Ramesses II. The lower portion of both figures remains in place in the Ramesses temple, where they are exposed to the elements. The reliefs shown here, however, have retained their vivid color. The deities bring offerings for the cult of Osiris in Ramesses' name. Their faces follow the portrait style of Ramesses II, with oval eyes, slightly hollowed eyelids, a small mouth, and a prominent, beaked nose. Note the remains of the hieroglyph above each figure's head, indicating that he or she is the personification of a region. The raised area of these nome-signs retains red pigment. A portion of the abundant offerings the male deity bears is preserved. His blue skin associates him with the forces of creation. Original pigments also include yellow on the female deity's face, blue on her wig, and light green on the plant stalks she holds in her right hand.
Relief Displaying the King Suckled by the Hathor-Cow ca. 1300-1200 BC (New Kingdom)
A youthful king suckles at the udder of the mother-goddess Hathor, depicted as a cow. His black flesh may indicate that he is deceased, this color being associated with the underworld and the god Osiris; but the color black also symbolizes fertility, renewal, and rebirth, and its use implies that the king will be restored to life.
Mummy Mask of a Woman 50 BC-AD 50 (Greco-Roman)
Mummy masks of the Hellenistic and Roman periods often had gilded faces that reflected the association of the deceased with the gods. This mask has been molded over a core, with layers of mud and linen. The decoration was applied in layers, with the gilding at the end. The eye inlays are made from glass, as well as the blue scarab on the top of the head and the ibis inside of a pectoral on the chest. The scarab has gilded wings which stretch down to the sides of the wig. Above the forehead is a frieze of uraeus serpents with sun-disks on their heads. At the right and left frontal ends of the wig are recumbent jackals. A golden collar with five rows of rosettes and geometric patterns adorns the mask, suspended from which two kneeling goddesses flank the pectoral with an ibis. The goddesses may be identified as Isis and Nephthys, each with a sun-disk on her head and a feather-fan in one hand. Mummy masks were used to protect and idealize the facial features of the deceased. The golden face of this mask shows no signs of age, gender, or emotions. The eyebrows, nose, mouth, chin, and ears are very well modeled, but without color accents. The motif ensemble of the mask symbolizes protection (uraeus serpents, jackals), general renewal (scarab-beetle), and divine support to pass the court of death (Thoth-ibis, goddesses) and to be renewed in the afterlife amongst the deities (reflected in the golden color of the face).
Funerary Stele of Tembu ca. 1500-1470 BC (New Kingdom)
This round topped funerary stela of Tembu, is carved in very low relief and brightly painted in red, yellow, blue, and black. The decoration comprises of two registers of offering scenes and a register of inscription on the bottom. The top depicts two Wadjit eyes flanking a shen-ring and water ripples with a bowl. Below this Tembu is seated with his wife on a typical 18th-Dynasty double chair. Under the chair and attached to it by a leash, is a pet monkey, holding a mirror and a cosmetic vase, which is a typical feature of New Kingdom stelae. The table in front of the couple holds loosely arranged offerings of bread, beef, vegetables and lotus buds and two jugs on stands below the table. One of the daughters of the couple stands in front of the large wine jar decorated with a "nymphaea caerulea" and presents a bowl of wine to her parents. The middle register depicts the rest of the family, including Tembu's sons Teti, Tetimose, Teiy, and Ahmose, holding various flowers and two daughters Senetnefer and Henut, holding flowers. Three of the sons wear short military kilts in accordance with their titles, while the fourth son wears a long kilt and a shirt. Between the daughters and the sons, is placed an extremely large jar decorated with a lotus flower, and topped with a clay stopper.
Woman with Lotus ca. 2170-2020 BC (First Intermediate)
At the end of the Old Kingdom, the authority of the king and court had eroded, and Egypt split into at least two distinct regions. Without a great royal court to patronize workshops, artists and artisans worked for local governors and officials. Lively regional styles developed, usually showing elongated, fluid figures with features such as the hands, eyes, and ears emphasized. Here, the inscriptions are an invocation to Anubis, god of embalming and mummification, requesting funerary offerings of food and drink for the deceased. This stela, carved in sunk relief, depicts a woman named Nefer-khabet. She wears a long, narrow, tight-fitting garment, a long wig, a collar, an armlet and a bracelet, and anklets. Her skin is painted pale yellow, her garment is pale blue, and her various pieces of jewelry are painted a darker shade of blue. She faces to the right and holds a blue lotus blossom with her left hand in front of her face, while her right arm hangs down at her side. In front of her is a short, small table heaped with offerings (two basins and two loaves, a shoulder of meat, vegetables, and more loaves); beneath it are ewer and a basin. More offerings (two baskets with food, four pottery jars on stands, loaves, and bunches of onions) are placed to the right of this table. The offerings are painted in red, yellow, and pale green, and are surrounded on three sides (all except the bottom) by a thin black rectangular border. Three rows and one column of inscription in blue are placed above her and to her right. Surrounding the scene on three sides (except for the bottom) is a border consisting of pale green, yellow, red, and black boxes, with an outline of black around them. The stela is broken on all four sides, breaking off three areas (upper left, lower left and right) of the colored-block border. The yellow, green, red, blue, and brown colors are well preserved.
Sesostris III ca. 1850 BC (Middle Kingdom)
Usually the sculptures of kings and queens have youthful, confident, contented, and even slightly smiling facial expressions. King Sesostris III broke dramatically with this tradition, and his face shows signs of age, concern, and discontent. He may have wished his sculptors to show him as the shepherd of his people, heavily burdened by his care for their needs and the duties of monarchy. Among the most important ancient Egyptian sculptures in the collection, this statue is a classic representation of an Egyptian pharaoh. He is shown wearing the nemes head cloth (worn only by Egypt's monarchs) with a uraeus (protective serpent) at the brow, and a shendyit (pleated kilt). An unusual feature of this king's sculpture is the amulet suspended from a necklace.
Itj-ibj 1976-1911 BC (Middle Kingdom)
Discovered in the ancient necropolis, or burial ground, in Asyut in 1913, the statue is inscribed on either side of the block-like seat with the offering texts for Itj-ibj, a minor official, represented with a shoulder-length head covering and wearing a shendyit, or pleated kilt. While early 12th Dynasty in style, this impressive seated statue shows Itj-ibj in a classic pose copied from Old Kingdom sculpture: hands balanced on his thighs, the left flat and the right clenched in a fist, holding a folded cloth. Traces of red paint with white spots remain on the fleshy areas of the sculpture, and it has been suggested that the exposed parts of the body were painted to make the limestone resemble red granite, a more costly stone.
Isis with Hours the Child ca. 680-640 BC (Late Period)
For the ancient Egyptians, the goddess Isis was the model of the loyal wife and mother, as well as a powerful magician. She was the wife of the god Osiris and the mother of Hours. Just as the king of Egypt was associated with Hours in life and Osiris in death, queens of Egypt were linked with Isis, and their visual representations have similarities with the goddess. For example, both may be depicted wearing the vulture headdress shown here. The crown composed of a sun-disk and cow horns originally belonged to Hathor, but was assimilated by Isis.
Upper Part of a Statue of a Man 4th century BC (Late Period-early Greco-Roman)
Almost certainly a fragment of a life-size temple statue showing its owner reverently kneeling before his god, this figure is quite rare, perhaps even unique. The eyes and eyebrows were probably once inlaid with other materials, enhancing the liveliness of the facial features. The shaved head may indicate the owner's status as a cleric or high official.
Statue Group of Nen-kheft-ka and His Wife, Nefer-shemes ca. 2350 BC (Old Kingdom)
Found in a rock-cut tomb at Deshasheh, located about seventy miles to the south of modern Cairo, this pair statue of the mayor Nen-kheft-ka and his wife Nefer-shemes exemplifies in the pose and relative scale of its subjects the standard Egyptian artistic conventions for the representation of men and women. Nen-kheft-ka strides forward with his left foot and holds his arms closely at his sides, while his wife is depicted on a smaller scale and stands with her feet together. Each statue was carved separately and altered prior to burial to fit into a shared base.
Mummy Mask of a High Official ca. 2000-1980 BC (Middle Kingdom)
The use of a mummy mask is one of the most characteristic features of ancient Egyptian burial customs. Such cartonnage masks covered the head and the upper part of the chest of a mummy. Generally, they consist of layers of linen and gypsum that could be molded to the shape of the deceased. Finally, each mask was painted in bright colors. Because of their fragility, relatively few mummy masks of the Middle Kingdom have survived in as good a state of preservation as this one. The face is rendered in a formal, stylized way, giving it a somewhat stiff expression. Even so, some details are indicated: the bristles of the full beard, the mustache, and the eyebrows, all stippled in black over a blue ground. The man wears a voluminous wig with long, rounded ends, which are neatly rimmed with a decorative border. A broad collar composed of many rows of beads features falcon-headed terminals, which are held in position by strings emerging from under the wig on the mask's back. In addition, a simple necklace with a large pearl completes his adornment. But most striking is the richly ornamented diadem with a floral motif over the forehead. The model for this diadem was gold and silver, inlaid with semiprecious stones like carnelian, lapis lazuli, and turquoise. Although the original burial spot of the Walters' newly acquired mummy mask is not known, its general style and details undoubtedly indicate that it came from the necropolis at Asyut. At this important site, the capital of the 13th district of Upper Egypt, a French mission as well as the Egyptian nobleman Sayed Khashaba Pascha conducted intensive archaeological excavations during the early 20th century. Many rock-cut tombs belonging to the courtiers of the Asyut nomarchs (the rulers of the nome) were found untouched and still contained their original grave goods. This mask was probably discovered during the poorly documented Khashaba excavation, which left no records about related objects found in the tomb, including the coffin of the deceased with its inscriptions. Without records of his titles and name, the identity of the owner of this mask must remain a mystery.
Statue of a Man 664-600 BC (Late Period)
The artists of the Kushite rulers of the 25th Dynasty introduced a new realism into royal art and sculpture and also revitalized private sculpture. Kushite images had a broader cheek and stronger jaw, resulting in a more angular face than had been seen before. When the 26th Dynasty supplanted the 25th, the artistic center changed from the residence of the Kushite kings at Napata in southern Nubia, to Sais in Egypt's Delta, home to the new ruling family. The style also changed to a more idealized image with softer features. This early 26th Dynasty sculpture combines the angularity of the larger boned Kushite face with the new idealizing style of the Saite Period, producing a strong and polished image.
Kneeling Figure of Hor-wedja ca. 640-620 BC (Late Period)
Hor-wedja was the son of Vizier Sasobek, the highest-ranking official during the reign of King Psammetichus I. Hor-wedja's son Meryptah commissioned this temple sculpture for him. Hor-wedja kneels, presenting only himself to his god. He abases himself in the deity's presence but keeps his head erect, expressing respect and confidence. A hieroglyphic inscription gives the lineage and titles of Hor-wedja running in a horizontal band around the base, in a line across the top of the base and in a single vertical column on the back pillar. Hor-wedja kneels upon a rectangular base and his toes are splayed out in an unnatural way. He wears a belted shendyt kilt and a simple bag wig. The wide width of the wig is common for the Saite Period. The orientation of the wig onto the top of the back pillar is echoed in other sculptures from the 26th Dynasty through the reign of Apries. As is characteristic for the Saite Period his image is quite idealized. The body appears strong but the definition of the musculature is subtle. A strong median line is visible. His hands are placed flat upon his thighs and appear unusually plump. His facial features are also typical for the Saite Period: long almond-shaped eyes with straight brows above, long smooth cheeks, a long straight nose and a softly smiling mouth. The statue is well preserved and the polish is only marred by a few minor nicks.
Relief with Winged Genius 883-859 BC (Neo-Assyrian)
This relief decorated the interior wall of the northwest palace of King Ashurnasirpal II at Nimrud, which is situated in present-day Iraq. With his right hand, the genius (or benevolent spirit) uses a cone-shaped object to sprinkle from his bucket some magic potion upon either a sacred tree or the king depicted on the adjacent relief. The genius wears the horned crown of a deity and the elegant jewelry and fringed cloak of contemporary courtiers.
The Chess-Players--Check Mate 1836 by George Whiti...
Hecuba and Polyxena, after 1814 Merry-Joseph Blond...
Woman with Her Son and Daughter in a Balcony Windo...
Félicité-Louise-Julie-Constance de Durfort, Maréch...
The Walters Art museum Gothic & Byzantine
Zamor, page boy to Madame du Barry by Marie Victoi...
The Walters Art museum Baroque & Renaissance
Laurent de LA HYRE, Adonis mort, vers 1624 - 1628
Period State rooms at the DAR museum Washington, D...
Nicolas-André Monsiau, Daphnis et Chloé 1817
Diane et Endymion by 1768 Louis Lagrenée, dit l'Aî...
Charles Thévenin - Narcisse
Augereau the Bridge at Arcole 1798 by Charles Thév...
Portrait of an Architect in his Interior, 1809 Cha...
Crawfish Boil at Mary plantation
Théodore Géricault Portrait de jeune garcon de pro...
"Chirone educa Achille al tiro con l'arco" (1776-1...
Louis Comfort Tiffany windows at Brown Memorial Pr...
Thomas-Jencks-Gladding House built 1849-1851 Balti...
Jean Baptiste Mauzaisse 1820: Hercule et Lichas
Death of Viala - Pierre-Paul Prud'hon.
Male nude study by Jean Germain Drouais
Baron HOLSTEIN René Hyacinthe Holstein 1818 by Jea...
The Actor Thenard in the Role of Figaro by Henri P...
Portrait of Léon Riesener 1835, by Eugène Delacroi...
Helios, Greek god of the sun and sunlight
Clifton Mansion the summer estate of Johns Hopkins...
Filippo Tagliolini, Castor and Pollux, c. 1790
Politicians in the Tuileries Gardens 1832 by Louis...
Easter Brunch & decorations at the Hopkins home
A Young Boy, after Jacques-Louis David by Antoine-...
Getting ready for Easter
Gerard van Honthorst, Emperor Ortho, 17th century
The Walters Art museum Greek & Roman Antiquities
Jean Louis Cesar Lair, The Torture of Prometheus, ...
A walking tour of old town Alexandria, Virginia
Hiram Powers, Fisher boy 1841–44; this carving, 18...
Barboursville Plantation ruins 1814-1822 Barboursv...
The St John house 1857, Mobile, Alabama
Ludovico Lana, Erminia and Tancredi, Italian
Hesperus as Personification of the Evening ca. 176...


text:
Gemcutter::Application.configure do
  config.cache_classes = true
  config.whiny_nils = true

  config.consider_all_requests_local = true
  config.action_controller.perform_caching = false
  config.action_dispatch.show_exceptions = false
  config.action_controller.allow_forgery_protection = false
  config.active_support.deprecation = :stderr
  config.action_mailer.delivery_method = :test
end

ENV['S3_KEY']    = 'this:is:an:ex:parrot'
ENV['S3_SECRET'] = 'it:has:ceased:to:be'

redpajama_set_name: RedPajamaGithub


text:
Welcome to North Sydney Oval
Club Happenings, Latest News
excerpt from The Shoremen, Match Day Program.
This Saturday against Sydney University is our second home game for the season and our first home game Super Saturday. A chance to witness all teams including our Women's 7's.
Our 1st Grade team play for the John Thornett Cup. Unfortunately, John passed away in January this year but his Wallaby career will never be forgotten as will his amazing contribution to both Northern Suburbs and Sydney University.
As a tribute, there will be a moment silence before 1st Grade followed by a few words by Russ Tulloch (John's former Wallaby teammate). Russ will be accompanied by John's wife Viv who we welcome to North Sydney Oval as our very special guest with other family members. I was fortunate to attend John's Memorial Service where all of the speakers captured his extraordinary career and the difference he made to every side he was involved with.
The club was thrilled to see Hugh Sinclair get a very well deserved call up to the Waratahs in South Africa. Those that saw last week's game would have seen the immediate impact he had when he came on. Hugh deserves everything that comes his way, an inspirational captain and player who puts his body on the line for the Red and Black every weekend.
A huge congratulations to our Women's 7's side who last week had their first win for the season. For many, this is only their second game of competitive rugby but the hard work they have put into pre-season to develop their skills and the dedication of the two coaches Geoff Wells and Blake Murray is evident in the result. We can't wait to see them go around again today.
Good luck to all other teams on Saturday. I know results have been mixed but there is nothing like a game against Uni to bring out the best in the Red and Black.
Round 6 Team Lists – All
Round 6 Team Announcement


Just wanted to post part 1 of the husband tag I recently uploaded on my Youtube channel! We had so much fun filming it and reliving some of our most amazing moments together and learning a bit more about each other! It was very nostalgic. I hope you enjoy!
I will be posting some new easy recipes here on the blog next week. They seem daring and impressive but are super easy and not at all intimidating! See you guys then!
Looove it!!! Hahaha!!! You two are so cute together!


Rocky Mountain Chocolate Factory | Badudets Everything Nice!
Southerners can now have their sweet cravings satisfied as Rocky Mountain Chocolate Factory opened its second cafe in Molito Alabang. What perfect timing because you can now give premium chocolates as gifts from the world-renowned chocolatier.


text:
CBS Evening News with Scott Pelley
By John Blackstone CBS News April 22, 2014, 7:37 PM
A month after deadly mudslide, a firsthand look for the president
Late Tuesday, President Obama flew to Oso, Wash., which was buried last month by a deadly landslide.
Marine One, the president's helicopter, flew over the debris, and he met with families of the victims.
A month after deadly landslide, Obama tours disaster site
"The families that I met with showed incredible strength and grace through unimaginable pain and difficulty," he said later, speaking at a firehouse.
"The whole country's thinking about you, and we're going to make sure that we're there every step of the way as we go through the grieving, the mourning, the recovery," he said. "We're going to be strong right alongside you."
At least 41 people were killed. Two are still missing.
A month after the landslide, the mud remains so deep and wet in places that searchers struggle to get through it.
Firefighter Ben Woodward is among the reinforcements brought in to search for bodies CBS News
Ben Woodward, a firefighter from eastern Washington, is one of the reinforcements brought in to take over the difficult search for bodies from local residents.
"Our motivation is finding closure for the families," Woodward said. "We're looking for their loved ones, that's our motivation for everybody out here, and we take that in daily."
The death toll is lower than first feared but the loss remains enormous in this small community.
Forty-one people were killed in the mudslide; two remain missing CBS News
Volunteer firefighters Jan and Jeff McLelland were among the first rescuers to reach those trapped in the landslide.
"I've cried a lot," Jeff McLelland said. "I've gone through various emotions. I've been, you know, um, from that first day when I walked out there and looked at it, I cried."
"When something makes you sad, you feel so sad," Jan McLelland said. "There's a bit more of an extreme to your life that you didn't feel before."
In Darrington, the flags have been flying at half staff for a month.
Darrington Mayor Dan Rankin CBS News
"Being able to overcome that tragedy is going to be a long and hard process," Mayor Dan Rankin said.
Asked if the area could ever recover, he said, "Will we ever be whole and well? No."
Part of making this region whole is re-opening the only highway through the valley. But a stretch of the road, more than a mile long, remains under the mud with no estimate for when it will be re-opened.
John Blackstone
From his base in San Francisco, CBS News correspondent John Blackstone covers breaking stories throughout the West. That often means he is on the scene of wildfires, earthquakes, floods, hurricanes and rumbling volcanoes. He also reports on the high-tech industry in Silicon Valley and on social and economic trends that frequently begin in the West.
A Twitter List by CBS News
Live Through This: Telling the stories of suicide survivors
"Information Wanted"


Business Cards are what set you apart; crisply printed and perfectly cut. Available in an endless variety of stocks, raised or flat print, digital or offset, we specialize in the lost art of thermography that make your cards feel as good as they look. Rounded or square corners, one-sided or two-sided, folder cards, and UV coating; we have what it takes to make you stand out from the pack.


text:
Millennium Live is a cancelled international television special, which was an unsuccessful attempt to broadcast an international celebration of the beginning of the Year 2000, or the so-called Millennium. Reports claimed that the show was to have involved broadcasters in up to 130 nations. Millennium Live: Humanity's Broadcast was going to compete against the 2000 Today international broadcast that was supported by ABC in the United States, and led by BBC in the UK.

The programme was called off on 28 December 1999 when its organizers, the Millennium Television Network (MTN), announced that it had failed to obtain sufficient financing for the broadcast. MTN reportedly was not paying production and satellite companies for their services prior to the cancellation before MTN shelved their efforts to establish a global broadcast for the following New Year's Eve.

History
The Millennium Television Network (MTN) was formed by Live Aid's American producer Hal Uplinger to prepare and conduct the broadcast. A series of early planning activities among international representatives reportedly occurred in Cannes in October 1998. Millennium Live was planned as a 24- or 25-hour broadcast from 11:00 UTC 31 December 1999.

Pax TV (now known as Ion Television) of the United States had the exclusive rights to broadcast the show which they billed as Pax Millennium Live: A New World's Eve.

Scheduled musical guests included Aerosmith, Bee Gees, Blondie, Chicago, Phil Collins, Destiny's Child, Ricky Martin, 'N Sync, The Pretenders, Sting, Santana and 10,000 Maniacs. Bryan Adams, Simply Red and the Spice Girls were also sought as featured artists.

New Year's Eve celebrations from various worldwide locations were to have been seen on the show.  (Chile), Carmen Electra (US), Ramzi Malouki (France), and Zam Nkosi (South Africa) were also scheduled as a program hosts for the represented nations. The studios of a television special were to have been hosted in Los Angeles on a set contained in a 90-foot geodesic dome at Manhattan Beach in the United States.

The program was cancelled on 28 December 1999 with an announcement that MTN had failed to obtain sufficient financing for the broadcast. MTN reportedly was not paying production and satellite companies for their services prior to the cancellation. Pax aired a series of movies in Millennium Live's place, and MTN never materialised its reported plans to establish a global broadcast for the following New Year's Eve on the real Millennium (2001).

Broadcasters
The following broadcasters were reported as participants in Millennium Live:

 Australia: Nine Network
 Brazil: Rede Bandeirantes
 Canada: MuchMoreMusic
 Chile: Chilevisión
 Estonia: TV1
 France: France 2
 Germany: Sat.1
 Hong Kong: STAR TV, ATV and TVB
 India: Zee TV
 Italy: Rai 1, Rai 2, Rai 3, Italia1, Rete 4, Canale5
 Japan: Vibe TV (now MTV Japan)
 Mexico: Televisa, and TV Azteca
 New Zealand: TV3
 Philippines: Studio 23
 Portugal: SIC
 South Africa: SABC
 South Korea: KBS
 Spain: Telecinco
 Turkey: NTV
 United Kingdom: ITV
 United States: Pax (now Ion Television)
 Venezuela: Venevisión

Note: Italy's RAI was the only broadcaster that moved to the 2000 Today broadcast

See also
 2000 Today – the successful international television special, which was broadcast in 78 countries (including broadcasters from the cancelled Millennium Live TV special)

References

External links
 Everything 2000 - New Year's Eve Broadcast Plans 26 January 1999
 Everything 2000 - Millennium Live Worldwide Broadcast Cancelled 29 December 1999
 Kansas City Star - Y2K: The TV takeover 29 December 2001
 Kansas City Star - Funding glitch shuts down Pax's millennium special (via TV Barn) 30 December 1999
 Millennium Hell - Pax Backs Hacks. Lacks Facts. Backtracks. Sacks Millennium Quacks to the Max
 Egypt2000.com - The Twelve Dreams of the Sun - Jean-Michel Jarre performance

Unaired television shows
International broadcasting
Turn of the third millennium

redpajama_set_name: RedPajamaWikipedia


text:
Home » Algeria › Destinations & Hotels › Sétif
Algeria - DESTINATIONS & HOTELS
Setif may be one of the most modern towns in Algeria, but its roots are definitely in the past. Its ancient walls tell a tale of the Roman Emporer Nerva who was determined to establish a veterans colony. Then Setif known by its Roman name of Sitifis became the chief city in the province of Mauretaini Sitifensis and remained staunchly under Byzantine rule.
Garrisoned by the French in 1838, it was not until 1945 the Sétif town area became the site of a spontaneous outburst against French colonial rule.
Since that tumultuous time, the area was developed as the centre for cereal cultivation as it was during the the popular French Colonial days, and now wheat is processed in local factories, to produce wheat products, especially semolina.
Sétif Hotels
$$ Novotel Setif Hotel	Sétif
The newly opened Novotel Sétif hotel is ready to welcome you right in the heart of the city of Sétif, just 12 km from Sétif Airport. The hotel is ideal for your business or leisure travel. The rooms...
Travelled to Argentina & Chile
Tomorrow we cross the border into Bolivia and our Argentinian and Chilean adventure ends. On behalf the group, I would like to thank you most sincerely for the care and attention you put into the organisation of our wonderful adventure. The variety of topography, the accomm


The Swiss Re Group is a leading wholesale provider of reinsurance, insurance and other insurance-based forms of risk transfer. It has a long-standing commitment to corporate responsibility and strives to implement this across all its business. It identified climate change as a major sustainability challenge almost 20 years and it continues to have its special focus on this. It has created a number of innovative responses to tackle climate change challenges.
Swiss Re's International ReSource Award for Sustainable Watershed Management is one of the best examples to demonstrate its corporate responsibility and also its dedication towards meeting out the challenges of climate change. The award provides US $150,000 as grant to several projects. It recognizes leadership in the implementation of the principles of sustainability in watershed management.
NGOs and other organizations that area dedicated to raising public awareness of the ecological, social and economic significance of water resources and watersheds in developing and emerging countries can apply for the ReSource Award.
For more information about this award, visit this link (applications are now closed).


text:
Home » Research » Daily analysis finds historically large salary disparities between three U-M campuses
Posted inResearch
Daily analysis finds historically large salary disparities between three U-M campuses
by Eric Lau (he/him) and Christian Juliano April 21, 2021 December 7, 2022
The University Insider is The Daily's first faculty and staff-oriented newsletter. This weekly newsletter will give U-M faculty and staff the ability to see the most important issues on campus and in Ann Arbor — particularly those related to administrative decisions — from the perspective of an independent news organization. It will also provide a better understanding of student perspectives.
This article is one of a three-part data-driven series in which The Michigan Daily obtained and analyzed annual university Salary Disclosure Reports from 2002-2020. Salary Disclosure Reports are released every year from the Office of Human Resources, the Office of Budget Planning and other departments. You can find the other articles in this series here and here.
For the purpose of data analysis, The Daily distinguished 'faculty' as tenured and tenure-track faculty, clinical faculty, research faculty, research scientists, and lecturers; and 'staff' as any employee of the university not considered faculty.
An analysis by The Michigan Daily uncovered that in 2020, the University of Michigan saw the highest differences in combined salary pay between the University's three campuses — Ann Arbor, Flint and Dearborn — in the last 19 years. The combined salary of the 46,187 employees on the Ann Arbor campus was 48 times that of the 1,054 employees in Dearborn and 57 times that of the 1,002 employees in Flint. To that end, the combined salary on the Ann Arbor campus in 2020 was $3,949,007,002.45.
The median salary in Ann Arbor for all faculty and staff in 2020 was $70,219.20, while the median salary in Dearborn was $65,936 and the median salary in Flint was $56,806.40. The Daily found that for faculty specifically, the median Ann Arbor salary was more than two times greater than the median salary for Flint faculty members — U-M Flint faculty had a median salary of $63,386.46, U-M Dearborn faculty had a median salary of $77,822.24 and U-M Ann Arbor faculty had a median salary of $145,794.64.
In 2019, U-M Dearborn's combined salary, or the cumulative total of its employees' salaries, was $86,995,017.80, but it decreased to $81,070,304.21 in 2020. U-M Flint's total salary was $75,659,264.83 in 2019 and decreased to $69,167,890.75 in 2020. This was supplemented by a decrease of 7.05% and 7.99% in employee count at Dearborn and Flint, respectively.
When looking at the median salaries of lecturers, disparities were also found between campuses and specific schools. Overall, the highest median salary for lecturers is at the Ross School of Business in Ann Arbor, where the median is $146,276. This is compared with the lowest median salary for lecturers across the three campuses, which is $42,422.21 at the School of Nursing in Flint.
These disparities have caused some community members, like One University representative Amytess Girgis, LSA senior, to take issue with the distribution of funds between campuses.
"The University has told us that there simply is not enough money, that Dearborn and Flint need to be sustaining themselves on their own, and that the finances on the Ann Arbor campus shouldn't be related," Girgis said. "(But) we have one Board of Regents, we have one president, and the money is certainly there in the surplus funds from the University in the endowments and the returns on the endowments. There's more than enough money to be paying lecturers."
Dearborn and Flint recently saw a considerable amount of lecturer layoffs. From 2019 to 2020, Dearborn saw a net loss of 36 lecturers (12.9%), while Flint saw a net loss of 41 lecturers (12.4%).
Relative to Ann Arbor, the Dearborn and Flint campuses did not see as large a loss in revenue in 2020 due to COVID-19. Dearborn's revenue decreased by 2.3% ($4,000,000) and Flint's decreased by 6.3% ($10,600,000), while the Ann Arbor campus lost 8.5% ($800,000,000) in revenue.
However, the vice business chancellors of both satellite campuses recently told the Senate Assembly that these decreases in revenue are still painful, especially as Flint and Dearborn continue to struggle with declining enrollment.
Advocates for Lecturers' Employees Organization's bargaining platform have recently appeared before the Board of Regents to emphasize lecturers' concerns of job insecurity. Despite its revenue losses, the Ann Arbor campus still added a net of five new lecturers from 2019 to 2020. Some lecturers at the satellite campuses, like LEO member and Dearborn lecturer Erik Marshall, have grown frustrated with austerity measures from the U-M administration.
Marshall said he feels as though the losses in revenue and the layoffs of lecturers are disproportionate.
"In the last year under COVID, (Flint and Dearborn) haven't lost any revenue," Marshall said. "But they've chosen to lay off a bunch of lecturers, which means that (lecturers) are seeing vastly increased class sizes, and they're seeing classes canceled."
While Flint revenues held steady, Dearborn lost 4.2% of its revenue over the last year.
Marshall added that laying off lecturers makes Dearborn and Flint students' lives harder because the quality of education decreases as lecturers' workloads increase, making it difficult for students to fulfill graduation requirements.
In 2020, the combined revenue of the Flint and Dearborn campuses made up only 3.59% of the total Ann Arbor campus revenue. Marshall expressed discontent with the fact that Ann Arbor's $800,000,000 loss only amounted to an 8.5% decrease in revenue, prompting him to question the University's diversion of funds between its three campuses.
"There's absolutely no reason that the money in the central administration should not flow to Dearborn and Flint," Marshall said. "The amount of money it would take to bring lecturers in Dearborn and Flint up to the same minimum salaries as Ann Arbor is nothing compared to the massive budget in Ann Arbor."
Of the schools and colleges across the University's three campuses, The Daily grouped the bottom 10 with the lowest median faculty salaries. Four out of the five schools at U-M Flint and two of the four schools at U-M Dearborn fall into this category. Specifically looking at lecturer salaries has similar results: three of the 10 schools across all campuses with the lowest median lecturer salaries were at U-M Dearborn and four were at U-M Flint.
Girgis questioned why Ann Arbor's revenue, which has consistently increased since 2002, has not yet found its way to Dearborn and Flint.
"What we have seen is that there is no trickle down effect from University revenue down to worker salaries," Girgis said. "It requires people and unions to demand what they're worth."
In an email to The Daily, University spokesman Rick Fitzgerald wrote the University does not have an excess amount of money that they are allocating to the Ann Arbor campus. He wrote that redirecting funds to the other campuses would make budgetary processes which are currently separate between the schools a bit more challenging, as he wrote the Ann Arbor campus' revenue is put towards meeting all its own expenses.
"The gap that exists between (state funding and costs recovered from research) and our expected expenses after (reductions in costs) for the upcoming year is what they (the budgetary teams) use to determine the suggested tuition rate," Fitzgerald wrote. "We then balance this with investments in financial aid and other affordability measures to ensure tuition increases are limited and in line with what families can afford. So the idea is to ensure we have just enough revenue to meet our expenses while managing affordability."
Despite possible difficulties in fund allocation outlined by the University, Girgis said the salary disparities demonstrate how resources across the campuses are vastly different.
"I think it's really important for the University to understand its mission as a public institution is to provide students with the education and the tools to go out and make this world a better place," Girgis said. "The cuts in really important departments in Flint and in Dearborn indicate that the University seems to care more about its profits than it does about actually serving students and the state of Michigan."
Fitzgerald added that diverting revenue and funding from Ann Arbor to Dearborn and Flint would increase tuition for students in Ann Arbor. Additionally, he wrote the University does not value students differently and that pay disparities often reflect differences in what labor markets demand.
"That said, President Schlissel and the chancellors have been strong advocates for additional funding for all public higher education institutions and greater state investment in direct-to-student need-based financial aid," Fitzgerald said.
Declining state support for all three of the university's campuses has led to increases in tuition for students. However, these increases affect the two satellite campuses differently than they affect Ann Arbor. While tuition makes up only 18.67% of Ann Arbor's annual revenue, it makes up over half of Flint and Dearborn's revenues.
University President Mark Schlissel appeared before the Michigan House Appropriations Subcommittee in March 2021. Prior to the meeting, The Daily's data analysis shows decreases in state funding of 38.43%, 35.33% and 31.76% from the Ann Arbor, Dearborn and Flint campuses, respectively. During this appearance, he urged lawmakers to commit more state funding to public education, citing the University's contributions to the state of Michigan and the world at large.
"As fellow Michiganders, we can all be proud that when our world needs knowledge, care and understanding most, U-M rises to the challenge," Schlissel said at the meeting.
However, Marshall said he wonders if those were empty words, questioning whether Schlissel believes the salary disparity between the three campuses is a "challenge" that the administration needs to address.
"They don't care about the salary disparity, because if they did, they could fix it," Marshall said. "I also wonder when President Schlissel talks about U-M rising to challenges if he means Ann Arbor, Dearborn and Flint, or if he means Ann Arbor."
Daily Staff Reporter Christian Juliano can be reached at julianoc@umich.edu. Daily Data Journalist Eric Lau can be reached at ericlau@umich.edu.
More from this data series
Daily analysis finds funding, salary increases for DPSS since 2013
Daily analysis finds pay disparities within LSA, CoE


text:
Home / Interviews / India has overcome Congress legacy, can no more use it as excuse: NITI Aayog Vice Chairman
India has overcome Congress legacy, can no more use it as excuse: NITI Aayog Vice Chairman
Posted by: Maeeshat. in in Interviews June 18, 2018	0
NITI Aayog Vice Chairman Rajiv Kumar
By Vishav,
New Delhi : Even as the ruling BJP and its senior leaders have repeatedly attacked the Congress for leaving behind a legacy of "governance failure", "policy paralysis" and "economy in shambles", the Central government can no more use this as an excuse and will have to take ownership of not only its accomplishments but also its failures from now on, NITI Aayog Vice Chairman Rajiv Kumar said.
He said while it was necessary to look at the last four years of the Narendra Modi government in the context of the legacy it inherited from the UPA regime in 2014, the economy has now overcome those issues and henceforth, the government should be judged on its own merit.
"Now the economy has come out of those inheritance issues. No more should they be used as an excuse for anything. Whatever happens now is the government's own (doing) completely," Kumar told IANS in an interview.
"After all the government has done so much despite all of it (legacy issues). It took huge structural reforms like demonetisation, GST, Insolvency and Bankruptcy Code, Benami Act, RERA and recapitalisation of banks to overcome those legacy issues. I think we have finally overcome those and henceforth, the government should be judged on its own merit," he added.
Kumar's remarks hold significance since the Bharatiya Janata Party (BJP) and its senior leaders, including Prime Minister Narendra Modi and Union Minister Arun Jaitley have repeatedly ripped into the Congress for leaving behind an "economy in a shambles" which the government was still bringing on track.
Be it the crisis relating to non-performing assets, the Nirav Modi-linked PNB scam, the sorry state of the banking sector, the slow GDP growth rate, the fiscal deficit situation and even the rising oil prices, the BJP leaders have used every opportunity to blame it all on the legacy it inherited from the erstwhile UPA government.
Even the NITI Aayog Vice Chairman has often talked about the legacy inherited by the current government and how it has affected its performance.
"For a government which had inherited the most terrible economic situation and inherited a situation where there was a complete paralysis in governance and decision making, and also a situation where world economy was also not very good… given the legacy, given the world economy and given the breakdown of governance, I think this government has done very well," Kumar said.
He added that when the BJP took over in 2014, the inflation had crossed the 9 per cent mark and growth rate had slumped to below six per cent.
"What (then Finance Miniser P.) Chidambaram had done was to allow the fiscal deficit to run from 2.8 at one time to as far as 6.4 per cent. From there to come to a situation where we have now achieved a growth rate of 6.7 per cent last year and 7.7 percent in the last quarter with inflation at 3.8 per cent, I think that's just remarkable," he said.
The fiscal deficit for 2017-18 was 3.5 per cent and the government has set the target of bringing it down to 3.3 per cent in the current fiscal.
The noted economist added the economy was much more balanced than it was before and had been pulled out of a crisis — a "crisis of complete private sector investment having been stopped because of the NPAs and the twin-balance sheet" problem.
"Not only has this government maintained the macro-economic balance and brought back growth on its track but along with it, it has made the economy far more cleaner and much more formalised, while also doing a lot to improve inclusion," he said.
Asked if there are any areas where the government could have performed better, Kumar responded: "One clear role which the government has recognised is farmer's income. I think this focus has now been brought into the budget. The agriculture sector remains a backward sector and it requires a lot of reforms."
He added that performance in export sector was a cause of concern while the water sector, which was turning into a crisis situation, was another area which needed attention along with the quality of education.
"These are chronic issues. They take time to be figured out. But the credit should be given to the government that they have recognised these problems and is not trying to hide them or brush them under the carpet. Also they are trying new approaches to improve the performance like ranking states on education quality, water conservation, health," Kumar said.
(Vishav can be reached at vishav@ians.in)
BJP Congress legacy indian politics interview NITI Aayog Rajiv Kumar	2018-06-18
Tagged with: BJP Congress legacy indian politics interview NITI Aayog Rajiv Kumar
Previous: 'Ocean Rimmed World': The Ocean giveth, but the ocean also taketh away (Book Review)
Next: Google kills feature to book Uber rides through Maps
Saudi's economic expansion offers new opportunities for India: Ambassador
Nawada will see fight between two powerful castes


Karen Mayo, estranged from her husband has taken her life into her own hand, studied and became a nurse. She has also watched her beloved son Joshua moving away from the divorce between his parents, now ready to graduate from high school and accepted to Clemson University. He is also a member of his school golf team and plays frequently with his father.
Suddenly fate takes a hand in the Mayo family's affairs. Joshua and his father decide to drive golf balls off a cliff facing a river and located in a large wooded area north of their home.
They finish the driving a little after dark and are on their way back to Joshua's home when they accidentally hit a man walking alone in the woods. They quickly go over to see how the person is when the man jumps up and attacks Andrew, Joshua's father. Appearing possible that Andrew could be killed, Joshua picks up a rock and strikes the man on his head. Checking him it is found that he has died from the blow.
There is another half of the events in this well done novel. Three individuals, two men and the wife of one of them have planned and executed a robbery of a bank. One of the men is purposely left at the scene of the robbery and the other two flee the area with a bag of money stolen from the bank.
The two halves are expertly tied into a very ingenious whole by the author. What happens when the two groups meet and how the events reach a conclusion for all of them is the theme of a very engrossing novel by an author that is a master of developing characters in his books.
The accidental murder in the woods and its consequences is tied very neatly into the actions and fate of the bank robbers, including the one that was stranded at the scene of the crime by the other two. A compelling all-nighter by an author completing only his second book. Certainly one to continue looking for in the future.
ONE FATAL MISTAKE by Tom Hunt. Berkley (February 5, 2019). ISBN 978-0399586439. 320p.
This entry was posted on Wednesday, February 13th, 2019 at 6:00 AM and is filed under Book Reviews, Crime Fiction, Fiction.	You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.


UCSF specialists have a long history of pioneering imaging, medical and surgical techniques that are changing what is possible for patients with epilepsy. Designated a level 4 epilepsy center by the National Association of Epilepsy Centers, our comprehensive program takes advantage of all the latest diagnostic and treatment options.
According to the National Association of Epilepsy Centers, UCSF performs more epilepsy surgeries than any other hospital or medical center in the West. Surgical specialties include traditional open procedures for focal resections and disconnection procedures, as well as awake surgery, which optimizes both precision and patient safety through the use of advanced, interoperative brain mapping, which identifies and avoids injury to sites of language, motor and sensory function.
Gamma Knife radiosurgery, a radiation therapy technique that precisely delivers a single, finely focused, high dose of radiation to well-defined, small targets in the brain.
Stereoelectroencephalography (SEEG), a procedure that is used to identify areas of the brain where epileptic seizures originate. Vagus nerve stimulation, a procedure where a small electric stimulator is placed near the vagus nerve to reduce the frequency and intensity of seizures when medications aren't effective.
Visualase thermal laser ablation, also known as laser interstitial thermal therapy, or LITT. We are among the few centers in the country with deep experience in this technique and have published journal articles that describe its use in standard focal resections for temporal lobe and hippocampus epilepsies, as well as in rare conditions such as hypothalamic hamartoma.
We also are world leaders in the use of responsive neural stimulation (RNS), in which an implantable device detects seizure-related electrical activity in the brain and responds immediately by delivering imperceptible levels of electrical stimulation to normalize brain activity and stop seizures just as they are about to start. Our RNS patients have had an average seizure reduction of 80 percent, surpassing the 48 percent to 66 percent seizure reduction reported in long-term clinical trials.
Basic science research in the Department focuses on the molecular, electrophysiological and genetic basis of epilepsy, as well as identifying new therapies, such as interneuron cell transplantation, and phenotype-based drug discovery using zebrafish models for Dravet syndrome and other pediatric genetic epilepsies.


Tullis Russell Paper Mill in Glenrothes, Fife produced paper and board for use in cards, covers and premium packaging. The Markinch Power Station was built to provide electricity and steam to the paper mill. Construction began in 1912 and was completed in 1914.
Originally consisting of a single Parsons turbine and generator unit, the power station was enlarged in 1921 to add another two units. The ability to co-fire oil along with coal was also introduced at the same time. The powerhouse was then expanded once again and a fourth, larger Parsons turbine was added.
In 1979 David Russell expressed his concerns about energy shortages and suggests that Tullis Russell must save coal. He devised a method of continuous working to avoid closing down at weekends which saved 70 tonnes of coal. He also started looking for an alternative to burning oil.
In 1999 one of the boilers was converted to run on gas, but it was realised that cleaner and cheaper energy was still required. In 2012 RWE invested in the Glenrothes site to build a biomass power station to replace the ageing coal plant. The new plant provided both steam and power to Tullis Russell, and made the old plant obsolete.


Most injectable filler gels add volume beneath the skin, and this results in a smoother surface. Wrinkles become less noticeable, and the facial skin contours are more pleasing. However, most dermal fillers produce good results only in a small area, and the results only last so long. The good news is, Sculptra® is a unique injectable that works in a slightly different way, and the results, although gradual, are very long-lasting. Our Beverly Hills clients who receive Sculptra® treatments marvel at the results and are delighted that the procedure is so simple to perform. If you want further information about how Sculptra® can significantly improve your appearance, contact us.
Most individuals in Beverly Hills experiencing age-related wrinkling on the facial skin are good candidates for Sculptra® treatment. So long as the individual has no serious skin infection or has severe immune depletion, this is an ideal choice.
Sculptra® is a gel containing poly-L-lactic acid. Polylactic acid has been used for decades as an ingredient in many different types of surgical products. The main ingredients are synthetically produced, so there's no risk of infection or contamination.
Many adults suffer from lipoatrophy, a loss of fat in the cheeks and elsewhere. This causes a hollow or dented appearance. Sculptra® can correct this problem by adding volume in areas where fat is depleted. The positive results can last for up to two years, much longer than what can be expected with other acid-based fillers.
If you want more information about this effective skin rejuvenation treatment, call us at Grossman Dermatology to schedule a consultation at our office in Santa Monica or NYC. We serve all of Beverly Hills and other regions surrounding our offices. Contact us today for a consultation.


text:
85 endangered turtles being rehabbed on Gulf Coast
GULFPORT, Miss. (AP) — Scores of endangered turtles hurt by the unusual cold in Massachusetts have been brought to the Gulf Coast to be rehabilitated and eventually released into the wild.
Hundreds of cold-stunned young Kemp's ridley sea turtles have washed up on Massachusetts beaches since November. The condition — like human hypothermia — can be fatal.
The Audubon Aquarium of the Americas in New Orleans says it received 27 of the turtles on Monday. Institute for Marine Mammal Studies director Moby Solangi says 32 are in Gulfport.
The Sun Herald reports that the New England Aquarium Marine Animal Rescue team sent a total of 85, with others going to Gulf World in Panama City, Florida.
Many juvenile Kemp's ridleys live in shallow Gulf waters, including the Mississippi Sound.


The moment when Joe Louis downs James J. Braddock, 'The Cinderella Man', in the seventh round to win the world's heavyweight championship at Chicago's Comiskey Park. The date was June 22nd 1937. Louis, whose moniker was 'The Brown Bomber', became the first black world heavyweight champion since Jack Johnson. He would go on to rule the division for a period of almost 12 years and in the process make a record-setting amount of defences.
The artist, Joseph Golinkin was for want of a better term a 'renaissance man" who excelled in art, sailoring –he rose to the rank of rear admiral in the United States Navy and- and environmental work.


A unique opportunity to be part of an exciting and constantly evolving, forward thinking business who truly value the investment in their people. Working from a new, purpose built facility in Worcestershire, the Senior HR Business Partner will assist the General Manager in providing a high quality HR service that meets customer needs and business objectives. Forming part of the Senior Leadership Team, this is a truly generalist HR role with a strategic, business wide focus.
Providing business wide strategic HR support, working closely with the Senior Leadership Team.
Support through talent management, leadership development, employee relations, health & well-being & engagement.
Create & drive the people plan.
Develop & sustain strong business relationships & become a trusted advisor to the leadership community.
Collaborate with the senior departmental leaders to understand the key business objectives in order to develop a comprehensive people strategy & training plan.
Implementing & directing in an autonomous fashion & work as part of a leadership team within a business partnering model.
Exhibit strong personal & team leadership, providing coaching to HR Business Partners ensuring consistently high standards of service delivery.
Co-ordinate the implementation of new people policies & initiatives, ensuring continual improvement.
Previous experience of Partnering in a professional services environment.
Experience of working in a change intense environment.
The ability to influence & coach.
Ambitious, innovative, articulate & collaborative.
Previous management / leadership experience.
Manufacturing / distribution background beneficial.
Monday to Friday 37.5 Hours.


Update 8 March: In just one week since the ticket sales launch, the Apple Zone (priced at RM580) is now SOLD OUT.
Lychee Zone (RM480), Mango Zone (RM380) and Orange Zone (RM280) are still available but selling fast.
Also, those looking for a memorable souvenir from this event, look for the organiser's booth near the front of house, where fans can exchange a Plastic Card Ticket as souvenir.
This is the moment that Wannables (or more specifically Slates?) have been waiting for. You must have heard of Ong Seong Wu's upcoming solo fan meeting "Eternity", so good news, we've got the ticketing updates on the Malaysian leg of the tour!


Frame size: The crib inside ought to snugly accommodate a standard crib mattress -- at least 51 3/4 inches long by 27 3/8 inches wide. Ensure that there is no space between the sides of the mattress and the crib walls. This poses a considerable danger, as infants can get trapped in that space.
When setting up a crib, choose a place away from windows, window blinds, and draperies. Infants can strangle on the cords, and older babies could possibly pull themselves up and drop through the window. If there's a cable in your infant screen, keep it at least three feet in the crib.
Versatility: a lot of cribs are intended to convert into a toddler bed, day bed, or even the headboard and footboard for a full size bed. Be sure the crib makeover is comparatively simple to do (check online reviews from parents) which you like the look of the new furniture.
Security limits: Crib manufacturers recommend discontinuing use (or turning into the product's next stage, for convertible cribs) when your child reaches a particular height, weight, or developmental stage. Height/weight limits are generally much lower on portable or mini-cribs. Read your product manual carefully and follow instructions.
Space savers: Parents short on space could possibly be interested in portable or mini-crib possibilities, each of which take up less space compared to full-size Automobiles. Some fold or collapse for storage; a few have wheels so they may be rolled around the home.
Bumpers: Crib bumpers -- cushioned cushioning that attaches to the interior railings of the crib -- are occasionally still included in crib bedding sets, but quite a few associations, including the AAP, now dissuade them as a SIDS hazard for babies.
Stability: Give the crib a good shake at the shop or once you put it together in your home. If it wobbles or rattles, it may have been placed together improperly.
Full-sized cribs, such as convertibles, range from $110 to $800.
Old cribs: Cribs made before 1974, when federal crib-safety standards went into effect, are somewhat more likely than newer versions to have safety problems. Secondhand cribs might also have splinters, lead paint, discontinued (and possibly dangerous) attributes, or slats that are too far apart. Articles on a crib shouldn't greater than 1/16 of an inch (unless they are over 16 inches high to encourage a canopy); differently, clothing can catch on them and injure or choke a baby. Even models manufactured as recently as 1991 could be unsafe, so if you're borrowing a crib or buying a used one, look out for these dangers in addition to for sharp edges, protruding metal, anything that can be broken off and choked on, peeling paint, along with cutouts along the railing which can trap your baby's neck or arm. Check the item recalls from the U.S. Consumer Product Safety Commission to ensure it has not been recalled.
Adjustable mattress heightthe majority of Automobiles allow you to change the height of the crib mattress by simply raising or lowering the mattress support. The time to lower the mattress is if your child begins sitting up. As children get more active and proceed to pulling up and standing, they can climb and fall from the crib.
Cribs with drop sides: The rule is simple -- don't use them. The movable railings known as drop sides were more common on cribs for a long time, but can pose a severe hazard for babies. If the fall side detaches or comes loose, a baby can become entrapped and strangle or suffocate from the distance between the drop side and the crib mattress. Their sale has been banned since 2011.
Many mothers like to have the crib set up several weeks before their due date. But do not worry if the baby arrives before your crib does; tots do fine in a bassinet, cradle, or sleeper for the first several weeks or perhaps months of their lives.
Most new cribs available on the market comply with the voluntary and mandatory safety standards. Read crib safety tips from the American Academy of Pediatrics (AAP). For starters, make sure yours is correctly assembled and structurally sound; the U.S. Consumer Product Safety Commission reports many cases in which cribs have come . If this occurs, a baby's head can get trapped in the spaces between the mattress and side rail.
Babies often spend more time at the crib than anyplace else, so while relaxation is important, security is vital. Since most children sleep in a crib till it is time to move into a true bed -- normally between the ages of 3 and 2 -- you'll want a hardy one.