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At Rosanna Primary we are always wanting to make sure that we listen to students and their opinions. Please think carefully about the survey and your responses. Each student is asked to complete the survey once.
The survey is anonymous although you may choose to add your name at the end.
Thanks for helping to make our school even better!


Syon Park, London, 4 September, 2013 – Spyker N.V. ("Spyker") today revealed the Spyker B6 Venator Spyder Concept to European attendees at Salon Privé in London.
Today, the SPYKER B6 VENATOR SPYDER Concept made its European debut at Salon Privé in London – just six months after the worldwide introduction of the Spyker B6 Venator Coupe Concept at the 83rd International Geneva Motor Show. Spyker – creator of meticulously hand built automobiles whose beauty is equaled only by their unrivaled craftsmanship – shared its newest unique alternative in the High Luxury Sports sector via a press briefing at Salon Privé, Europe's most exclusive automotive lifestyle event. The SPYKER B6 VENATOR SPYDER Concept is the eagerly awaited convertible execution of Spyker's compact, 2-door mid-engine sports car that will offer the discerning driver of the highest standards a new choice, delivering a rare combination of heritage, design, performance and exclusivity.
The SPYKER B6 VENATOR SPYDER Concept incorporates vintage cues of the brand's aviation past, highly detailed design and bespoke materials into a defiantly contemporary statement that could only come from Spyker. The company's Latin axiom "Nulla tenaci invia est via" – "For the tenacious no road is impassable" – is tastefully featured on the exterior. The name "Venator" is Latin for "Hunter," a nod back to Spyker's "Hunter" fighter aircraft of the early 20th century.
The trademark radiator grille's mesh is V-shaped, referencing Spyker models of the previous century. The 1903 Spyker logo harkens back to an era when Spyker built racers such as the amazing 60HP.
The headlights, equipped with LED light rails, give the car an aggressive stance.
The 3D LED rear lights are akin to the iris-type after burners of a jet engine from a modern fighter aircraft.
The brake light has been sculpted into the rear panel design to ensure smooth, flowing design lines.
Elegantly aggressive 19" TurbofanTM wheels are shown in mirror polish finish.
The brand's axiom "Nulla tenaci invia est via" – which translates to "For the tenacious no road is impassable" – is shown on the fairings.
Interior surroundings crafted from the finest materials are unusually open and airy for a sports car, akin to an aeroplane cockpit. The leather is sourced from the Litano range produced by the Royal Hulshof Dutch Tanneries in Lichtenvoorde, Netherlands. Hulshof uses only West European first choice bull hides and a special tanning process that produces the beautifully rich colour palette.
The red cover on the ignition switch evokes the spirit of starting an aeroplane, as does the dashboard that lights up as part of the 'pre-flight check.' The dashboard is shown with a turned aluminium fascia, similar to those seen on Spykers of the 1920s.
Pressing the engine start button brings to life a powerful V6 engine that delivers 375+ bhp.
The trademark exposed gear change mechanism was inspired by early aircraft controls from Spyker's aviation heritage.
The SPYKER B6 VENATOR SPYDER Concept will begin production in late 2014 for key markets including Europe, the Middle East, Asia Pacific and India, followed by the US in early 2015.
Victor R. Muller, Spyker's Chief Executive Officer and designer of the SPYKER B6 VENATOR SPYDER chose the lush Syon House Concept Lawn for the European premiere because, "Salon Privé is the European destination for those who treasure 'high luxury' and 'sports car' in equal measure – just like I do. I created the SPYKER B6 VENATOR SPYDER precisely for those who seek an alternative choice worthy of their driving passion." The European unveiling of the SPYKER B6 VENATOR SPYDER Concept follows last month's North American debut at the ultra-exclusive Quail Lodge event held during the Pebble Beach Concours d'Elegance week in Monterey, California.
The introduction of the SPYKER B6 VENATOR Concept at Geneva earlier this year marked the beginning of a new era for the brand, one that will include a significant increase in production led by a management team that has never been stronger. The SPYKER B6 VENATOR SPYDER Concept represents the next key step on that path, which is being spearheaded by Muller and his Chief Commercial Officer John Walton. Together, Muller and Walton are leading a passionate team that is supremely dedicated to creating unique and beautiful high-performance sports luxury cars.
The SPYKER B6 VENATOR Concept will provide the authentic Spyker experience – hand-crafted rarity that is as visceral to view as it is to drive – at a more accessible price point of approximately £110,000 for the coupe and £120,000 for the Spyder. "The SPYKER B6 VENATOR COUPE and SPYDER Concepts are the immediate future of Spyker," said Muller.


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Home / Seven more awards for 1001 Inventions Film
Seven more awards for 1001 Inventions Film
The film 1001 Inventions and the Library of Secrets, starring Oscar-winning actor Sir Ben Kingsley, has won an additional seven major industry awards at Los Angeles and Hamburg international film festivals.
On Wednesday 26th May at the US International Film Festival in Los Angeles, California, 1001 Inventions and the Library of Secrets won the following major awards:
► Gold Award for Best Education Film
► Gold Award for Original Music
► Gold Award for Specialty Production
► Gold Award for Best Writing
► Silver Award for Best Direction
On Wednesday 19th May at the World Media Festival in Hamburg, Germany, 1001 Inventions and the Library of Secrets picked up the most prestigious awards for education:
► Grand Winner for Best Education Film
► Gold Award for Best Education Film for Schools
The movie was sponsored by the Jameel Foundation and produced by the Foundation for Science Technology and Civilisation (FSTC) and The Edge Picture Company as an introductory film for the1001 Inventions exhibition that was launched at London's Science Museum in January 2010. Described by critics as London's most successful new exhibition, it received more than 100,000 visitors in its opening weeks. The exhibition is expected to stay in London until the end of June 2010 before starting a five year journey across the world.
Previous awards for the film 1001 Inventions and the Library of Secrets include:
► Grand Winner for Best Film (New York Film Festivals, 2010)
► Gold Winner for Best Film in Society and Social Issues (New York Film Festivals, 2010)
► Gold Winner for Best Film in Arts and Humanities (New York Film Festivals, 2010)
► Gold Winner for Best Direction (New York Film Festivals, 2010)
► Gold Winner for Best Writing (New York Film Festivals, 2010)
► Gold Winner for Best Film for an Event Venue (New York Film Festivals, 2010)
► Silver Winner for Best Narration and Performance (New York Film Festivals, 2010)
► Silver Winner for Best Cinematography (New York Film Festivals, 2010)
► Finalist Certificate for Best Original Music (New York Film Festivals, 2010)
► Gold Award for Best Education Film (IVCA, London 2010)
► Gold Award for Best Photography (IVCA, London 2010)
► Silver Award for Best Drama (IVCA, London 2010)
► Silver Award for Best Original Music (IVCA, London 2010)
Click here for Cast and Crew credits...
In the movie a group of young school children take a field trip to a dusty old library after their teacher challenges them to research the era known as the "Dark Ages" and find its relevance to present day civilisation, a chore they resent until they meet a mysterious librarian (Kingsley) who takes them on a journey to the past revealing a thousand years of scientific and cultural excellence that took place in the Muslim world between the 7th and 17th century.
The film was also released on the internet where it has proved a huge hit receiving over one million downloads in the first month of being aired.
Library of Secrets - Live
1001 Inventions film wins at Cannes
1001 Inventions wins Best Film in New York
1001 Inventions wins Best Education Film
The Prince of Wales Supports 1001 Inventions
HRH Prince Charles writes to support 1001 Inventions
Over 500,000 visit 1001 Inventions in Los Angeles
Record Numbers for Science Heritage Exhibition in California
National Geographic Releases New 1001 Inventions Book
Uncovering The Enduring Legacy of Muslim Civilization
1001 Inventions in LA extended for ten weeks
Until March 2012 due to popular demand
1001 Inventions Science and Poetry (Arabic)
ألف اختراع واختراع: علم مقفّى أراجيز وقصائد
Royal Launch for 1001 Inventions Abu Dhabi
Thousands visit new bilingual Arabic-English exhibition on opening day
'Arabick Roots' of science and medicine exhibition
Sheikha Mozah and FSTC at Royal launch in London
Hillary Clinton launches 1001 Inventions California
Los Angeles, California Science Center opening
Museum and Heritage Awards 2011
1001 Inventions wins "Best Touring Exhibition" Award
New York Teachers Praise 1001 Inventions
Hundreds of New York Teachers Attend 1001 Inventions Event

redpajama_set_name: RedPajamaCommonCrawl


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Israeli occupation forces arrest BDS coordinator Mahmoud Nawajaa during night raid
Occupied Ramallah/PNN/
At around 3:30 am, tens of Israeli occupation soldiers, accompanied by at least one dog, stormed the home of Mahmoud Nawajaa, the General Coordinator of the Palestinian BDS National Committee (BNC), near Ramallah, handcuffing, blindfolding and taking him away from his wife and three young children.
Mahmoud Nawajaa, 34 years old, was born in Yatta, south Hebron, and holds a master's degree in International Relations.
Before being led away, Nawajaa told his wife, "Take care of the kids."
Mahmoud's two older children, 9 and 7, shouted defiantly at the soldiers who invaded their home to arrest their father. The older son said, "Leave dad alone. Get out. Your dog doesn't scare me."
Under the UN's International Convention on the Suppression and Punishment of the Crime of Apartheid, the "Persecution of organizations and persons, by depriving them of fundamental rights and freedoms, because they oppose apartheid," is one of the inhumane acts committed to maintaining an apartheid system.
If you want to continue to read our work and help us produce more news and reports from Palestine, click here to donate to our fundraising campaign
The global, peaceful Boycott, Divestment, and Sanctions (BDS) movement was launched in 2005 by the overwhelming majority of Palestinian unions, mass movements, women's organizations, and campaigns. It calls for ending Israel's occupation and apartheid regime and for realizing the UN-stipulated rights of Palestinian refugees, forcibly displaced since 1948, to return to their homes.
The BNC, the largest coalition in Palestinian society, leads the BDS movement worldwide.
In a recent BNC statement welcoming the position of tens of UN human rights experts that have condemned Israel's formal annexation plans as a crystallization of "a 21st century apartheid," Mahmoud Nawajaa said:
For decades, international inaction and complicity have enabled Israel to violate the laws of belligerent occupation, advance its colonization of the occupied Palestinian territory and impose an apartheid regime that is enshrined in Israel's domestic law.
Faced with Israel's illegal annexation, its regime of apartheid, and its denial of our inalienable right to self-determination, it is high time for all States and international organizations to comply with their legal obligations by adopting effective countermeasures, including sanctions.
In recent years, the BDS movement has grown in prominence worldwide, its impact reaching parliaments across the globe, from South Africa to the US Congress, political parties, major trade unions, churches, campuses, racial justice movements, and renowned cultural and artistic figures.
Israel's far-right government has been fighting the BDS movement for years, recognizing its strategic impact and allocating massive financial and human resources in its "war" against it.
BDS movement co-founder, Omar Barghouti, called for effective international pressure to secure Mahmoud Nawajaa's immediate release:
Mahmoud is a leading Palestinian human rights defender who is highly regarded in Palestine and around the world for his tireless and passionate advocacy of Palestinian rights. As a young civil society leader, Mahmoud is a role model for Palestinians, young and old, and inspiration to advocates of Palestinian rights everywhere.
Israel's regime of military occupation, settler-colonialism and apartheid is desperately trying to terrorize Palestinian BDS activists and their families, after having failed to slow down the growth of the movement. We call on all BDS activists everywhere to further strengthen BDS campaigning to hold Israel accountable.
As Israel becomes a role model for the racist, authoritarian far right, BDS is becoming a key component of the global progressive wave that fights for Indigenous, racial, economic, social, gender, and climate justice.
It is high time for States not just to defend Palestinian and other human rights defenders, like Mahmoud, but also to impose lawfully, targeted sanctions to end Israel's war crimes, crimes against humanity, and entire regime of oppression of the Indigenous Palestinians. Only that can help us achieve freedom, justice, and equality.
The Palestinian BDS National Committee (BNC) is the largest coalition in Palestinian civil society. It leads and supports the global Boycott, Divestment, and Sanctions movement for Palestinian rights.


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Feature/TV & Film
A brief history of Time Team
Everybody knows the story of how Time Team started: one ex-teacher turned TV producer, a couple of quirky archaeologists, and a fortuitous meeting in the Mediterranean with one of Britain's best-loved actors combined to create the most successful archaeology programme ever on British television.
My how you've changed! The original Time Team members, from left: Tony Robinson, Victor Ambrus, Carenza Lewis, the late and much-missed Robin Bush, Phil Harding and Mick Aston.
Tim Taylor is excited. He is just back from a day viewing sites somewhere in the Mediterranean (he won't give an exact location), where he has seen Neolithic shelters containing the bones of pygmy hippopotami, Roman tombs eroding out of an exposed cliff, and an early Christian area 'carpeted' by a nearly untouched mosaic. He is clearly blown away by the archaeology, and most of all by the potential opportunity to film there and share what he has seen with the viewing public. As we chat briefly about the show, it becomes very clear that Tim is entirely focused on the future; far from being over, far from being a tired format, far from having reached the end of the road, Time Team has plenty of new action in store. And they have only got three days…
Tim Taylor, creator and Series Producer of Time Team, with Mick Aston, who inspired the original idea.
On the other end of the phone line, behind my desk, I cannot help but hate him. Of course, it is all in a day's work for the creator and Series Producer of Time Team, and he has earned his perks after 18-plus years with the show. But I am jealous of the archaeology he is visiting, and most of all, I am curious about what is coming next. Tim's priorities are clear: incorporating new technologies; engaging a new group of science-focused archaeologists; reaching out to new audiences and giving them even greater access to the digs; moving into new media platforms; and, finally, to find a way to interact with the 'next generation' of viewers.
But what is so important about Time Team, after all? What is really left to say, after all the shows, books, DVDs, interviews and other media paraphernalia? One possible answer is clear: where would archaeology be, in the United Kingdom, without Time Team? Obviously, academic, research, and commercial archaeology have always been very successful; but the contribution the show has made to public awareness is huge. What does this equate to, in human terms? How many people have signed up for a university course, entered the profession, booked a digging holiday (great for families!), joined a local society, or otherwise had their lives enriched by archaeology as a result of having seen Time Team? Whether you love it or hate it, you cannot ignore the impact of the show.
This takes the cake: Tony Robinson celebrates the 200th episode.
Time Team's turf
Everybody knows the story of how Time Team started: one ex-teacher turned TV producer, a couple of quirky archaeologists, and a fortuitous meeting in the Mediterranean with one of Britain's best-loved actors combined to create the most successful archaeology programme ever on British television. Nearly 20 years later, the 'little show that could', has battled back its critics and is still pulling in the numbers, averaging over two million viewers per episode.
Long before Big Brother, Time Team was Britain's original 'reality' television show. One of the most visible factors contributing to the rise in popularity of archaeology in Britain, the start of the programme in the early 1990's coincided with the point in time when the amateur archaeology tradition in Britain faced a stiff challenge from the newly-born, strict guidelines of PPG 16, making access to archaeological sites more difficult for non-professional archaeologists and the interested public. Additionally, the academic format of archaeological documentaries, such as the BBC's Chronicle, was losing relevance with viewers; coupled with changing television agendas, fewer programmes in the genre were being commissioned. Time Team switched it up: by inviting viewers to stand trench-side with the archaeologists and participate in the thrill of discovery, the show revitalised a subject that had grown stale.
Tony Robinson in season one, with some essential reading.
It is worth mentioning, however, that the show has had many strong critics over the years, mostly stemming from dissatisfaction with the format. 'Real' archaeology does not happen in just three days, and thus the programme was accused of a false portrayal of processes and realistic outcomes, deliberately misleading viewers as to the seriousness and necessary resources that doing archaeology actually requires. This may have been a valid assessment in the very early years when the format was finding its balance, but the show's producers have met the challenge through hiring qualified staff (between them, Time Team archaeologists have over 150 years of digging experience, at least ten PhD's and have worked all over the globe on some of the world's most important sites), investing in specialists, reaching out to experts in each locale, and providing publicly-accessible post-excavation reports for all their sites.
Francis Pryor and Raksha Dave at Tottisford, Devon. Evidence from this trench confirmed the existence of a ceremonial path to a nearby stone circle. Photo: Steve Shearns.
In any case, the show does not seek to replicate research projects, which obviously take several years to complete and several more years to publish. Time Team is basically a unit that excavates evaluation trenches based on geophysical survey, in essentially the same way, and in the same time frame, as a professional unit. It will be interesting to see whether, in the fullness of time, any of the sites Time Team has excavated are revisited with a full research design. With a solid, basic interpretation already completed, this would seem like a fantastic, and obvious, opportunity. If it has not happened yet, one wonders – why not?
Salisbury Cathedral, September 2008. Interested visitors to the site stand, quite literally, trench-side while the archaeologists work and film the show. It was the translation of the excitement of this experience which led to the show's instant popularity. Photo: Mick Aston.
The Time Team machine
But it is not just a love-in for no reason: archaeology has benefited and received significant results out of the show. Time Team has completed over 200 excavations (not including the documentaries and live programmes), around 50 of which were Scheduled Ancient Monuments, and a number were World Heritage Sites. Many of these sites would not have been excavated without the array of skills and resources that Time Team has to offer. Wessex Archaeology staff complete the post-excavation analysis on site, and then each report is published online (www.wessexarch.co.uk/timeteam/reports), and the geophysics archive contains information on some of the UK's most important and restricted sites.
But it is not just about the time – it is also about the money. The Time Team machine is a massive financial investment in archaeology. Production expenses for each episode are high, partly because of the costs of archaeological research, excavation, expertise, and post-excavation services (post-ex alone can be up to £9,000 of each episode's budget). Together, this adds up to over £300,000 investment in archaeology every year – over £4m in total throughout the programme's existence – which does not come from the public purse. Time Team currently stands as the largest private funding body of archaeology in Britain.
The historical re-enactments on Time Team (called 'cameos') are an audience favourite, and a good laugh for the cast members as well. Here, Matt Williams spent a day eating, drinking and dressing like an Irish navvy for the Risehill episode, and Raksha Dave had the rather surreal experience of attending her own cremation in West Langton, near Market Harborough.
This investment is not immune to the winds of financial change, however, and the economic downturn has affected both the television industry and the show. In 2010, Channel 4 rearranged the viewing schedule, which meant the Time Team season was split, with one episode still remaining to be screened later in the year – causing some concern over the future of the show. Additionally, the 2010 shooting schedule dropped from 13 sites to 10, with the three digs replaced by an in-depth look at an existing project (Bamburgh Castle) and two 'highlights' programmes, a formula which will be carried forward into the 2011 shooting season.
The need to adjust financially as well as to breathe new life into the show is also evident in other big changes at Time Team. The 200th episode celebration party coincided with the relocation of the production offices from London to Cardiff, and the welcome news that Channel 4 has commissioned Time Team for a further two years (including 2011).
Breaking new ground
Other changes and growth are on the way for Time Team, most immediately in the form of international versions of the show. As it stands, Time Team is broadcast in 34 countries and enjoys huge popularity in certain areas, most notably Australia. This translates into a worldwide audience of millions; and, according to Tim Taylor, interest levels are on the rise in terms of other countries wanting to do their own programmes.
Time Team has benefitted enormously from the support of our colleagues – in universities, local government, and throughout the heritage sector. Many of them have backed us in the face of more conservative opinions, and these great relationships are essential to our success. We have developed a new protocol with English Heritage, which will prove to be a great basis for working together in the future; and we now have our own dedicated EH inspector to make the relationship as productive as possible.
Mick Aston
For example, in 2009, five episodes of Time Team America were produced in partnership with the Public Broadcasting Service. The show received good reviews, and became the most-viewed programme on the PBS website – though the jury is still out on whether another season will be made. Additionally, a series of eight programmes was produced for Catalonian television in Spain, called Sotto Terra, which garnered the largest audiences ever achieved for the network. In light of all this, Tim Taylor's jaunty days out in the Med suddenly take on a whole new meaning; but, when questioned about whether all this potential international glamour will push the British show into the background, Taylor responds: 'The British show is the key proving ground for all the new stuff. We are able to engage with the absolute top experts on our home ground, and that quality is what drives the show forward and makes it important. Everything else grows from that.'
Tony Robinson films on site at Risehill in the Yorkshire Dales.
For now, Time Team is focussing on the future: on advancing technologies, including radar, LIDAR, and microdetection; on new experts with a science-based approach; on greater public interaction with the programme through social media, behind-the-scenes blogs, and a Time Team Academy (for more information on these, check out Time Team's official Facebook); and on possible exotic foreign locales. Certainly, the thrill of discovery is still fresh for Tim Taylor, who counts among the most exciting moments in his life that moment in Time Team, when '…an excavation reveals a truth that nothing else could'. With such enthusiasm and commitment at its core, Time Team will remain as dynamic as ever.
We each have our own story to tell over the three days. Probably the most interesting thing for me is to see how the programme ends up on-screen. And I do watch the show – mainly because I want to see what everybody else has been up to! I might be in a trench digging a feature or looking at stratigraphy, and meanwhile Helen is in the incident room doing a riveting bit of documentary research. It is so full-on over three days that sometimes you don't know what is going on in the next trench. There are so many different stories to tell about each site.
Phil Harding
The Top 10 Time Team episodes
10. Alfred the Great's Abbey, Athelney, Somerset, Series 1, 1994
The first Time Team programme did not involve any digging, but did see the team united for the first time. The growing relationships and Tony's story-telling ability led to confidence that field archaeology could make entertaining television.
9. Village of the Templars, Temple Combe, Somerset, Series 3, 1996
Problems with vital research material that had not been provided, resulted in Mick being visibly angry with members of the team. A small but defining moment in the Time Team's history, this programme showed that the presenters were real people, and that the format was not faked.
8. The Spitfire, Wierre Effory, France, Series 7, 2000
This sombre dig was emotional for everyone who worked on the programme. Excavating the evidence of a tragic crash connected with a pivotal moment in British history and became 'real' when the personal effects and some remains of the pilot were discovered. These were buried with due ceremony. Wierre Effroy showed clearly how archaeology resonates with people today.
7. Garden Secrets, Raunds, Norfolk, Series 10, 2003
Sites suggested by the public have long been a feature of Time Team, as have digs in back gardens. Raunds, in Norfolk, was a perfect example of both – although the family concerned probably did not expect a team of archaeologists to move their rockery and uncover an Anglo-Saxon cemetery! What made the site special was the reaction of the family, who were extremely moved by the presence of well-preserved ancestors in their back garden.
6. A Saintly Site, Tobermory, Isle of Mull, Series 17, 2010
Tobermory was a classic site suggestion from the public, which turned out to be more than anyone expected. Going in, the team had been concerned that the visible structures were cattle enclosures. Nothing could have been further from the truth – a small chapel became a hermitage, which grew into a previously undiscovered monastic complex. But it was the discovery of the burial of a saint, below the chapel altar, that made the Isle of Mull such an incredibly special dig.
5. The Celtic Spring, Llygadwy, Wales, Series 8, 2001
LLagadwy is a firm fan favourite, because of the controversy involved. The site seemed too good to be true, and, as it transpired, it was. A poor attempt to fake a multi-period site was rumbled by the team, after a head-scratching couple of days. Carenza's anger, when she discovered a genuine Bronze Age sword had been deliberately reburied as part of the con, was a firm example of the team's principles. Teamwork resolved the mystery, and produced a compelling programme.
4. Mosaics, Mosaics, Mosaics, Dinnington, Somerset, Series 10, 2003
The discovery of tesserae that had been spread across a farmer's field at Dinnington seemed to suggest the existence of a fairly straightforward villa site. On excavation, however, Dinnington proved anything but. As well as being one of the largest villas recorded in Britain, the site revealed some of the most beautiful and well-preserved mosaics ever seen on the programme. The moment when a wet sponge was wiped across the surface of a mosaic to reveal the bright colours not seen for 15 centuries was truly special, and inspired the programme's return to Dinnington for 'The Big Roman Dig'.
3. Seven Buckets and a Buckle, Braemore, Hampshire, Series 9, 2002
Braemore originated as a live investigation of an Anglo-Saxon cemetery. Finding a large number of double burials – some of which were of an unusual, even unique type – was exciting enough; but the find of the series was an extraordinary set of Anglo-Saxon buckets that had been elaborately decorated and then buried with a tribal leader.
2. No Stone Unturned, Warburton, Series 14, 2007
This is the surely inevitable programme where we did not find anything! We opened more trenches than ever before and still did not manage to locate a single feature or find. At the end of Day 2, Tony commented that he hoped we would not find anything, as it would spoil the programme! Looking back, it is amazing that it took 14 series for this to finally happen.
1. Turkdean LIVE, Gloucestershire, 1997
Picking a top Time Team moment is pretty much impossible, but something has to be at number 1! There were plenty of sceptics when the production team first suggested a live broadcast. Live archaeology? It could not possibly work. Turkdean proved that live archaeology could be done, and that an interested audience existed. The programme laid the foundation for future live broadcasts, which would go on to include Buckingham Palace.
Many of these episodes can be viewed at: www.channel4.com/programmes/time-team.
Official Facebook page: www.facebook.com/pages/Time-Team/106806216059667.
All photos: Time Team unless otherwise noted.
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Facing the Palmyrenes: exploring life and death in a desert city
Ancient Greeks: Science and Wisdom
The Wall 'warrior' in context: exploring African identities in Roman Britain
Reconnecting relationships: uncovering genealogy in archaeology
From Stonehenge to Santa Claus: the archaeology of Christmas
Operation Bagration
What can an extraordinary group of sculptures commemorating the dead reveal about ancient life in Palmyra? Thousands of ancient inhabitants' portraits once graced lavish…
For Ancient Greeks, the natural world was a source of wonder and inspiration. Philosophers pondered sundry subjects, seeking the secrets of the night sky…
Connecting the Inca Empire: the art of maintaining Central Andean suspension bridges
Suspension bridges were crucial for the success of the Inca road network, but these remarkable structures needed to be regularly rebuilt. Can examining surviving…
Examining ancient DNA is revolutionising our knowledge of the past. Being able to detect family relationships is revealing ever more about connections between people…
Prehistoric people present
New research is shedding light on the presence of early people around the world.…
Liquid History: excavating London's great river
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text:
Safety and crew competence is at the core of our service offering here at V.Group. From risk management and behavioural safety to firefighting equipment and maintenance, our global pool of circa 44,000 seafarers has access to extensive and ongoing training, ensuring crew are always equipped to deal with any...
SeaTec was the main sponsor of MOSES2019, the second biannual conference on modelling and optimisation of ship energy systems, held at the University of Strathclyde in Glasgow, earlier this month. As the shipping industry's leading seminar of its kind, MOSES2019 aimed to address challenges and stimulate discussion among scientists...
The Embark project has reached a major milestone by rolling out the V.Crew Connect app to more than 10,000 registered users. The app gives seafarers the opportunity to perform and complete mobilisation tasks from wherever they are in the world. It aims to give the seafarer more time at...
Marlins, V.Group's world-leading brand of maritime English language testing, recruitment and elearning solutions for seafarers, has launched its first ever maritime language elearning course for marine engineer officers and crew. The new course is designed to improve communication at sea by helping marine engineers to develop their English language...
Find all our latest news articles and press releases relating to V.Group and all our brands. For further media and press enquiries, please contact our communications department on: press@vgrouplimited.com.


Stanwood 3 bedroom, 2.5 bath home on large lot. Very open floor plan w/ Family rm & Dining rm off large open kitchen w/breakfast bar. Family rm w/pellet stove & the entire first floor has new laminate flooring w/tile in 1/2 bath rm. Lots of windows in the Formal living room. Master suite w/ partial sound view,2 closets, & .75 bath. Good size bedrms & full bath upstairs. Big deck for entertaining. Plenty of parking.2 car garage & 2 out buildings, 1off deck. Beautiful setting & great location too!


Grand champion Erik Agard, of Gaithersburg, Md., reacts after being the first to complete the last puzzle during the finals of the 41st Annual American Crossword Puzzle Tournament at Stamford Marriott last March.
STAMFORD — The largest yet gathering of crossword enthusiasts — both those who fill them out and those who construct them — will Saturday descend upon the city, again turning the downtown Stamford Marriott into a puzzler's paradise.
The 42nd annual American Crossword Puzzle Tournament — which calls this city home and has been played here but for an eight-year foray in Brooklyn — will not only have the most competitors yet, more than 720, but the most prize money on the line and, for the first time, a way for visitors to get in on the action through HQ Trivia, a phone app that mimics a TV game show.
Although the HQ Trivia event doesn't count toward the traditional competition, it gives visitors a chance to get in on the mind games and win some money, said Will Shortz, The New York Times crossword puzzle editor who founded the event in 1978 and will again lead the show.
Shortz said the winner of the Saturday evening trivia game will get $50. And yes, he's glad to back in the Stamford Marriott.
"It just feels like home," he said.
Though the $50 is a nice haul, it's nothing to compared the $5,000 that the grand prize winner will take home after dueling it out in sudden-death rounds Sunday.
All eyes then will likely be on last year's champion, Erik Agard, who beat 2017's champ and six-time winner Dan Feyer last year with a fewer than five-minute finish.
Agard went on to make internet waves as a "Jeopardy!" champion, one who answered a Final "Jeopardy!" question with an internet meme.
Prompted to answer "In a hint of the future, in 1973 Marjorie Post gave it to the U.S. Govt. as a warm-weather presidential retreat, but it was returned," as read by host Alex Trebek last October, the stumped puzzler answered with a meme.
"What is you doing, baby?" Agard wrote.
Agard went on to win that day's game and hauled in more than $66,000 over a three-day winning streak, according to Bethesda Magazine.
Another notable competitor lacks humanity, but could make a strong showing.
Dr. Fill, a computer program created by crossword constructor Matt Ginsberg was on a slow march toward the top 10 finishers — finishing No. 11 in 2017 — until last year the program came in 78th.
For more information on the American Crossword Puzzle Tournament and scheduling, visit the event's website.


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Alf Ragnar Sten Henrikson (* 9. Juli 1905 in Huskvarna; † 9. Mai 1995 in Jönköpings län) war ein schwedischer Schriftsteller, Poet, Zeitungsjournalist und Übersetzer.

Leben
Alf Henrikson wurde in Huskvarna geboren. Im Jahr 1931 heiratete er die zwei Jahre jüngere Ebba Alfrida Kristina Weck. Mit dieser bekam er 1933 seinen Sohn Kjell Alfred Stig. Wenig später zog das Paar nach Södra Ängby in die Villa Hasselbergsvägen 14. Dort wurde 1938 der zweite Sohn Lars Arvid geboren. Alf Henrikson lebte in der Villa bis zu seinem Tode im Jahr 1995. Er wurde auf dem Huskvarna kyrkogård begraben.

Karriere
1927 veröffentlichte Henrikson mit Jazzrytm seinen ersten Gedichtband.

Im Handel sind seine historischen Essaysammlungen und Causerien nach wie vor besonders beliebt. Hexikon, ein Lexikon über Mythen und Legenden, wird seit 1981 immer wieder in neuen Überarbeitungen aufgelegt. In den 1940er und 1950er Jahren arbeitete Henrikson oft mit den Illustratoren Birger Lundquist und Björn Berg zusammen; beide waren Kollegen von Henrikson bei der Tageszeitung Dagens Nyheter. Viele ihrer gemeinsamen Bücher wurden aus Artikeln oder Gedichten zusammengestellt, die zunächst in der Zeitung erschienen waren.

1949 schrieb Henrikson den Jugendroman Vägen genom A (Reise durchs A), der 137 Zeichnungen von Birger Lundquist enthält und 1951 in der deutschen Übersetzung von Elly Petersen und Carola von Crailsheim erschien. Auf dem Alf Henriksonplatsen in Huskvarna wurde 1998 eine Skulptur von Alf Henrikson errichtet, die den Titel des Romans trägt. Die Skulptur besteht aus zwei Teilen. Ein Teil zeigt Alf Henrikson und der andere ein großes A. Die Skulptur wurde von Thomas Qvarsebo angefertigt.

Arne Ljusberg komponierte Musik zu einigen von Henriksons Gedichten. Die Lieder erschienen auf dem Album Arne Ljusberg föredrar Alf Henrikson.

Henrikson schrieb unter anderem Artikel und Poesie für die Zeitungen Dagens Nyheter, Vecko-Journalen und Månadsjournalen. Neben vielen Gedichten hat Henrikson Liedtexte und Opernlibretto übersetzt, unter anderem Giuseppe Verdis Falstaff für Värmlands Musiktheater (1993), sowie Jacques Offenbachs Hoffmanns Erzählungen (1990) und Wolfgang Amadeus Mozarts Die Zauberflöte (1968) für die Königliche Oper. Diese Übersetzung wurde im Film Die Zauberflöte von Ingmar Bergman sowie am Stora Teatern in Göteborg 1980 verwendet. Henrikson übersetzte Texte aus dem Englischen, Chinesischen und Deutschen ins Schwedische, darunter Werke von James Fenimore Cooper, Arthur Koestler, Charles Dickens und Emanuel Schikaneder.

Im Alter von beinah 80 Jahren schrieb Henrikson mit A–Ö. En uppslagsbok ("A bis Ö. Ein Nachschlagewerk") eine eigene Enzyklopädie mit fast 1800 Seiten.

Werke in deutscher Sprache
 Alf Henrikson (1951): Reise durchs A (schwedisch: Vägen genom A). Freiburg / Breisgau. Verlagsanstalt Hermann Klemm.
 Alf Henrikson: Das Pfefferkuchenhaus In: Holger Wolandt (Hg., 2007): Schwedische Appetithappen. Die schönsten kulinarischen Geschichten. München / Zürich. Piper. S. 163–169

Auszeichnungen (Auswahl)
 1956 – Boklotteriets stipendiater
 1957 – Boklotteriets stipendiater
 1964 – Litteraturfrämjandets stora pris
 1977 – Litteris et Artibus
 1977 – Läkerols kulturpris
 1979 – Övralidspriset
 1981 – Verdienstorden der Italienischen Republik
 1982 – Silbermedaille der Vitterhetsakademien
 1985 – Frank Heller-prise
 1987 – Professors namn
 1991 – Natur & Kulturs kulturpris
 1994 – Årets smålänning

Sonstiges
 Der 1980 ins Leben gerufene Alf Henrikson-priset zeichnet Menschen aus, die mit Hilfe von fundierten Fachkenntnissen zu einem guten literarischen Werk beigetragen haben.
 Der Zug Y32 1409, der durch Småland und Halland fährt, wurde nach Alf Henrikson benannt.
 Die Alf Henrikson-sällskapet (Alf Henrikson Gesellschaft) wurde ein Jahr nach Henriksons Tod gegründet. Ziel der Gesellschaft ist es Interesse und das Verständnis an Henriksons Arbeit zu erweitern und zu vertiefen, Seminare und Vorträge zu organisieren, die Forschung anzuregen und zur Veröffentlichung von bisher unveröffentlichtem Material sowie zur Neuauflage älterer Bücher beizutragen.

Einzelnachweise

Weblinks

 Alf Henrikson-sällskapet

Übersetzer ins Schwedische
Übersetzer aus dem Englischen
Übersetzer aus dem Deutschen
Übersetzer aus dem Chinesischen
Autor
Literatur (Schwedisch)
Literatur (Schweden)
Kinder- und Jugendliteratur
Lyrik
Essay
Roman, Epik
Träger der Litteris et Artibus
Schriftsteller (Stockholm)
Schwede
Geboren 1905
Gestorben 1995
Mann

redpajama_set_name: RedPajamaWikipedia


text:
Inspiration or Plagiarism?: 'How Many More Times'
The Led Zeppelin song that displays the most different influences has to be 'How Many More Times', the concluding track of their 1969 self-titled debut album. Jimmy Page never denied those influences, admitting the song "was made up of little pieces I developed when I was with the Yardbirds. ... After the Yardbirds fell apart and it came time to create Zeppelin, I had all those ideas as a textbook to work from" (Tolinski, page 82, 50). Robert Plant never hid it, either, saying, "it's got all those Sixties bits and pieces" (Wall, page 50). This blog will observe each "little piece" to illustrate how 'How Many More Times' came together.
The most obvious influence is Howlin' Wolf's 'How Many More Years' (1951), which shares a nearly-identical title and modest lyrical similarities.
Howlin' Wolf: 'How Many More Years' (0:26-0:51)
How many more years have I got to let you dog me around?
I'd as soon rather be dead, sleeping six feet in the ground
Led Zeppelin: 'How Many More Times' (0:40-1:18, 7:11-7:47)
How many more times, treat me the way you wanna do
When I give you all my love, please, please be true
How many more times, barrel house all night long
How many more times, barrel house all night long
Well I've got to get to you, baby, oh, please come home
Another lyrical influence is Albert King's 'The Hunter':
Albert King: 'The Hunter' (0:14-0:56)
They call me the hunter, that's my name
A pretty woman like you, is my only game
I bought me a love gun, just the other day
And I aim to aim it your way
Ain't no use to hide, ain't no use to run
'Cause I've got you in the sights of my love gun
Led Zeppelin: 'How Many More Times' (6:17-7:05)
Well, they call me the hunter, that's my name
Call me the hunter, that's how I got my fame
Ain't no need to hide, ain't no need to run
'Cause I've got you in the sights of my gun
Zeppelin biographer Stephen Davis claims it also borrows riffs from King's song (Davis, page 59), but I don't hear any. Author Keith Shadwick also claims the "sledgehammer walking riff" was "borrowed from Albert King's 'The Hunter'" (Shadwick, page 59). But since neither Davis nor Shadwick provides any evidence to support or validate the claim, I'm confident dismissing it as nonsense.
Less obvious, but still significant, Plant also borrowed from 'Kisses Sweeter Than Wine' (1957) by Jimmie Frederick Rodgers (not to be confused with country singer Jimmie Charles Rodgers).
Jimmie F. Rodgers: 'Kisses Sweeter Than Wine' (0:01-0:25, 1:20-1:42)
Well, when I was a young man never been kissed
I got to thinkin' it over how much I had missed
So I got me a girl and I kissed her and then, and then
Oh, lordy, well I kissed her again
Because she had kisses sweeter than wine
Well our children they numbered just about four
And they all had a sweetheart a-knockin' on the door
They all got married and they wouldn't hesitate
I was, whoops oh lord, the grandfather of eight
I was a young man, I couldn't resist
Started thinkin' it over, just what I had missed
Got me a girl and I kissed her and then and then
Whoops, oh lord, well I did it again
Now I've got ten children of my own
I got another child on the way that makes eleven
Once again, there appears to be some confusion whether or not Rodgers' influence was also musical. Another Zep biographer, Mick Wall, claims, "there was even a lick of two appropriated from Jimmy [sic] Rodgers' 'Kisses Sweeter Than Wine'" (Wall, page 55). But here again, I do not hear any significant musical similarities, and since Wall provides no evidence to support his statement, I cannot agree with the conclusion.
So if neither King or Rodgers served as musical inspiration for 'How Many More Years', then who did?
Five years before Zeppelin released 'How Many More Times', The T-Bones released the same song. Wall claims Zep's version has "more than a passing nod to a mid-Sixties version of the same tune by Gary Farr and the T-Bones (Wall, page 55), but to my ears "a passing nod" is generous.
Rather, the most significant thing to notice here is that The T-Bones changed the original title of 'How Many More Years' to 'How Many More Times' - an alteration that Zeppelin would retain.
Much more significant are things Zeppelin does differently from The T-Bones. The cover opens with a repeated two-measure riff absent from The T-Bones' recording...
... but present in a 1965 Yardbirds cover of Howlin' Wolf's 'Smokestack Lightning'.
Though The Yardbirds never released a studio recording of 'Smokestack Lightning', at least three live recordings have been released:
10 or 20 March 1964, 5:35, heard on Five Live Yardbirds (track 3) and Having a Rave Up (track 7)
7 August 1964, 5:53, heard on Glimpses (disc 1, track 12)
16 or 18 November 1965, 4:57, heard on Glimpses (disc 2, track 7)
Of those three, only the last employs the riff to be recycled on 'How Many More Years'.
Eric Clapton joined The Yardbirds in October 1963, and quit in March 1965. Presumably that means the first two recordings - the ones WITHOUT the 'How Many More Years' riff - feature him on guitar.
Jeff Beck joined in March 1965, and quit in the fall of 1966. Presumably that third recording - the one WITH the riff - features him on guitar. So Beck might have written it, or perhaps he, in turn, borrowed it from someone else. Either way, the 'How Many More Years' riff was NOT invented by Jimmy Page.
More confusion is found regarding Page's solo on 'How Many More Times'. Wall claims Page's solo is "a slowed-to-a-crawl take on Jeff Beck's solo from the Yardbirds' 'Shapes of Things' (Wall, page 55), and Davis insists "the guitar solo is from 'Shapes of Things' (Davis, page 59). But is that true? And if so, how?
Here's Beck's solo from 'Shapes' (starting at 1:34):
And here's the beginning of Page's solo from 'More Times' (starting at 2:11):
To my ears, the only similarity is the I-bVII harmonic ostinato (|G|F| in 'Shapes'; |E| |D| | in 'More Times'). I hear no significant similarities between the actual solos.
There is one more musical similarity: The bolero rhythm.
French composer Maurice Ravel (1875-1937) is most famous for his 1928 composition 'Bolero', which features this rhythmic ostinato throughout:
After departing The Yardbirds in 1966, Jeff Beck launched a solo career. His 1968 debut solo album, Truth, includes the track 'Beck's Bolero', which incorporates a similar rhythmic ostinato.
One year later, Jimmy Page (who produced and performed on 'Beck's Bolero') and John Paul Jones (who also performed on 'Beck's Bolero') would incorporate an identical rhythmic ostinato into 'How Many More Years'.
Davis, Stephen. 1995. Hammer of the Gods: Led Zeppelin Unauthorized. Pan Books, an imprint of Macmillan General Books; London, England.
Shadwick, Keith. 2005. Led Zeppelin: The Story of a Band and their Music 1968-1980. Backbeat Books; London, England.
Tolinski, Brad. 2012. Light & Shade: Conversations with Jimmy Page. Crown Publishers; New York, NY.
Wall, Mick. 2008. When Giants Walked the Eart: A Biography of Led Zeppelin. St. Martin's Griffin; New York, NY.
Rhythmic Displacement in Led Zeppelin, Part 1: "Dazed and Confused"
It's no secret that Led Zeppelin loves playing with rhythm. And one of their favorite stunts is establishing a rhythmic expectation early in a song, then thwarting that expectation later through a compositional technique known as rhythmic displacement. I have several examples in mind, and I'll dedicate one blog for each.
To start, let's look at "Dazed and Confused", the fourth track of Zeppelin's self-titled debut album from 1968. The first thing heard on the track is John Paul Jones' bass playing two measures, each consisting of four chromatically descending tones, and each with an anacrusis - what I'll call "The Dazed Motive" due to its rather wobbly feel.
That Dazed motive is heard a total of 16 times. The first eight instances (heard consecutively from 0:00-1:13) all start on beat one, as illustrated above. But the last eight instances (heard four times from 1:21-1:57, and another four times from 5:11-5:45) all displace the motive one full beat – they all start on beat two, as illustrated below.
But it's not just Jones' bass that is displaced – it's Robert Plant's vocals, as well.
At first, Plant places the syllable "fused" from "confused" on the downbeat (0:18), delineating the official start of the first verse.
And he does the same phrasing (but with different lyrics) with the second verse (0:55).
But with verses three and four, his entry is delayed one beat. Since verse 4 begins with the same lyrics as verse 1, it makes for an ideal apples-to-apples comparison.
Additionally, Jimmy Page's guitar is also displaced one beat. I won't provide examples for that, however, since it's identical to Jones' bass.
In fact, the only instrument not displaced is John Bonham's drums. And it's the percussion that confirms that a displacement has indeed happened. Because obviously if the drums were displaced one beat, just like every other instrument, then this would be a case of changing meters – not displacement.
Since changing meters is another favorite rhythmic technique of Zeppelin, it's slightly surprising that we don't find more meter changes in "Dazed and Confused". Their rhythmic instability could be put to good use in a song with this title. And yet, there are just two instances of measure(s) in a meter other than 12/8.
The more obvious instance comes during the up-tempo middle section, from 3:30-5:02, where a metric modulation of eighth=quarter yields a fast 4/4 meter.
The less obvious but more significant instances comes at the end of the second verse (1:09), which is abbreviated by one beat from a 12/8 bar (as it was in verse 1) to a 9/8.
After this single measure of 9/8, the pitched instruments are consistently displaced while the drums are not. So this 9/8 measure might be thought of as the catalyst for the subsequent rhythmic displacement. And it's for that reason that this 9/8 measure is my personal favorite measure in the entire song :-)
The Structure of "Good Times Bad Times"
I started the analytical (as opposed to the introductory) part of the blog yesterday with a structural analysis of "Whole Lotta Love". In it, I implied that early Zeppelin songs illustrate how they grew out of their predecessors like The Beatles.
That is true to a certain extent, but that's not entirely true. I oversimplified a bit. Of course there are exceptions. And as evidence to the contrary, I present a structural analysis of "Good Times Bad Times", the opening number of Zeppelin's 1968 self-titled debut album, which has a unique (to my knowledge, anyway) formal design. Get a load of this oddity!:
Okay, so, the first thing to notice is that there are two distinct verses, here labeled Verse A and Verse B. While The Beatles occasionally employed multiple different verses within the same song (check out "Glass Onion" or "Lovely Rita"), it's rare. I don't know other bands' oeuvres well enough to cite a non-Beatles example off the top of my head, but I'm sure there are examples to be found. Some scholars have debated with me over the justification for using multiple verses instead of other labels. "Rita", for example, is often analyzed as using verses and bridges instead of multiple verses. I certainly see the point, but I maintain these are all verses for reason I won't get into here. In any case, "Good Times" definitely uses multiple verses because each section in question is paired with a chorus – exactly what would be expected of verses.
The second thing that stands out is that the chorus also has two different iterations. The distinction here is harmonic: The first and third choruses are in A major, while the second is in B major. This middle chorus grows organically out of what was heard in the first chorus as it adds an E chord (IV) on the third beats of the second and fourth measures, circled red in the example below. This addition results in a double plagal cadence (A-E-B, bVII-IV-I, underlined below) from the second to third measures.
This ties in to the harmony of the initial verse (shown in the example below), which also employs double plagals but in E major (D-A-E) and twice as long (four measures where the same pattern in the chorus lasts only two).
Also, the middle chorus elucidates the tonality of the outer choruses. The first and third choruses are harmonically ambiguous on their own – are they really in A major? We don't necessarily have enough information to make that claim - there are no cadences to confirm such a conclusion. But the addition of those double plagals in the middle chorus implies that the harmony of the first and third can be interpreted as "incomplete double plagal cadences" which are missing the IV chord. With that in mind, we can indeed infer that the outer choruses are in A major.
One last thing about the choruses: The middle iteration is abbreviated. While the first and third choruses both feature a two-bar bass transition, the second chorus omits it. This further differentiates the choruses, which strengthens the eventual conclusion (see below) that "Good Times" is a compound ternary structure.
Finally, the solo replaces a verse. It employs identical harmonies, but rhythmically halved. This, too, grows organically out of what preceded it. The solo also uses double plagal cadences, just like the first verse and second chorus. It uses the tonality of the verse's double plagals (D-A-E) but with the chorus's rhythms (two measures instead of four). So the solo is related to both the first verse (through tonality) and to the second chorus (through rhythm).
The overall structure of "Good Times Bad Times", then, is a hybrid AB|CB'|A'B – it's part compound simple (an AB x3 in which the middle AB is actually a CB') and part compound ternary (ABA'). If I had to pick one of those designations, I think the latter more accurately and precisely articulates the form.
Even though this song is from Zep's first album, it shows a spectacularly advanced hybrid formal structure and organic development that breaks with their predecessors' work (to the extent of my knowledge). It certainly would not be the last time they would use such a sophisticated musical design.
Aaron Krerowicz, pop music scholar
An informal but highly analytic study of popular music.
AABA Form
Asymmetric Rhymes
Augmented Sixths
Beck's Bolero
Brian Hebert
Chordal Accretion
Christopher Doll
Functional Harmony
Good Times Bad Times
Half-diminished Sevenths
Hexatonic Pole
Houses Of The Holy (song)
How Many More Times
How Many More Years
Jimmy Nash
Jimmy Ruffin
Led Zeppelin (album)
Led Zeppelin (band)
Led Zeppelin II (album)
Led Zeppelin III (album)
Led Zeppelin IV (album)
Mode Mixture
Multifunctional Harmony
Neapolitan Chord
Organic Development
Out On The Tiles
Picardy Third
Pivot Chord
Rhythmic Displacement
Rock N Roll Animal
Secondary Diminished
Smokestack Lightning
Sour Girl
Sweet Jane
The Small Faces
The T-Bones
What Becoems Of The Brokenhearted


text:
Příjmení Svrček nosí více významných osobností:

 Jaroslav Bohumil Svrček (1887–1978) – český učitel, výtvarný a divadelní kritik
 Michal Svrček (* 1965) – slovenský fotbalista
 Mirko Svrček (1925–2017) – český botanik a mykolog


text:
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Yale fraternities lawsuit: Women claim sexual harassment at fraternity events, ask for women to be integrated as members – CBS News The Equality Act doesn't threaten Title IX – The Washington Post
Texas bill that could impose death penalty on women who undergo abortions fails in committee | Fox News
On April 12, 2019 · Blog
A Texas House bill that would have allowed the criminal prosecution of women and doctors for abortions failed to make it past a committee hearing this week.
Texas House Bill 896 called for state prosecutors to bring either assault or homicide charges against women who received abortions or physicians who carried out abortions through medical procedures or prescription medication. Homicide is a capital crime in the state of Texas, meaning the bill opened up the possibility of women and physicians receiving the death penalty for abortions.
The language of the proposed legislation failed to mention any exceptions for cases of rape, incest or pregnancies that posed health risks for mothers. The bill stated that from the time of conception, unborn children would be protected by Texas state law "regardless of any contrary federal law, executive order, or court decision."
OHIO 'HEARTBEAT' ABORTION BILL CLEARS LEGISLATURE, AWAITS GOVERNOR'S SIGNATURE
The committee's Republican chairman, Jeff Leach, who is also an avid pro-life supporter, announced Wednesday that he would not move the bill for consideration by the whole House because criminally prosecuting women who receive abortions would only distract from the pro-life cause.
"I cannot in good conscience support House Bill 896 – legislation that subjects women who undergo abortions to criminal liability and even the possibility of the death penalty," Leach said in a statement posted to Twitter. "Trusted pro-life legislators and advocates agree with me that this bill moves our state and the pro-life cause in the wrong direction."
Source: Texas bill that could impose death penalty on women who undergo abortions fails in committee | Fox News
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Abortion law: Progressives borrow winning strategy from pro-life groups
The Equality Act doesn't threaten Title IX – The Washington Post
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Tyler Perry arrived dateless at the "Madea's Big Happy Family" screaning in Los Angeles. I know I may not be alone on this but I'm starting to be creeped out by this grown a** man always dressing up as a old lady, I think Tyler may have some unresolved grandma issue. IDK. Leave a comment and let me know what you all think.
Malik Yoba, can I just say that back in the day he was the ish, when he was that NY undercover cop. Anyeay he seems to be able to keep his self relevant in Hollywood.
Would there be a Madea, Tyler Perry film with out lance gross being in the mix, he does look nice though.
Hey Lauren! I like this look on her the dress is fab. My only thing with Lauren London is this innocent act she gives off, girl we know you like thugs so you cant be that innocent ( your baby daddy is Lil Wayne), even if he wasn't a famous rapper his name is Lil Wayne ( ooooh, not s good look).
Kanye West speculated new Beau, Tiyanna Taylor was more than ready for her film debut, apparently she has a part in the movie, I seriously doubt its a big role. Hey didn't she just have a sweet sixteen party on MTV a few years back, now your a serious actor. Give me a break! What happened to her being with the Neptunes, I'm confused what exactly does this chic do?


text:
Keys/I.D. Card Access
CAMPUS FACILITIES12100August 2000
Section: 12:100
*Contact your building coordinator or the MU Key Shop (573-882-8219) for additional assistance.
This policy is to establish the responsibility, eligibility, and approval to issue keys and grant electronic card access to buildings and rooms on the University of Missouri-Columbia campus. University keys are the property of the University of Missouri and Campus Facilities. Each department head, building official, and building coordinator is responsible for the security of their assigned space or building. The assistant vice chancellor of Facilities (or designee) is responsible for all unassigned space, general use space, mechanical and electrical rooms, and custodial rooms. Eligibility to obtain a key, or to be given card access to a building or portion of a building, is determined by the appropriate department head or administrator to whom the space is assigned. The approval of the department head and the building coordinator is required to issue a key or to be granted card access.
Assigning Keys
The department head or appropriate administrative official authorizes the issue of keys, subject to any regulations, which may be established by the dean, director, and building coordinator.
Types and Numbers of Keys Issued
The types and numbers of keys issued to any individual will be limited to the minimum required by regular work assignments.
The permanent issuance of building master keys will be limited to those persons needing frequent access to most of the building, normally department chairpersons, or higher, and building coordinators.
Two or more keys may be issued to those requiring access to several rooms within a building.
Rooms are keyed to be accessible by a master key.
Special Assignment of Keys
Where required (for contractors, etc.), special assignment of keys may be authorized by the associate vice chancellor Administrative Services, Administrative Services (573-882-4097) 319 Jesse Hall, or the assistant vice chancellor facilities (573-882-2661), E104 General Services Building, or their designee(s).
Obtaining Keys
Keys to University rooms or buildings are never to be transferred from one individual to another or obtained from any source other than the Campus Facilities Key Shop. When any duplication or transfer of a key is made or used without University consent, the key shall be seized and the individual(s) involved shall be reported to the appropriate dean or administrative official for action.
Applications for Keys
Applications for keys are made on a Key Form (UMC 1).
Use a separate form for each key requested.
Key forms must be legibly printed or typed.
All temporary assignments of keys, including keys assigned to students, must indicate the date the key is to be returned.
Obtain the required signatures and approvals from:
Department head or appropriate administrative official.
Building coordinator.
Key holder.
NOTE: Signature stamps are not acceptable.
Receiving Keys
The applicant or department representative may take or mail the Key Form to the Campus Facilities Key Shop located in the Conley Avenue Parking Structure.
Keys may be obtained by presenting an approved Key Form at the Key Shop between the hours of 7:30 – 10:00 a.m. daily, Monday through Friday.
Keys may be obtained by sending the Key Form, with all required signatures and approvals, to the Campus facilities Key Shop, Conley Avenue Parking Structure. The Key Shop Secretary will call the department when the keys are ready to be picked up.
Facilities located outside the Columbia city limits should contact the Key Shop (882-8219).
Returning Keys
The department head or appropriate administrative official and building coordinator (or designee) are responsible for ensuring that all keys are returned. Each department is responsible for making the necessary arrangements to return keys to the Campus Facilities Key Shop located in the Conley Avenue parking structure.
When Keys Must Be Returned
All keys issued remain the property of the University and shall be returned under the following conditions:
Faculty and Staff Members:
Upon transfer to another department or building.
Upon termination or suspension of employment.
Upon the request of the department head or appropriate administrative official.
Upon being granted a leave of absence without pay for a period of 30 or more calendar days; however, staff members granted such leaves may retain their keys if they are authorized to have access to the building and/or office during the leave.
At the end of the academic semester or period after which the keys will not be used for at least 30 calendar days.
Loss or Theft of Keys
The loss or theft of a key is to be reported immediately to the building coordinator and the department head who in turn will notify the Key Shop (573-882-8219). If the key is found, the key is to be forwarded immediately to the Campus Facilities Key Shop, Conley Avenue Parking Structure.
NOTE: In the event, a key is lost and rekeying a building is necessary, the department may be held responsible for the cost of rekeying.
Special Keying
Individual rooms may be keyed off the master system, if approved by the dean or vice chancellor responsible for the area, at a cost to the user department. A room or area that is not on the master key system will not be provided services (including maintenance, custodial and other services).
NOTE: In the event that emergency personnel needs to enter a room or area that has been specially keyed and they do not have a key, the requesting department will be held responsible for any damage that results.
Any specially keyed room request will be in writing, approved by the dean or vice chancellor responsible for the area, and sent to the assistant vice chancellor of Facilities, Room E104 General Services Building.
Unauthorized locks (locks that are installed by departments and not keyed to the University system, are not permitted and will be removed and replaced at the department's expense.
Inventory of Keys
Upon request, the Campus Facilities Key Shop will provide building coordinators with a list of key assignments for the buildings. (An annual review is recommended.)
Building coordinators will ask departments to check and verify a departmental list of key assignments.
Departments are to return the list to the building coordinator who will send the list to the Campus Facilities Key Shop, Conley Avenue Parking Structure.
The building official will be responsible to ensure that these lists are correct.
I.D. Card Access
The exterior doors of all new buildings and some existing buildings will now be equipped with electric locks. This mechanism allows these doors to be locked and unlocked remotely. Specific doors are also equipped with a card reader to allow the building to be accessed after hours by I.D. cards.
Authorizing Card Access
Maintenance, custodial, and other employees requiring service access will be authorized by the assistant vice chancellor of Facilities or his designee.
In a building equipped with card readers, the department head or appropriate administrative official must authorize building access by University or department I.D. card, subject to any regulations which may be established by the dean or director and the building coordinator.
The department head or appropriate administration official must provide a list of employees requiring building access after hours, holidays, or weekends to the building coordinator or department designee for entry into the card access database. The appropriate door or doors the employee needs access to should also be specified if more than one door is equipped with a card reader.
Encoding I.D. Cards
Employees requiring access to a building or a portion of a building by means of card access must have their I.D. card encoded.
I.D. cards can be encoded at the Campus Facilities Key Shop located in the Conley Avenue parking structure between the hours of 7:30 a.m. and 4:00 p.m., Monday through Friday.
NOTE: If you have never received a University I.D. or if we are unable to encode your I.D. card, you will need to have a new I.D. card made at the I.D. Office in the MU Student Center.
Terminating Card Access
The department head or appropriate administrative official is responsible for notifying the building coordinator of the Key Shop when an employee no longer requires card access. Card access will be terminated under the following conditions:
When notified that access to a building at night, on weekends, or after hours is no longer required;
When transferring to another department or building;
Upon termination or suspension of employment;
Loss or Theft of I.D. Card
The loss or theft of an I.D. card that is encoded and used for building access must be reported immediately to your building coordinator or the Key Shop. You will also need to have a replacement I.D. card made immediately.
You should never loan your I.D. card to anyone.
A record is made each time your I.D. card is used to access a building. You will be implicated if your I.D. card is used by an unauthorized individual to gain entry to a building.
You should safeguard your I.D. card as you would your own credit cards, keys, or University credit card.
Contact your building coordinator or the MU Key Shop (573-882-8219)
for additional assistance.


Etymology: Caspiomyzon: Composed from Caspian sea + Greek,myzo = to suckle (Ref. 45335); wagneri: Specific name refers to the Russian zoologist Nikolai Petrovich Vagner.
Eurasia: endemic to the Caspian Sea drainage. Construction projects along the rivers entering the Caspian Sea have had a very negative impact. Very rare now in the Volga river (Ref. 12275). Migrates to uppermost tributaries of Volga (Ref. 59043). Reported to migrate for spawning to the Sura River and its tributaries (the Penza, Aiva, and Inza rivers) as far as Penza Ciry in the 1920s (Ref. 58030).
Dorsal spines (total): 0; Dorsal soft rays (total): 0. Adult: 19.0-55.3 cm TL; max. body wet weight, 206 g; body proportions, as percentage of TL (based on 129 specimens measuring 30.5-53.0 cm TL): 8.7-12.1 prebranchial length, 7.7-11.0 branchial length, 43.6-57.6 trunk length (derived by deduction; represents a maximum possible range), 26-33 tail length, 0.8-2.2 eye length and 2.4-4.5 disc length; intestinal diameter in prespawning individuals has a mean of 0.27 cm and in spawning individuals a mean of 0.14 cm; urogenital papilla length (percentage of branchial length in 5 spawning males 30.1-34.4 cm TL), 14.3-21.2; trunk myomeres, 63-66. Adult dentition: supraoral lamina, one unicuspid (sometimes bicuspid) tooth; infraoral lamina, 4-6, usually 5, unicuspid teeth, but sometimes the lateralmost ones are bicuspid; 4 endolaterals on each side; endolateral formula, typically 1-1-1-1; 3-5 rows of anterials; first row of anterials, 3 unicuspid teeth; 8 rows of exolaterals on each side; 3 rows of posterials; first row of posterials, 11 unicuspid teeth; transverse lingual lamina straight, 5-8 unicuspid teeth, the median one not enlarged; longitudinal lingual laminae with undetermined number of unicuspid teeth. Velar tentacles in adults, 3, long and bearing papillae; body coloration in prespawning adults, dark gray on dorsal and lateral aspects and silvery white ventrally; spawning adults are black on dorsal and lateral aspects and gray with dark oval spots ventrally; color of eggs in prespawning females, light gray or yellow, while in spawning females is bluish-green; lateral line neuromasts unpigmented; caudal fin pigmentation unrecorded; caudal fin shape, spade-like; oral fimbriae, 93-115; oral papillae, 24-31(Ref. 89241).
Non-parasitic (Ref. 59043). Ammocoetes burrow 1-2 cm deep in substrates containing sand, clay, and detritus, in areas with slow current, and at water depths 0.3-22 m; also on surface of substrate among macrophytes and submerged wood. Metamorphosing individuals occur in areas with faster current, devoid of macrophytes, and in deeper water. Adults in rivers and marine waters; in shallow lakes in flood plain of the Volga River delta. Larval life is 3 years in the Volga River Basin and 2-4 years in the Kura River Basin. Ammocoetes feed on diatoms and detritus; feeding activity highest in summer, lowest in the winter. Metamorphosis begins in mid-July in the Volga River (Russian Federation); end of August to early September in the Kura River (Azerbaijan); and October in Iran (Islamic Republic of). Metamorphosing ammocoetes do not feed. Anadromous. Adult life at least 17 months. Indications that adults feed as scavengers or might feed on demersal fish eggs or on some invertebrates; feeding habits still subject of speculation since their teeth are blunt, yet their intestine remains functional and they grow considerably post-metamorphosis. Adults on their spawning run will attach, particularly in the opercular region, to likewise upstream-migrating winter form of brown sea trout (Salmo trutta caspius). Prespawning adults in the Kama River, Russian Federation, serve as a host for unionid glochidia, which attach to its gills. Spawning run is nocturnal; up the Kura River in November-February and Volga River, mid-September-March. Upstream migrants swim near the surface on dark nights and close to the river bottom on moonlit nights. During the day, they stay among stones on the bottom. Max. distance traveled, 1,500 km for larger individuals. Swimming speed, 2-16 km/day. Beginning migration, fat content of adult as high as 34% by body weight, terminating on spawning grounds with as low as 1-2% by body weight, at first concealing themselves amongst stones or burrow into the substrate, and later, swim and periodically break the water's surface with their heads. Spawning in mid-March to mid-July over sandy and rocky substrate, at water temperatures 15-23 ?C. Spawning grounds along the entire courses of the Volga and Kura rivers from estuaries to the upper reaches historically, and to man-made reservoirs presently. Redds are constructed by both sexes in sand and gravel substrates, usually in shallow waters. Fecundity, 14,000-60,000 eggs/female. Ammocoetes hatch 8-10 days after fertilization at lengths of 0.33-0.42 cm. Three to four days after hatching, yolk sac is almost completely absorbed. Volga River fishery carried out in both the spring and autumn, with over 75% of the catch occurring in autumn. Between 1910 and 1913 inclusively, from 16,900,000 to 33,400,000 Caspian Lamprey were harvested annually. Kura River fishery catches compiled in five-year increments from 1881 to 1935 with lowest record of 11,000 lamprey for the period 1891-1895 and highest of 612,000 lamprey for the period 1911-1915; 213,000 annual lamprey catch in 1936 and 304,000 in 1937; lipid content is 30.3% of the body weight. Prior to 1868, the catch was dried and used as a substitute for candles, and after 1868, it was harvested as food for humans. The caloric value for Caspian Lamprey is 3.4 kcal/g wet weight. Water regulation projects on the Volga and Kura rivers with deleterious effects on the abundance of Caspian Lamprey, preventing access to areas above the Volgograd and Mingechaur reservoirs, respectively, that it is no longer considered a commercially important species. There are reports of intoxication through eating this species (Ref. 89241).
The nest is dug by either the male or the female. They attach themselves to stones before mating. Females die immediately after releasing their eggs, but males survive until spermatogenesis ceases and can mate with more than one female (Ref. 12275). Ammocoete stage lasts 2-4 years in freshwater after which metamorphosed juveniles migrate to the sea (Ref. 59043). In lower Volga, adults may feed one or two summers before breeding (Ref. 59043). These adults may begin to migrate to rivers in autumn and winter, usually from October to February, unstopped by ice flow in Volga (Ref. 59043).
Resilience (Ref. 69278): Medium, minimum population doubling time 1.4 - 4.4 years (tm=tmax=4-6; Fec = 10,480).


How many times did you overload your plate with food?
In party, marriages, hotels and even at home if you are in a habit of overloading your plate and then later realising that you have taken more than what you can finish; what do you do in such situation?
Throw it away in a trash can Or still, gulp it down and overload your tummy?
When you eat to overload the tummy that's still the wastage of food, the resources and you just ate what you could have fed to the hungry.
Many a time, Mothers at home fill the plate of their children more than what they could eat and then when the children leave the food it either go in a dustbin or in mother's tummy.
It's a bad practice. You are not only wasting your money but the resources of the country are wasted too.
So what can be done to avoid this wastage?
Take Small servings. You can always go for next serving.
Try to order half plate where you think you should.
Don't overeat just to finish the food. Instead, feed the hungry. This act of kindness will not only give you a satisfaction but one person will go to bed without craving for food because of you.
While hosting a party if you are left with surplus food, please don't just leave it there. Just Google for the organisations that can pick up that food and distribute it to the needy.
For all the mommies out there, throw the food neither in the trash can nor in your tummy. Instead, put it in the refrigerator. Take it along with you when you are going for an evening walk and give it to a stray animal (cow or a dog).
Let's learn to respect the farmers who grow crops for us. The chef who cooks for us and the person (even if it's you) who earn for us so that we can buy food.
Let's say No to wastage.


This leaflet answers some common questions about Micardis.
Micardis is used to lower high blood pressure (hypertension).
Micardis contains telmisartan. Telmisartan belongs to a group of medicines called angiotensin II receptor antagonists. Angiotensin II is a substance in the body which causes blood vessels to narrow, thus increasing blood pressure. Telmisartan works by blocking the effect of angiotensin II. When the effect of angiotensin II is blocked, your blood vessels relax and your blood pressure goes down.
Micardis may be used either alone or in combination with other medicines used to treat high blood pressure.
Micardis is also used to prevent cardiovascular complications, including death due to cardiovascular causes that may arise in high risk patients older than 55 years of age. Examples include heart attack, stroke, death caused by heart diseases or hospitalisation due to heart failure (a condition which can cause shortness of breath or ankle swelling).
Your doctor may have prescribed Micardis for another reason.
Ask your doctor if you have any questions about why Micardis has been prescribed for you.
Do not take Micardis if you have a rare hereditary condition of fructose intolerance. The maximum recommended daily dose of Micardis contains approximately 338 mg of sorbitol.
Do not take Micardis if you are pregnant. Like other similar medicines, it may affect your developing baby if you take it during pregnancy.
Do not breastfeed if you are taking Micardis. It is not known if telmisartan, the active ingredient in Micardis, passes into breast milk and there is a possibility that your baby may be affected.
Do not give Micardis to a child under the age of 18 years. Safety and effectiveness in children and teenagers up to 18 years of age have not been established.
Do not take Micardis after the expiry date printed on the pack or if the packaging is torn or shows signs of tampering. If it has expired or is damaged, return it to your pharmacist for disposal.
If you are not sure whether you should start taking Micardis, talk to your doctor.
recent severe diarrhoea or vomiting.
If you have not told your doctor about any of the above, tell your doctor before you start taking Micardis.
These medicines may be affected by Micardis, or may affect how well it works. Other medicines used to treat high blood pressure or medicines with blood pressure lowering potential may have an additive effect with Micardis in lowering your blood pressure. You may need different amounts of your medicines, or you may need to take different medicines.
Your doctor and pharmacist have more information on medicines to be careful with or avoid while taking Micardis.
The usual dose of Micardis for adults is one 40 mg tablet once a day.
The usual dose of Micardis is one 80 mg tablet once a day.
It is important to take Micardis exactly as your doctor or pharmacist has told you.
Take Micardis at about the same time each day, either morning or evening. Taking it at the same time each day will have the best effect. It will also help you remember when to take it.
It does not matter if you take Micardis before or after food.
Continue taking Micardis for as long as your doctor tells you. Micardis helps to control your high blood pressure, and/or prevents you from developing cardiovascular complications, but does not cure it. It is important to keep taking Micardis every day even if you feel well.
Immediately telephone your doctor or Poisons Information Centre (telephone 13 11 26) for advice or go to Emergency at your nearest hospital, if you think that you or anyone else may have taken too much Micardis.
If you take too much Micardis you may feel dizzy, light-headed or faint. Your heartbeat may be faster or slower than usual. You may experience rapid, shallow breathing or cold, clammy skin. This is because your blood pressure is too low.
If you are about to be started on any new medicine, tell your doctor and pharmacist that you are taking Micardis.
Tell any other doctors, dentists and pharmacists who treat you that you are taking Micardis.
If you are going to have surgery, tell the surgeon or anaesthetist that you are taking Micardis. Micardis may affect other medicines used during surgery.
If you become pregnant while taking Micardis, tell your doctor immediately.
If you feel that Micardis is not helping your condition, tell your doctor or pharmacist.
Tell your doctor if, for any reason, you have not used Micardis exactly as prescribed. Otherwise, your doctor may think that it was not effective and change your treatment unnecessarily.
Do not take Micardis to treat any other complaints unless your doctor tells you to.
Do not stop taking Micardis or lower the dosage without checking with your doctor.
Be careful driving or operating machinery until you know how Micardis affects you. Like other medicines used to treat high blood pressure, Micardis may cause sleepiness, dizziness or lightheadedness in some people. If you have any of these symptoms, do not drive, operate machinery or do anything else that could be dangerous.
You may feel dizzy or light-headed when you begin to take Micardis, especially if you are also taking a diuretic (or fluid tablet) or if you are dehydrated.
Tell your doctor or pharmacist as soon as possible if you do not feel well while you are taking Micardis.
Keep Micardis in a cool dry place where the temperature stays below 30°C.
Do not store Micardis or any other medicine in the bathroom or near a sink. Do not leave it in the car or on a window sill. Heat and dampness can destroy some medicines.
Keep Micardis where children cannot reach it. A locked cupboard at least one-and-a-half metres above the ground is a good place to store medicines.
If your doctor tells you to stop taking Micardis or the expiry date has passed, ask your pharmacist what to do with any that is left over.
Micardis is the brand name of your medicine.
Micardis tablets are available in two strengths: 40 mg and 80 mg tablets.
Micardis 40 mg tablets are white to off-white oblong tablets, marked with the Boehringer Ingelheim logo on one face and '51H' on the other.
Micardis 80 mg tablets are white to off-white oblong tablets, marked with the Boehringer Ingelheim logo on one face and '52H' on the other.
Micardis tablets are available in blister packs of 7 (sample), 28, 56* and 98* tablets.
Each Micardis 40 mg tablet contains 40 mg telmisartan.
Each Micardis 80 mg tablet contains 80 mg telmisartan.
This Consumer Medicine Information was updated in September 2017.


A company can rarely be successful without a successful surrounding community. One of Cedar Rapids Bank & Trust's core values is to give back to the community in which we do business. We are very proud of the communities in which we serve and that pride shows in the volunteer spirit that permeates the company. Our employees actively pursue volunteer work with a multitude of community organizations in a wide variety of specialties.
In addition to supporting local organizations through volunteerism, Cedar Rapids Bank & Trust is further committed to the success of our community through contributions to over 75 local organizations throughout the greater Cedar Rapids area.
Please attach any additional materials regarding your request (if applicable).


Aging in America can be filled with uncertainty, and it is particularly challenging for LGBT older adults, who face unique issues stemming from stigma, isolation, and discrimination. Today, SAGE, MAP and the Open to All coalition released Nursing Home, the latest in a series of ads illustrating the devastating harms many LGBT Americans face because have no legal protection from discrimination. The new video features an older gay man and his family on the first day he moves into an assisted living facility. When the director of the facility learns the man is gay, he refuses to allow him to move in.


It was definitely in our flat and not surrounding flats.
DP nodded off on the sofa and for some unknown reason (could have been baby stirring) I woke and a few moments later I thought I heard DP get up and walk a little bit. I am not sure where to. I got up and asked if it was him. I knew it wasn't as he was sound asleep and snuggled into the throw but asked anyway and he said no.
He said to me this morning that after I said that he could hear footsteps as well. We have laminate and I heard creaks whereas he heard a noise like bare feet walking/sticking to the floor.
We both on each incident had looked around the flat.
No other incidents here though other than musical box in the night which can apparently be caused by a number of things and my toddler running and screaming from her room absolutely terrified although as a nearly 2yo she couldn't really tell us why. That's all.
Does this sound like anything to anyone? Could the footsteps be something logically explainable?
Freaking out a little as I am on my own here with the girls throughout the day 5x a week (so thankfully not at night!).
I lost my dad over a year ago. I hope it isn't him (for a good reason).
Could it be pipes? Both my mum and dad's house used to freak me out when I was younger because I was sure I could hear people walking around when I'd be home alone. Turned out it was just he way the pipes sounded as they were expanding/cooling down. Definitely sounded freaky though!
I have no idea but you need to tell us more about the musical box!
Bits of houses make all sorts of weird noises and they're more noticeable at night. Far more likely to be that.
I don't think so cake just because I have never heard it before and we have been here 8 months now plus it was about 2am so thought they would have cooled down by then. Definitely foot steps. Thank you though.
toffee the musical box was open and sitting on a shelf (bought brand new) and had been open for about a month and we were woken in the middle of the night to the music playing until DP closed it! Did freak us out at the time and it was kept closed for a while ha ha. It is now open again and it hasn't happened since! Although there are logical reasons on the internet for this I still find it strange!
buttery very true (it does explain the creaks but not the sticky walking sounds) and unless anything else unusual happens I will put it down to that!
cakedoesntjudge Pipes? What, Pipes from Ghostwatch?!!
If you're in a flat then it's likely to be from surrounding flats. Noise projects more and differently at night. I've distinctly thought I heard dh walking and after getting up and listening more closely, realised it was someone downstairs.
We NEVER went into the dark hallway to switch the light on but would poke our arm through the slightly opened living room door and feel around for the switch before going out there.
But I'm a bit of a mad cow and would watch things like Paranormal Activity when alone at night when DH was working nights.
Surrounded but fields, farm buildings and not a street light for miles.
I really am certain it wasn't a surrounding flat.. we are the only ones with laminate flooring and it was that exact noise I heard. I can always tell when it's one of our neighbors. And then when DP heard something untoward not long after... it seems to coincidental. Then again, as nothing else has happened I guess there isn't much else I can put it down to.
thou wow, just wow! You are loco I am impressed!
Could your two year old be padding about?
Your brain translates a noise into something uou understand, it clearly wasn't foot steps, simply houses creak, wood etc contracts as the temp changes. In addition as your in a flat noise transfers and again your brain tries to make sense of it. If there was no one in the house walking then there was no steps and as such that's simply how your brain interpreted it.
We co-sleep so not the 2yo. I think that would have freaked me out more!
Yes I suppose it is perfectly logical!
I have recently lost my partner from a motorbike accident and moved into a house just recently. No surrounding houses. The house is old and has an extension and extensions are known to make all types of noises but not footstep noises. Every night without fail, I hear them. I definitely believe it is my partner. It is scary and does freak me out most nights. I have always felt his presence since he passed away as his death was very unexpected only being 26.
My 3 year old son walked into the other lounge room one day and came out screaming I was in the kitchen and can see into the lounge room and could see him. His Dad used to take him for drives in his Ford Ranger car all the time, I watched my son walk over to where the car was he stopped and started screaming and not wanting to go into that room. I am guessing he seen his Dad. Other times he has pointed to the bar stool while having lunch saying daddy daddy. The night my partners life support was turned off me and his Nan and Aunty watched him get down from the dining table from eating dinner, walk down the hall to the lounge with food in his hand and he held his hand out to something offering the food and said a few things then walked back. No one else was there except for us and we were all sitting at the dining table eating food.
Not trying to creep you out but I'd say it is your father. I'm not a strong believer but since i lost my partner things have happened and I know it's not my head playing tricks on me. I was in my garage one night and I thought I felt something brush past me. My garage was completely empty as the removalists had just left and I whirled around with my phone, took a photo and looked at my phone and was honestly shocked at what I seen. It was a figure that was the exact same image of a photo I had taken of him when we had gone for a day trip to the mountains. You can't clearly see it but if you put the photo I took on our day trip and the photo I took that night, it is the exact same way he was standing in the photo. That creeped me out. It's never a bad thing when they hang around but it can be scary at times.