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How is the family represented in American horror films of the 1970s? Part 6
This is the final chapter of my dissertation on the representation of the family in American horror films of the 1970s. I hope that one day it may be of some vague use to someone, somewhere, somehow.
Part 1 of my dissertation on the representation of the family in American horror films of the 1970s is here. Part 2 on the monstrous families of films such as The Texas Chain Saw Massacre and The Hills Have Eyes is here. Part 3 on those charming rape-revenge films of the 1970s is here. Part 4 on the monstrous children of films like The Exorcist and The Omen is here. Part 5 on the monstrous parental figures of film like Alien and Halloween is here.
Part 6: Conclusion
'It's people that I'm afraid of…' (Tobe Hooper, 2000)
In Gregory Waller's introduction to his book 'American Horrors: Essays on the Modern American Horror Film', he states that 'the horror film has engaged in a sort of extended dramatization of and response to the major public events and newsworthy topics in American history since 1968' (Waller, 1987. p.12). The year of Romero's Night of the Living Dead (1968) and Polanski's Rosemary's Baby (1968) was the beginning of a trend towards progressive horror films that dealt with themes of civil unrest and the negative effects of the capitalist, patriarchal society that America was at the time and still is. Films such as Hooper's The Texas Chain Saw Massacre (1974) and Craven's The Hills Have Eyes (1977) remained progressive in their representations of nuclear families as monstrous products of capitalism. Other films such as Friedkin's The Exorcist (1973) and Carpenter's Halloween (1979) dealt with the youth of the 1970s and maintained a reactionary view of the world that children were being brought into, with absent fathers and liberated female sexuality rife in society.
Waller also suggests that 'horror films have proven to be among the most significant documents in America's public debate over the status of the independent woman in a society still dominated by men' (Waller, 1987, p.5). The rape-revenge films in particular deal with independent women, both within the family, as in Craven's The Last House on the Left (1972), and also as I have suggested of Zarchi's I Spit on Your Grave (1978), in opposition to the family. These films seem to be a return to reactionary views of the family where the independent woman is considered a threat to the nuclear family unit. In particular 'the recent horror-of-personality films seem to reflect as well a disturbing hostility toward women, which seems a direct response to the feminist movement' (Derry, 1987, p.165). Carpenter's Halloween (1978) and Zarchi's I Spit on Your Grave (1978) signal the full on return of reactionary representations of female sexuality that would continue in the 'stalker' films of the 1980s, including Sean S. Cunningham's Friday the 13th (1980) and Craven's A Nightmare on Elm Street (1984) and their many sequels.
'The Michael of Halloween (1978), the Jason of Friday the 13th (1980)… do not develop out of the characteristic monsters of the '70s; they represent a refusal of everything they embodied' (Wood, 2001). The characteristic monsters of the 1970s include Leatherface, the possessed Regan, the bourgeois families of Craven's The Last House on the Left (1972) and The Hills Have Eyes (1977). Ordinary people forced to extreme violence by society and the family of which they are a part. These films are progressive in that they share the theme of 'the Other as both the "same" as well as "different" from ourselves and somehow implicated in family life' (Sobchack, 1987, p.177). Michael, Jason, and Scott's Alien (1979) are not in the same category in this respect. They are 'purely and simply evil', reactionary forces out to punish women for being liberated in terms of sexual freedom and also in the case of Ripley, for being equal in the workplace with men.
The relevance and importance of these 1970s horror films is painfully clear in light of the slew of remakes that have been made in the last couple of years. Mark Kermode (2003, p.13) suggests in Sight and Sound that the remake of The Texas Chainsaw Massacre (Marcus Nispel, 2003) is 'a hallmark 1970s horror product cunningly rebranded for a jaded 21st-century audience: a perfect example of a trend currently sweeping the horror genre.' Remakes, sequels and prequels are all abundant to the 1970s horror films discussed in this paper. Most recently there has been the remake of Dawn of the Dead (Zack Snyder, 2003) and the prequel, The Exorcist: The Beginning (Renny Harlin, 2004). However there is also an upcoming remake of Craven's The Hills Have Eyes (1977) and Romero's fourth in his 'Dead' series.
Unfortunately Kermode argues of Nispel's The Texas Chainsaw Massacre (2003), 'Thematically, however, Nispel and Bay add nothing to Hopper's blueprint.' (Kermode, 2003, p.14). Nevertheless, this is arguable, as the film seems to represent the family as a refuge from the selfishness of living as individuals. However it does clearly lack the Marxist themes that can be read in Hooper's original. Similarly in Snyder's Dawn of the Dead (2003), new progressive themes are addressed, for example a dying woman is tied to a bed so that she can give birth. This suggests that women are tied to motherhood because of dominating men who will not consider ideas such as abortion and euthanasia. On the other hand these films can still be considered reactionary in their representations of women as mother figures as demonstrated by the ending of Nispel's The Texas Chainsaw Massacre that has the heroine rescuing a small baby from the monstrous family.
However the resurgence in 1970s style horror can also be seen in films that range from The Blair Witch Project (Myrick and Sanchez, 1999) to Wrong Turn (Schmidt, 2003). These films seem to be a partial return to the characteristic horror monsters of the 1970s, but are not attacks on the family like their predecessors were. The nihilism of many of the 1970s horror filmmakers seems to have been lost in most recent horror and the family is generally not even an issue anymore. This is the result of the reactionary forces at work in America ever since the end of the 1970s to the present. The family seemed to be the most attacked of all sources of authority and in modern America the ideal of patriarchal family values is no longer to be questioned, especially recently. The nihilism of the 1970s has all but disappeared, after all, 'If technology, science, medicine, government and other so-called human authorities are ineffective, what possible future can exist?' (Muir, 2002, p.268)
I think that the American horror films of the 1970s are the last films that dared to challenge such firmly established traditions such as the family. They were a product of uncertain times where America was changing dramatically, in particular with regard to women's rights. The successors of these classic horror films are generally either mindlessly commercial or purely reactionary in that the family is never questioned or represented as anything other than good.
And here is my bibliography in full for anyone interested!
Brottman, M. (1996) Once upon a time in Texas: the Texas chainsaw massacre as inverted fairytale In: Black, A. (ed.) Necronomicon book one: the journal of horror and erotic cinema. London: Creation Books
Clover, C. (1992) Men, women and chainsaws: gender in the modern horror film. London: BFI Publishing
Clover, C. (1996) Her body, himself: gender in the slasher film In: Grant, B. (ed.) The dread of difference: gender and the horror film. Austin: University of Texas Press
Creed, B. (1993) The monstrous – feminine: film, feminism, psychoanalysis. London and New York: Routledge.
Creed, B. (1996) Horror and the monstrous-feminine: an imaginary abjection In: Grant, B. (ed.) The dread of difference: gender and the horror film. Austin: University of Texas Press
Derry, C. (1987) More dark dreams: some notes on the recent horror film In: Waller, G. (ed.) American horrors: essays on the modern American horror film. Urbana and Chicago: University of Illinois Press
Dickstein, M. (1984) The aesthetics of fright In: Grant, B. (ed.) Planks of reason: essays on the horror film. Lanham, Md., & London: The Scarecrow Press, Inc.
Dika, V. (1987) The stalker film, 1978-81 In: Waller, G. (ed.) American horrors: essays on the modern American horror film. Urbana and Chicago: University of Illinois Press
Dillard, R. (1987) Night of the living dead: it's not like just a wind that's passing through In: Waller, G. (ed.) American horrors: essays on the modern American horror film. Urbana and Chicago: University of Illinois Press
Haskell, M. (1974) From reverence to rape: the treatment of women in the movies. Chicago & London: The University of Chicago Press.
Kinder, M. and Houston, B. (1987) Seeing is believing: the exorcist and don't look now In: Waller, G. (ed) American horrors: essays on the modern American horror film. Urbana and Chicago: University of Illinois Press
Lehman, P. (1993) Don't blame this on a girl: female rape-revenge films In: Cohan, S. & Hark, I. (eds.) Screening the male: exploring masculinities in Hollywood cinema. London: Routledge. pp.103-117
Muir, J. (2002) Horror films of the 1970s. London: McFarland & Company, Inc., Publishers
Polan, D. (1984) Eros and syphilization: the contemporary horror film In: Grant, B. (ed.) Planks of reason: essays on the horror film. Lanham, Md., & London: The Scarecrow Press, Inc.
Rodowick, D. (1984) The enemy within: the economy of violence in the hills have eyes In: Grant, B. (ed.) Planks of reason: essays on the horror film. Lanham Md., & London: The Scarecrow Press, Inc.
Sharrett, C. (1984) The idea of apocalypse in the Texas chainsaw massacre In: Grant, B. (ed.) Planks of reason: essays on the horror film. Lanham Md., & London: The Scarecrow Press, Inc.
Sobchack, V. (1987) Bringing it all back home: family economy and generic exchange In: Waller, G. (ed.) American horrors: essays on the modern American horror film. Urbana and Chicago: University of Illinois Press
Waller, G. (ed.) (1987) American horrors: essays on the modern American horror film. Urbana and Chicago: University of Illinois Press
Wexman, V. (1987) The trauma of infancy in Roman Polanski's Rosemary's baby In: Waller, G. (ed.) American horrors: essays on the modern American horror film. Urbana and Chicago: University of Illinois Press
Williams, T. (1996) Hearths of darkness: the family in the American horror film. London: Associated University Presses
Wood, R. (1984) An introduction to the American horror film In: Grant, B. (ed.) Planks of reason: essays on the horror film. Lanham, Md., & London: The Scarecrow Press, Inc.
Wood, R. (1987) Returning the look: eyes of a stranger In: Waller, G. (ed.) American horrors: essays on the modern American horror film. Urbana and Chicago: University of Illinois Press
Kermode, M. (2003) What a carve up! Sight & Sound. 13 (12), 12-16.
Wood, R. (1978) Return of the repressed. Film Comment. 14 (4), 24-32.
Creed, B. (no date) Baby bitches from hell: monstrous-little women in film. UCLA. Available from: http://www.cinema.ucla.edu/women/creed/creed1.html [Accessed 17th January 2005]
Eklof, T. (2004) Frankensein meets the exorcist: embracing your inner monster. Clifton Unitarian Church. Available from: http://www.cliftonunitarian.com/toddstalks/frankensteinmeetsexorcist.htm [Accessed 17th January 2005]
Kendrick, J. (2002) The last house on the left. Qnetwork. Available from: http://witzamfm.navibar.com/?page=review&id=1000 [Accessed 6th January 2005]
Schneider, S. (2002) The hills have eyes. senses of cinema. Available from: http://sensesofcinema.com/contents/cteq/01/19/hills.html [Accessed 6th January 2005]
Wood, R. (2001) What lies beneath? [online] Cambridge University Press. Available from: http://www.sensesofcinema.com/contents/01/15/horror_beneath.html [Accessed 27 October 2004]
Labels: 1970s, america, dissertation, family, hills have eyes, horror, i spit on your grave, last house on the left, night of the living dead, representation, texas chain saw massacre, the exorcist, tobe hooper
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Uganda Cranes Skipper To Hang Playing Boots
Kampala, Uganda, November 20: Uganda national soccer team captain, Andrew Mwesigwa has signalled that he is contemplating to hang is playing boots a day after his team bowed out of 2015 Equatorial Guinea Africa Cup of Nations (AFCON) qualifiers.
Mwesigwa made two blunders that cost Uganda Cranes a possible group E second qualification slot after his two fouls resulted into a free kick and a penalty that enabled Guinea to chalk a comfortable 2-0 victory.
The Cranes finished the game with 10 men after Mwesigwa was sent off for an early shower after a second bookable offence.
According to Uganda Online media reports published Thursday, the 30 year old defender was contemplating to announce his retirement either upon the team's arrival in Uganda Friday or after returning to his Kazakhstan base FC Ordabasy.
"He has made up his mind and it was just a matter of time.Mwesiga also added that there is a lot going through his mind and thus he needs to settle down first.
And he might return to Kazakhstan and announce his retirement from there or when the team returns to Uganda," the Online Daily Monitor reported.
His decision to call it quits followed harsh criticism from the media and a section of soccer fraternity there over his performance in the Wednesday crucial encounter in which his side needed a draw or a win to end a 37 year absence from AFCON finals.
One of the country's sports anylist, Ismael Kiyonga wrote in his online article that Mwesigwa should call it quits to pave the way for the youngsters and for the sake of his playing career which is in its twilight.
"Not that he should be judged on the Guinea game but its high time he announced his retirement not only to give room to the upcoming stars but also for the good of his career in its evening," observed Kiyonga.
Former Cranes star, Tom Lwanga who was part of the team that qualified for the AFCON finals in 1978 also shared sentiments raised by Kiyonga saying Mwesigwa has lost pace in his game as manifested in the Wednesday's match.
He further observed that it was necessary that Mwesigwa quit the stage now while the applause from the audience was still aloud.
"The writing is on the wall. It is time up. He is clearly slower .He is always late while under attack .He should borrow a leaf from his former team-mate Ibrahim Sekagya and leave when he is still liked," explained Lwanga.
Lwanga also singled out the way the team approached the game especially in the early minutes of the game, as among the factors that cost the Cranes qualification ticket to Equatorial Guinea during which he said they gave their opponents excessive respect.
"The Cranes simply fell back and allowed their opponents to string all sorts of passes and runs. And then when we also got our chances, we didn't use them," he added.
The game was played at neutral Mohammed V Stadium, in Casablanca Morocco following Ebola epidemic that has wrecked havoc in some countries in West Africa region including Guinea.

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Flu season begins this month, but questions remain for what's ahead
Typically cases peak in December or January, but the pandemic over the last two years has made Maine's flu season anything but typical.
By Emily BaderSun Journal
A sign at the entrance of Central Maine Medical Center in Lewiston in 2020 warns about the dangers of the influenza virus. Statistics on the flu from the Maine CDC show that the COVID-19 pandemic played a significant role in the decrease of confirmed cases over the last two years. Russ Dillingham/Sun Journal file
There are several unknowns ahead as flu season officially begins in Maine this month, the third season since the pandemic began.
The Maine Center for Disease Control and Prevention will begin issuing weekly surveillance reports and continue to do so until it switches to monthly reports next May or June, which is usually the off-season for flu in Maine.
Maine typically does not see a peak in cases until December or January, Dr. David Baker, a pediatrician at Central Maine Pediatrics in Lewiston, said in August.
But since the pandemic began two-and-a-half years ago, Maine's flu season has been anything but typical.
The Maine CDC recorded between 9,000 and 10,500 laboratory-confirmed flu cases total for each season that began in 2017, 2018 and 2019, according to weekly surveillance reports.
During the season that began October 2020 and ended September 2021, Maine officially recorded only 208 flu cases across the state. That's fewer cases than Maine recorded in a single week in prior years.
The answer for why flu cases declined dramatically may be found in the weeks following when Maine went into lockdown in March 2020. That season, new weekly cases peaked in mid-February, with over 900 new cases reported.
During the week ending March 14, 2020, there were 700 new cases. The following week, just over 400.
By the end of the first week of April, the Maine CDC had recorded just 15 new cases.
"The decrease in influenza circulation seen since the beginning of the COVID-19 pandemic was likely due to COVID-19 mitigation efforts such as masking, physical distancing, and staying home when sick," said Anna Krueger, a Maine CDC epidemiologist who specializes in influenza.
"We know that the number of influenza tests performed by several large laboratory facilities were at the same levels, and sometimes higher, than pre-pandemic seasons, suggesting the decrease in influenza cases was not a result in decreased testing," she said.
Flu-associated deaths and hospitalizations, as well as emergency room visits, continue to be much lower over the past two years compared to pre-pandemic.
There were just four flu-associated hospitalizations and no deaths during the 2020-2021 season, for example. The season prior, there were 517 hospitalizations and 42 deaths.
It's still impossible to say definitively that the sharp drop in cases in the spring of 2020 was due to mitigation efforts or because many people were avoiding going to a doctor's office, where they would get tested for the flu, Krueger said.
"Though we may never know, we do know that the levels remained lower for the remainder of the 2020-2021 season and the 2021-2022 season, during which time influenza testing levels returned to pre-pandemic levels," she said.
Nationally, the 2021-22 flu season "peaked later in the season than any other influenza season on record," Krueger said. In Maine, cases peaked in May.
"It is thought that this may have been influenced by the interruption of influenza circulation since the start of the COVID-19 pandemic. Influenza and many other respiratory viruses have not yet gotten back to pre-pandemic circulation patterns."
Baker, the pediatrician, said he's seen that at his practice. When he spoke to the Sun Journal just before the school year began in August, he noted this "whole shift, seasonal shift, of infections (that) has occurred," with the flu being "probably the prime example."
Around the same time last year, Dr. Gretchen Pianka, also a pediatrician at Central Maine Pediatrics, told the Sun Journal "we are definitely seeing a very strange season for viruses in general."
She was seeing a lot of children who came in with several co-occurring viral infections "that don't usually overlap."
"The only thing that I can think of from kind of the public health standpoint is that we started seeing all of this when everybody had started moving around more, stopped masking, stop doing all of the careful precautions that we were doing during the height of the COVID pandemic," she said.
"So when everybody was being really careful, we were seeing hardly any viral illnesses in the kids. And then everybody started kind of moving around and doing more relaxed precautions, and then we're seeing a lot of viral transmission in unusual ways," Pianka said.
The coming weeks will be telling for the flu season, Baker predicted in August. Usually, the first few weeks of the school year have an "eerie quiet," he said. "But then, give it about three or four weeks and then the floodgates open."
UNE medical school's move to Portland will allow it to grow and train more doctors
Maine has costliest COVID telehealth screenings, national survey says
COVID-19 pandemic, flu, health care, lewiston maine, listen, Maine Center for Disease Control and Prevention


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Who Was MD Anderson
President Peter WT Pisters, M.D.
President's Advisory Council
Who Was MD Anderson?
Frugality and thrift, industry and integrity — these were the most prominent characteristics of Monroe Dunaway Anderson. To these may be added shrewdness and acquisitiveness, which made him wealthy beyond most men of his time. He was also friendly, humble, kind, humorous and a little bashful.
Monroe Anderson was born June 29, 1873, in Jackson, Tenn., a small city 70 miles northeast of Memphis. His father was the first president of Jackson's First National Bank, which he helped organize. His mother was the daughter of the Rev. William Monroe Dunaway, a Cumberland Presbyterian minister.
His Scottish Presbyterian ancestors endowed him and his siblings with frugality and thrift; indeed, these qualities prevailed widely in a South devastated economically as well as physically by the recently ended Civil War.
Monroe attended Jackson's public schools and Southwestern Baptist University at Memphis before going to work in Jackson's other bank, the Peoples' National, where he learned the banking business thoroughly.
In 1904, his older brother Frank and Frank's brother-in-law, Will Clayton, decided to establish a partnership to engage in buying and selling cotton. They needed more capital and invited Monroe to become a partner. Thus was established Anderson, Clayton and Co., with its principal office in Oklahoma City, a new city in Oklahoma Territory where cotton grew bountifully. In 1905, Ben Clayton, Will's younger brother, was made a partner, raising the partnership to four members — two Andersons and two Claytons.
In Jackson, Monroe continued his banking career until 1907, when he moved to Houston to give his company access to larger banks and, eventually, to deep water shipping on completion of the Houston Ship Channel in 1914.
With full-time devotion to partnership affairs, he became the chief financial officer and later, following incorporation, he was named treasurer. For a time, he also served as president of Anderson, Clayton and Co.
The company continued to prosper, and Monroe became wealthy through a combination of good management, good fortune, and the capable efforts of himself and his energetic associates. Anderson, Clayton and Co. came to be the world's largest merchant of the world's most popular commodity; for nearly a century it was known as "King Cotton."
Foundation established
In the mid-1930s, MD Anderson and Will Clayton owned more than half the corporation's stock. The death of either, if resulting in a large estate tax, might have made it necessary to liquidate the company. Partly for this reason, in 1936,
MD Anderson created the charitable foundation that bears his name and funded it with about $300,000. This foundation was destined to receive $19,000,000 more after Monroe's death in 1939.
The charter of the MD Anderson Foundation did not specify precisely how its money should be used, but the trustees leaned strongly in the direction of health care.
Soon after taking possession of the estate from its executors, the trustees noted that the 1941 Texas Legislature had authorized The University of Texas to establish a hospital for cancer research and treatment somewhere in the state. No location was specified, but $500,000 was appropriated for the purpose. The Anderson Foundation agreed to match this sum if the hospital would be built in Houston and named for its benefactor. A site was offered in the new Texas Medical Center, another creation of the Anderson Foundation.
The Baker estate
The hospital began its operations in temporary quarters on the James A. Baker estate at 2310 Baldwin Street in downtown Houston during World War II, under the acting director, Ernst W. Bertner, M.D. MD Anderson Cancer Center rightly regards the Baker home and extensive grounds as its place of birth. Several war-surplus buildings were added in the late 1940s and 46 patients were being treated in those primitive quarters when the hospital moved to its current site in March 1954.
The first permanent building, clothed in pink marble, is now the core of a complex of more modern buildings that surround it. Those buildings are sheathed in concrete and glass; the Georgia quarry was depleted of pink marble before the demands of MD Anderson ran out.
MD Anderson is deeply indebted to the people who have worked here. Along with the MD Anderson Foundation trustees, Bertner deserves special thanks for developing a great medical center for Houston and serving as first president of the Texas Medical Center. He also was acting director of the cancer center during its organizational years, 1942-1945.
In 1946, the first full-time president, Randolph Lee Clark, M.D., took firm charge of the fledgling institution and lifted it to great heights in terms of successful operation and worldwide recognition. He served 32 years until retirement in 1978 and was followed by Charles A. LeMaistre, M.D., who continued the great work begun by Clark. LeMaistre's retirement in 1996 after 18 years brought in the third full-time president, John Mendelsohn, M.D., who in every way lived up to the standards of excellence exhibited by his predecessors during his 15-year tenure. Ronald DePinho, M.D., served as president from 2011 to 2017 and launched MD Anderson's ambitious Moon Shots Program.
It may truthfully be said that MD Anderson Cancer Center is as much a monument to Lee Clark and his successors, and to the thousands of physicians, scientists, nurses and others who dedicated themselves to this splendid institution, as it is to the memory of the man whose name it bears.
While he died unmarried and childless, MD Anderson was the "father" not only to the Texas Medical Center and the institution that bears his name, but also to libraries, auditoriums, college buildings and even a planetarium in his native Jackson. If he were to return to earth and look about, he would be amazed and probably a little amused at the prominence his name has attained throughout the civilized world.
This historical overview was written by Thomas D. Anderson, a nephew of Monroe D. Anderson and a devoted friend of the institution that bears his uncle's name. Tom Anderson was a member of MD Anderson's Board of Visitors from 1962 until his death in 2007 and chaired the board from 1965 to 1974. His original text has been amended to bring the MD Anderson story up to date.
Our Name, Through the Years
Creating a new cancer hospital and research center during the height of World War II was no easy task.
Building materials were scarce, and the government banned construction that did not qualify as defense or as essential to the health and safety of the people.
Doctors, likewise, were in short supply as many were away in the armed services.
The new state cancer hospital might never have been more than a piece of legislation but for the vision of Colonel William B. Bates, John H. Freeman and Horace M. Wilkins, trustees of the MD Anderson Foundation, who conceived a great medical center for Houston. They soon shared their dream with Ernst W. Bertner, M.D., a prominent physician interested in cancer control.
Before long, many farsighted Houstonians were talking about building a great cancer research facility and planning for a medical center that, in time, would extend hope and help to people throughout the world.
The institution known today as The University of Texas MD Anderson Cancer Center has had five different names:
1941: Established by the Texas Legislature as the Texas State Cancer Hospital and the Division of Cancer Research.
1942: Renamed M. D. Anderson Hospital for Cancer Research of The University of Texas to honor support from the MD Anderson Foundation.
1955: Name changed to The University of Texas M. D. Anderson Hospital and Tumor Institute at Houston.
1972: UT System reorganization led to the establishment of The University of Texas System Cancer Center, including both the hospital and research facility in Houston and the Science Park in Smithville.
1988: Name changed to The University of Texas M. D. Anderson Cancer Center to incorporate the worldwide name recognition associated with MD Anderson.


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Q: How to run a specific set of java code at a particular date and time requested by user I want my java program to be run at a specific date and time requested by the user which will be in the form of Timestamp the requested timestamp will be stored in the database and the code should start running at that point of time.
should I use Timer class for this or Quartz scheduler. please advice me a better solution. I am new to java so I'm not that familiar with these scheduler. if anyone can help me by giving a simple  example it'll be a great help for me how can I give the timestamp as parameter in timer .
for (int i = 0; i < 4; i++)
{
 if (bur[i] > 0) {
    if (bur[i] > qtm) {
      execOrder.add(i + 1);
      bur[i] = bur[i] -qtm;
      flagClounter++;
    } else {
      execOrder.add(i + 1);
      bur[i] = 0;
      flagClounter++;
   }
 }
}

if the above is the code part ..how can I use it using timer and how to give the Timestamp there or in Quartz. please help me.

A: Quartz scheduler is a very good option for achieving these kind of functionalities in java..Go with it.. http://www.tutorialsavvy.com/2012/12/quartz-scheduler-scheduling-job-in-java.html

A: You can use Quartz triggers..
Basically quartz has two type of triggers
1. Simple Trigger
2. Cron Trigger
Suppose if you want to run you Job on a particular Date and Time then use Cron Trigger. Cron trigger accepts Cron Expression which looks like below
expression=59 59 23 FRI * ?
Expression is says job should execute every Friday night at 11:59:59 PM
More expression can be obtained here.
On the other hand Simple trigger accepts milliseconds and executes once your application starts. i.e if Milliseconds specified is 10000, then job executes after 10000 milliseconds once application starts.

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text:
News, Reviews and Features 'It is damn hard to be this damn funny': THE PRUDES – Royal Court Theatre
'It is damn hard to be this damn funny': THE PRUDES – Royal Court Theatre
In London theatre, Opinion, Plays, Reviews by Victoria Sadler 28th April 2018 Leave a Comment
Royal Court Theatre – until 2 June 2018
The Prudes is one of those tricky shows where women in the audience, in particular, are required to overlook a few awkward moments, uneasy representations, and a few missteps from male creatives, in order to fully enjoy what is, genuinely, a laugh-out-loud comedy.
And it's interesting what this forces upon women critics such as myself because I feel, by pointing out these troublesome bits, I'm being a bit of buzz killer. That I'm some kind of feminist Mary Whitehouse listing the strikes against a play, which I know so many will love and enjoy.
So, at least let's start with the positives…. My God, The Prudes is funny. It is SO. DAMN. FUNNY. And so much of the plaudits for that must go to Sophie Russell and Jonjo O'Neill who are superb as the couple who sit in front of us, under the bubblegum pink awnings of this brilliantly sleazy 1970s style boudoir (blinding design from Fly Davis, btw) explaining to us what has brought them here, and what they are here to do.
It's such a great set-up. The audience is small and the area is intimate – but the problems facing this couple are big and intimacy is the one thing they don't have. For they've been together for nine years, but their sex life has gone. Vanished. For 14 months to be exact. And so they've come to this place – which, fascinatingly, is never quite explained – to have sex again in front of us. To give a public demonstration of their commitment and passion.
Only their anguish is a massive hurdle. They simply can't get down to it. There's too many issues and their awkwardness is palpable. The removal of the fourth wall is a dream come true as this man and woman drag us into their wrestling with all the familiar issues of mid-life crises, decreasing amounts of sex in long-term relationships, and the perils of passionate sex in this era where discussions about consent and women's rights are at the fore.
But, of course, for all the humour and attempts at political correctness, and that wonderful reveal of the power dynamics and routines of any relationship, there is something at the heart of this play that is meaningful, about the extent to which the topic of sex is never just superficial but, rather, reveals so much more about our true characters and histories.
Now, focusing a play around a 'will they, won't they' set-up always means that the idea can run out of steam quite quickly. Anthony Neilson cleverly addresses this by running the show at a sharp 75 minutes, which is the perfect running time. But, as I alluded to earlier, I can't truly say that this show is completely perfect. And that pains me to say.
So, first up… There is no place anymore for R Kelly. None. This play opens with the immediately recognisable beats of Bump-n-Grind, and those very lyrics are included in the dialogue later down the line. And, frankly, I'm amazed that there is any production out there that thinks including this man and this track is OK, and especially one that references abuse in its own dialogue with comments about Saville and Spacey.
Worse, the use of R Kelly here is not ironic but to provoke a laugh. There we are, the audience, waiting for the show to start in this deliberately playful set with its shagpile rugs and baby pink billowing sheets and the first thing we hear, the point that signals the start of the show, is Bump n Grind. We are meant to laugh; it is there to provoke a giggle. Only R Kelly aint funny. He's a serial abuser on the cusp of finally being exposed for his dozens – DOZENS – of acts of rape and abuse to young girls and women over twenty years, at least.
For a show that is set up as an anguish over politically-correct sex in the post #MeToo era… yikes. This is a mis-step. I have politely asked the Royal Court to reconsider their use of this track in this show. We shall see what their response is. It'll be interesting to me, though, if they refuse, if they argue the song is integral to the production as, if so, that will really display the extent to which some are tiring of women talking about abuse and harassment.
But look, this happened, and I just parked it in my mind and went on with the rest of the show. And it was wonderful.
Jonjo's character is such a sweetheart, agonising over his inability to perform on cue, wrestling with his love for his partner versus the extent to which he watches pornography, and even trying to bite down on his requests for playfulness in their sex lives for fear it might not be appropriate. Sophie on the other hand is down for it and, more than this, an ultimatum is quickly made.
I suppose some might find this an interesting challenge as it is usually women who are portrayed as less enthusiastic for sex. And, indeed, society still excuses many affairs that heterosexual men have on the assumption that his partner does not give him what he needs.
This play looks to flip this. I acknowledge that but… I don't know, I just don't know… *sigh* You see, I'm kinda over feeling sorry for men. This play is compelling us to feel sorry for Jonjo's character here. Hell, even Jonjo's BEAUTIFUL depiction of this insecure man whose own self-worth is wrapped up in his (in)ability to have sex tugs at our heartstrings And you fall under the spell… You laugh along, your heart goes out to him…
But then you come out afterwards. The show sort of mills around your head…. You weigh up the bits you loved and then it hits you – you've been manipulated into feeling sorry for men and what they have to contend with in this post-Weinstein era.
Don't get me wrong, guys, but women are having to deal with much more.
Anthony Neilson is clearly aware of this in some way and tries to address this, even quite directly at times, by dragging in an argument over 'nuance.' But as Sophie finds herself reduced to bashing her fella over the head again and again with a pillow shouting, 'you want nuance?!!', this suddenly felt a bit Punch and Judy. And we all know where that sits on the spectrum these days of what's appropriate and what isn't.
In fact, nuance is the very thing that Sophie's character is denied. She acknowledges with the internal eye-roll how she has been shoe-horned into the 'softly softly' approach with her guy so not to crack his fragile ego. But she is a woman who wants sex and if she can't get her guy to rekindle their intimacy, they're over.
That's a very black-and-white scenario and even when the secrets that Sophie has been hidden are revealed, these are quite traumatic. Again, black and white. Sophie's character is, in fact, completely denied nuance. She is denied any opportunity to have a sexual history that is simply confusing rather than harrowing.
So anyway… I feel like a bit of a party pooper. And probably someone who has revealed a bit too much in the way of spoilers for the twists and turns in this production.
Yet – and this may surprise you – I would recommend anyone to see this show, I really would. It is damn hard to be this damn funny. Believe me when I say you will enjoy this play. You may even love it, and I would totally get that. But its missteps are entirely indicative of a male lens, which does make this problematic in parts. And that's a shame.
Victoria Sadler
Victoria Sadler is a writer living in London. In addition to theatre, she regularly reviews art, fashion, film, music, books and ballet and blogs for Huffington Post. Her books include Banking on Burlesque, a memoir about her past double life as an investment banker and burlesque performer, and her debut novel, Darkness. She is also a playwright and screenwriter, whose credits include The Murder of Anna Politkovskaya, Votes for Women and Burlexe. She tweets @VictoriaJSadler.
Tags: Anthony Neilson, Jonjo O'Neill, Royal Court, Sophie Russell, The Prudes, Theatre Reviews, Victoria Sadler
NEWS: Shakespeare's Globe announces its summer season 2020


With its powerful 200 watt engine, 2-speed motor and extended shaft length for processing larger batches than the Bamix domestic range. It also features a rubber membrane which seals the switches from getting liquid in them and a handy curly cord. At lower speed, it's great for blending light and airy dishes and smaller batches, and on high speed, it excels at firmer ingredients and larger quantities. All Bamix Gastro parts are resistant to corrosion and will leave no taste or smell. This model is submersible up to 25 cm.


Disclaimer: Photo displayed may include related/optional products not included in price. YOU MAY SEE THEM AT THE BOTTOM OF THIS PAGE. Computer monitors often display color variations.
With a combination of short and tall shelves, open and closed backs, this bookcase turns its cool contrasting construction into a decorative feature. This bookcase is sure to catch the eye and start conversations. And thanks to the smooth white finish, this piece would work equally well within a variety of interior styles.


As World War II was coming to a close, the Army had run in need of mathematicians and were willing to recruit women. Six women were accepted to work on "Project PX" at the University of Pennsylvania's Moore School of Electrical Engineering, new invention ideas under John Mauchly and S. Presper Eckert. The women's job were to program firing tables and ballistic trajectories using ENIAC. Their work laid the groundwork new ideas for inventions programming. The completed machine was unveiled on Feb. 14, 1946 at the University of Pennsylvania. Within the armed forces had funded certainly almost $500,000. It occupied about 1,800 square feet and used about 18,000 vacuum tubes, weighing almost 50 tons. It is widely considered to function as first computer invented, considering its highly functional status along with the late 1950s.
However, its "first" status was challenged in court when Rand Corp. bought the ENIAC patent and started charging royalties. Honeywell Inc. refused to pay and challenged the patent in 1968. It was learned that Mauchly, one of the leaders of the Project PX in the University of Pennsylvania, had seen an initial prototype of a system being built in the Iowa State College called the Atanasoff-Berry Computer.
In 1973, Ough.S. Federal Judge Earl R. Larson released his decision how to pitch an invention idea to a company the ENIAC patent by Mauchly and Eckert was invalid as well as the ABC was the first computer found. However, the ABC was never fully functional, so the most popular opinion to you'll need has the ENIAC as the first electronic computing piece of equipment. The Smithsonian Institute's Museum of American History in Washington displays most of the things remains of the ENIAC, alongside pieces of the ABC.
However, there's another twist to this tale. The easiest computer is an electric device designed to just accept data, perform prescribed mathematical and logical operations and display the results. Germany's Konrad Zuse created what was critically the first programmable calculator in the mid-1930s in his parent's living room. Zuse's Z1 had 64-word memory and a clock speed of 1 Hz. Programming the the Z1 required the user to insert tape suitable punch tape reader and then receive his results via a punch tape dispenser – making it possibly the first computer invented.


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New App Lets You Invent A Language for Science
By Amber Jorgenson | May 15, 2018 3:20 pm
(Credit: Shutterstock)
Phone apps often get a bad rap for being distracting time-wasters (I'm looking at you, Reddit), but some seek to challenge the minds of their users and put the resulting data to good use. And maybe even invent a new language in the process.
The Color Game app uses colors and symbols to study the evolution of language. Created by researchers at the Max Planck Institute for the Science of Human History in Germany, the app is looking to uncover clues to an age-old question — how did human communication evolve? Unfortunately, we aren't advanced enough to hop in our time machines and watch it happen, but we are advanced enough to request the help of citizens and their smartphones.
The app connects two players, a sender and a receiver, who must attempt to communicate through colors and symbols rather than written or spoken language. The sender is assigned a color and an assortment of black and white symbols, from which they select the symbols they feel best represent the color. They send the symbols to the receiver, who must figure out what color they describe.
Sounds like your typical game of strategy, right? Wrong.
"The Color Game is not a puzzle game, it's not about decoding symbols," said project lead Olivier Morin in a news release. "The only code that has to be broken is the language that you and the other players will invent."
Before the app launched, 647 participants were asked to associate one of the game's 35 symbols with one of its 32 colors, or vice-versa. The researchers will use these pre-existing correlations to compare how color and symbol associations change as players create their own symbolic language with an opponent. The app allows participants to play with specific partners for as long as they want, so the longer the game goes on, the more the pair's unique, personalized language evolves.
Out With the Old, In With the Digital
Unlike the Color Game, controlled studies have a lot of limitations. They often observed closed-transmission chains — where one person is asked to relay a message to another, like a game of telephone. But in real life, people can transmit messages however and to whomever they please. The app's open-ended transmission chain provides a more realistic scenario: a platform where participants can uniquely communicate with other players, and switch up their partners if they aren't communicating effectively.
The researchers paper on the app was recently accepted by the Journal of Language Evolution.
The Color Game isn't without limitations, though. While the app enforces anonymity within the game, along with consent to data usage, increasing concern over data privacy could pose a threat to overall participation, the researchers worry.
But so far, the app has proven quite successful. Early results indicate that players are more likely to select the correct color than they would with random selection, and as they begin to make correlations between symbols and colors, their game improves. The developers have a few other hypotheses about the experiment, but to avoid player biases, they won't be made available to the public until one year after the app's release.
So until then, while you're putting off work or doing the dishes or whatever else, remember that you can take a break from browsing memes and help solve a much deeper mystery.
CATEGORIZED UNDER: Technology
MORE ABOUT: brain structure & function, evolution, gadgets, human origins, language, psychology


Like most other states, Arizona has a statute of limitations for personal injury and insurance bad faith cases. The statute of limitations is the time in which a claim must be brought in order to be heard by the courts. If a claim is not brought until after the expiration of the statute of limitations, the claim will be dismissed by the courts, and the person bringing the claim will not otherwise be able to sue for damages.
In Arizona, the statute of limitations for personal injury claims and insurance bad faith is two years from the date that the injury or action occurred. In some cases, such as a car accident case, the date that the injury occurred is obvious. In other instances, including insurance bad faith, the date that the actual wrongdoing occurred may not be obvious.
As a result,in order to ensure that rights are properly preserved, it is better to initiate a lawsuit well before the statute of limitations may expire.
If You Have Been Injured Due to the Negligence or Actions of Someone Else, or if You Have Been the Victim of Insurance Bad Faith, Please Call Me.
I can meet with you any time that is convenient with your schedule so that I can learn about your case, and so that you can learn about how I and my firm may be able to help you. There is no fee or obligation for this meeting, and if you retain us for a personal injury or insurance bad faith matter, we will serve as your counsel on a contingent fee basis. This means that there is no fee to us unless or until a recovery is made for you.


The mission of the Lake Jackson Historical Association is to provide education relative to the history and culture of an area of Brazoria County, Texas known as Lake Jackson.
The Lake Jackson Historical Associaiton runs and operates three seperate properties, including the Lake Jackson Historical Museum, Abner Jackson Plantation site and the historic Alden B. Dow Office Museum. The Association is committed to providing educational exhibits and programs for children and adults alike.
Would you recommend Lake Jackson Historical Association?


The propagation of transient elastic waves in a three-dimensional multilayered medium subjected to general dynamic loadings is analyzed in this study. One of the objectives of this study is to develop an effective analytical method for determining transient full-field solutions in the multilayered medium subjected to nonaxisymmetric dynamic loadings. The wave field is decomposed into two parts; one is the P-SV system of waves and the other is the SH system, each of which propagates independently in a horizontally layered medium. A simple relationship between solutions of two- and three-dimensional problems in the Fourier transform domain is also presented. A matrix solution in the triple transform domain is obtained by Brownwich expansion and the inverse transform is inverted by Cagniard's method. The matrix representation of the solution can be easily used to calculate the transient response of the multilayered medium without tracing the ray path manually. The formulas presented in this study enable us to calculate the long-time transient responses of the multilayered medium for three-dimensional configuration. The theoretical transient solution for a layer overlaying a half-space subjected to an arbitrarily oriented point force is presented in detail. The numerical calculations are compared with experimental measurements for the surface displacement response on a plate and a layer overlaying a half-space subjected to an axisymmetric point force. The numerical investigation is also carried out for nonaxisymmetric loading problem of a layer overlaying a half-space.
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Banerjee, S., Prosser, W. H., and Mal, A. K., 2005, "Calculation of the Response of a Composite Plate to Localized Dynamic Surface Loads Using a New Wave Number Integral Method," ASME J. Appl. Mech. [CrossRef], 72 , pp. 18–24.
Prosser, W. H., Hamstad, M. A., Gary, J., and O'Gallagher, A., 1999, "Finite Element and Plate Theory Modeling of Acoustic Emission Waveforms," J. Nondestruct. Eval. [CrossRef], 18 , pp. 83–90.
Cagniard, L., 1939, "Reflexion et Refraction des ondes Seismiques Progressives", Cauthiers-Villars, Paris;Translated into English and revised by FlinnE. A. and DixC. H., 1962"Reflection and Refraction of Progressive Seismic Waves", McGraw-Hill, New York.
Pao, Y. H., and Gajewski, R., 1977, "The Generalized Ray Theory and Transient Responses of Layered Elastic Solids," "Physical Acoustics", Mason, W.P., and Thurston, R.N., eds., Academic, New York, Vol. 13 , Chap. 6, pp. 184–266.
Mencher, A. G., 1953, "Epicentral Displacement Caused by Elastic Waves in an Infinite Slab," J. Appl. Phys. [CrossRef], 24 , pp. 1240–1246.
Knopoff, L., 1958, "Surface Motion of a Thick Plate," J. Appl. Phys. [CrossRef], 29 , pp. 661–670.
Davids, N., 1959, "Transient Analysis of Stress-Wave Penetration in Plate," ASME J. Appl. Mech., 26 , pp. 651–660.
Weaver, R. L., and Pao, Y. H., 1982, "Axisymmetric Elastic Waves Excited by a Point Source in a Plate," ASME J. Appl. Mech., 49 , pp. 821–836.
Davids, N., and Lawhead, W., 1965, "Transient Analysis of Oblique Impact of Plates," J. Mech. Phys. Solids, 13 , pp. 199–212.
Ceranoglu, A. N., and Pao, Yih-Hsing, 1981, "Propagation of Elastic Pulses and Acoustic Emission in a Plate," ASME J. Appl. Mech., 48 , pp. 125–147.
Achenbach, J. D., and Xu, Y., 1999, "Use of Elastodynamic Reciprocity to Analyze Point-Load Generated Axisymmetric Waves in a Plate," Wave Motion, 30 , pp. 57–67.
Spencer, T. W., 1960, "The Method of Generalized Reflection and Transmission Coefficients," Geophys. J., 25 , pp. 625–641.
Pekeris, C. L., Alterman, Z., Abramovici, F., and Jarosh, H., 1965, "Propagation of a Compressional Pulse in a Layered Solid," Rev. Geophys., 3 , pp. 25–47.
Aki, K., and Richard, P. G., 1980, "Quantitative Seismology: Theory and Methods", Freeman, San Fransico.
Van Der Hijden, J. H. M. T., 1987, "Propagation of Transient Elastic Waves in Stratified Anisotropic Media", Springer Verlag, New York.
Müller, G., 1968, "Theoretical Seismograms for Some Types of Point-Source in Layered Media, Part I: Theory," Z. Geophys., 34 , pp. 15–35.
Müller, G., 1968, "Theoretical Seismograms for Some Types of Point-Source in Layered Media, Part II: Numerical Calculations," Z. Geophys., 34 , pp. 147–162.
Müller, G., 1969, "Theoretical Seismograms for Some Types of Point-Source in Layered Media, Part III: Single Forces and Dipole Sources of Arbitrary Orientation," Z. Geophys., 35 , pp. 347–371.
Lee, G. S., and Ma, C. C., 2000, "Transient Elastic Waves Propagating in a Multi-Layered Medium Subjected to In-Plane Dynamic Loadings. I. Theory," Proc. R. Soc. London, Ser. A, 456 , pp. 1355–1374.
Ma, C. C., and Lee, G. S., 2000, "Transient Elastic Waves Propagating in a Multi-Layered Medium Subjected to In-Plane Dynamic Loadings. II. Numerical Calculation and Experimental Measurement," Proc. R. Soc. London, Ser. A, 456 , pp. 1375–1396.
Su, X. Y., Tian, T. Y., and Pao, Y. H., 2002, "Application of the Reverberation-Ray Matrix to the Propagation of Elastic Waves in a Layered Solid," Int. J. Solids Struct., 39 , pp. 5447–5463.
Achenbach, J. D., 1973, "Wave Propagation in Elastic Solid", North-Holland, Amsterdam.
Ma, C. C., and Lee, G. S., 1999, "Theoretical Analysis, Numerical Calculation and Experimental Measurement of Transient Elastic Waves in Strips Subjected to Dynamic Loadings," Int. J. Solids Struct. [CrossRef], 36 , pp. 3541–3564.
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Ma C, Lee G. General Three-Dimensional Analysis of Transient Elastic Waves in a Multilayered Medium. ASME. J. Appl. Mech. 2005;73(3):490-504. doi:10.1115/1.2125989.


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Bradford business wins four prestigious Garden Centre Association awards
The team at Tong Garden Centre are celebrating after winning four awards at the North East and North West regional Garden Centre Association (GCA) awards.
Tong collected awards in four out of eight categories for the North East region. It won Garden Centre of the Year in Destination Garden Centre Category and also won the GIMA Award for Gardening, the Best Outdoor Living Award for Best Outdoor Living Retailer and Best Indoor Lifestyle Award for Best Indoor Lifestyle Retailer.
Tong's Commercial Director, Sharon McNair picked up the awards at the presentation that was hosted by Tong on 2nd September: "We're so proud of our team and absolutely delighted that their hard work has been rewarded with these awards in what has been a very challenging year. The team have faced staff shortages, stock issues and pandemic conditions, but have continued to give our customers exceptional service and a great experience."
The GCA is a group of 163 garden centres that champions professionalism and membership is only awarded to businesses that pass a stringent audit covering all aspects of garden centre retailing excellence. The results of the annual audit, for which Tong was awarded Highly Commended, form the basis for the awards. Tong will now go forward to the national awards taking place in January at the annual GCA conference.
GCA Inspector Alyson Haywood said: "Tong Garden Centre continues to build an exceptional experience for the customer and is well deserving of Destination Garden Centre of the Year in the North East region. Inspirational displays and a fantastic choice for customers across gardening ranges, lifestyle retailing and outdoor living as well as a content-rich website that has clearly been built with the user in mind stood out as areas of excellence during the judging."
Established in 1966, the GCA believes in sharing information and experiences at all levels, from senior management to the shop floor. Every year, its members must undergo a comprehensive annual inspection to ensure they continue to meet the stringent criteria set out by the association and therefore maintain membership.
Tong Garden Centre occupies a 19 acre site in Tong village. It is one of Yorkshire's biggest independent garden centres with 125,000 square feet of retail space and parking for up to 700 cars.
Company: TGC (2015) Ltd
Website: www.tonggardencentre.com
« Law firm Gordons appoints five new solicitors bringing the total fee-earners recruited since start of year to 16
Leeds International Festival of Ideas presents In conversation with Mary Portas »


Jim Knicely authored this post. The predicate SQL element (i.e., the WHERE clause) is a truth-test. If the predicate test is true, it returns a value. Each predicate is evaluated per row, so that when the predicate is part of an entire table SELECT statement, the statement can return multiple results. Sometimes you might want your predicate to return true if both sides of the equation is NULL. To accomplish this, I've seen folks use the NVL function on both sides of the equation to convert the NULL to the same value. Example: dbadmin=> SELECT 'I am true!' truth_test FROM dual WHERE NULL = NULL; truth_test ------------ (0 rows) dbadmin=> SELECT 'I am true!' truth_test FROM dual WHERE NVL(NULL, 'T') = NVL(NULL, 'T'); truth_test ———— I am true! (1 row) But a better way is to use a single DECODE statement: dbadmin=> SELECT 'I am true!' truth_test FROM dual WHERE DECODE(NULL, NULL, TRUE, FALSE); truth_test ------------ I am true! (1 row) Why? Performance of course! Example: dbadmin=> \timing on Timing is on. dbadmin=> SELECT COUNT(*) FROM big_varchar_table_10_mil AS a JOIN big_varchar_table_10_mil AS b ON a.pk = b.pk WHERE NVL(a.the_varchar, '0') = NVL(b.the_varchar, '0'); COUNT ———- 10000000 (1 row) Time: First fetch (1 row): 79650.085 ms. All rows formatted: 79650.133 ms dbadmin=> SELECT COUNT(*) FROM big_varchar_table_10_mil AS a JOIN big_varchar_table_10_mil AS b ON a.pk = b.pk WHERE DECODE(a.the_varchar, b.the_varchar, TRUE, FALSE); COUNT ———- 10000000 (1 row) Time: First fetch (1 row): 6556.634 ms. All rows formatted: 6556.680 ms Have fun!


The median price for Palm Springs area single-family, re-sale homes was up again in November. Home sales continued to be anemic for both detached and attached re-sale properties.
The median price for single-family, re-sale home was up 8.8% year-over-year. That is the thirty-second month in a row the median price has been higher than the year before.
Sales of single-family, re-sale homes fell 12.8% last month compared to November 2013. That's fourteen months in a row home sales have been lower than the year before. Year-to-date, home sales are down 34.2%.
Attached homes and condo sales were off 15.2% year-over-year. Year-to-date, sales are down 29.7%.
The median price for attached homes and condos was up 12.5% from October, but it was up only 0.1% year-over-year.
Since January 2014, the 3-month moving average median price is down 7.2% for attached homes. It is up 43.7% from the bottom of the market which was in October 2011.


Personal data is any information that can be used to identify you. It can include information such as your name, gender, date of birth, personal or professional interests, e-mail address, postal address, telephone numbers or bank details. It can include information taken from you to enable us to carry out credit or other financial checks on you. The type and quantity of information we collect and how we use it depends on why you are providing it. We promise that we will only gather information from you that is adequate and relevant to be used for an explicit and specific purpose.
We collect personal data about you when you register with us as an applicant to view to rent a home; instruct us to provide you with a lettings valuation. We will also require your personal data when extending your lease or applying for a job with us. We will collect this information in person, over the telephone, by post, by email or via our websites.
We may also obtain information about you from other sources, such as a family member or friend.
Regular telephone contact to inform you about any new properties that you may be interested in.
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Regular email contact following a valuation, instruction or to progress a rental.
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We may use your personal information to look into, and respond to, complaints, legal claims or other issues.
We will use your bank account details to process rent, service charges, contractual fees and marketing costs associated with our services.
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For our legitimate interests or those of a third party, i.e. to promote our business to existing and former customers.
External audits and quality checks, i.e. for ISO or Investors in People accreditation and the audit of our accounts. For our legitimate interests or those of a third party, i.e. to maintain our accreditations so we can demonstrate we will operate at the highest standards.
We have a legitimate interest in processing your personal information for promotional purposes (see "Why we use your personal information"). This means we do not usually need your consent to send you promotional communications. However, where consent is needed, we will ask for this consent separately and clearly.
We will always treat your personal information with the utmost respect and never sell or share it with other organisations outside The Property Resource Ltd for marketing purposes.
We only share personal information with outside service providers if we are satisfied that they take appropriate measures to protect your personal information. We will carry out a suitable risk assessment on such third parties to ensure this is the case.
It may also be necessary to share your personal data with a number of contractors to fulfil our duties as a managing agent.
We may disclose information with law enforcement agencies and regulatory bodies to comply with our legal and regulatory obligations.
To be Forgotten The right to require us to delete your personal information – in certain situations.
Restriction of Processing The right to require us to restrict processing of your personal information – in certain circumstances i.e. if you contest the accuracy of the data.
Data Portability The right to receive the personal information you provided to us, in a structured, commonly used and machine-readable format and/or transmit that data to a third party – in certain circumstances.
In certain other situations to our continued processing of your personal information i.e. processing carried out for the purpose of our legitimate interests.
Not to be subject to automated individual decision making The right not to be subject to a decision based solely on automated processing (including profiling) that produces legal effects concerning you or similarly significantly affects you.
For further information on each of those rights, including the circumstances in which they apply, please contact us or see the Guidance from the UK Informational Commissioner's Office (ICO) on individuals' rights under the General Data Protection Regulation.
HOW CAN YOU ASK US TO STOP USING YOUR PERSONAL DATA?
By post: The Property Resource Ltd, 3 Cobden Road, London SE25 5NY.
You will always have control over your personal data. You have the right to request information about the data we hold on you at any time for free. We promise to provide access to that data, free of charge and within 1 month of your request. You have the right to correct your data and update your preferences at any time. You have the right to have your data erased at any time.
HOW CAN YOU LODGE A COMPLAINT ABOUT THE WAY IN WHICH THE WE HAVE USED YOUR DATA?
If you have contacted us and you are unhappy with the way in which we have dealt with your query regarding the use of your data then it is within your rights to lodge a complaint with a supervisory authority.
HOW LONG DO WE KEEP YOUR DATA FOR AND WHO HAS ACCESS TO IT?
Everyone who handles your data has a responsibility to protect it in accordance with the law. Acorn Limited has a comprehensive Computer Use & Data Protection Policy in place to ensure that staff members are aware of the regulations surrounding the use of personal data.
All staff that has access to your data are sufficiently trained and where your data is stored on our encrypted servers, passwords are required for access. We will keep information for a reasonable amount of time in order to perform the purposes listed above. We only keep your information for as long as necessary. In line with The Property Ombudsman's (www.tpos.co.uk) code of practice, we generally keep personal information for 7 years after our last contact with you. However we reserve the right to keep information for longer if we feel that this is in our legitimate interests.
We will not transfer or store your personal details outside of the EU.
We have appropriate security measures in place to prevent personal information being accidentally lost or used or accessed unlawfully. We limit access to your information to those who have a business need for it.
In the event of a data breach we will contact the ICO (Information Commissioner's Office) within 72 hours where we are legally required to do so. The consequences of the breach will be documented and the appropriate actions will be taken to mitigate the consequences.
We will also notify you without undue delay should the breach poses a high risk to your rights and freedoms.


CAN FBCC PRIMEKNIT DYE, DYE OVER BRIGHT COLORS? NOT REALLY PRIMEKNIT DYE IS FOR LIGHT COLORS SUCH AS WHITE AND LIGHT GRAYS, BRIGHT COLORS MEAN THAT IT HAS ALREADY BEEN DYED AT THE FACTORY.
HOW DO I KNOW I APPLIED ENOUGH SET AND SEAL TO MY DYE? IF YOU SQUEEZE THE BLACK RUBBER TIP ON THE DROPPER BOTTLE, THEN PUT THE GLASS VILE INTO THE SET AND SEAL AND THE GLASS VILE IS COMPLETELY FILLED WITH WHITE SET AND SEAL, THEN YOU ADD THAT TO THE DYE.. YOU HAVE NOW ADDED THE CORRECT AMOUNT OF SET AND SEAL.
HOW DO I USE FBCC SHOE GLUE? APPLY THE SHOE GLUE TO ONE SIDE THAT YOU WANT TO GLUE.. THEN APPLY THE SHOE GLUE TO THE OTHER SIDE YOU WANT TO GLUE, THEN LET THEM (DRY SEPARATELY FOR 5-10 MINS) ONCE BOTH SIDES ARE DRY, NOW THEY ARE READY TO BE ATTACHED TO EACH OTHER, THIS GOES FOR FABRIC AS WELL AS RE-GLUES.


I recently wrote a White Paper on the subject of 3D Printing being the best way to connect students to the art of making something again as well as being a great opportunity for anyone to start a business out of their house for a very low cost.
Innovation in technology is moving at warp speed and the skill sets to work in this new environment are very different from the skill sets required up to 2010. The advent of social media, holograms, VR Devices, Coding, Nano Technology, Medical advances, robotics and artificial intelligence, aerospace and automotive advances have pushed the envelope of rapid design and implementation to a new level. This has created excitement on one hand and fear on the other.
For those under 35, the world is controlled in the palm of their hand via their smart phone. They can, in reality, take control of every aspect of their business and home life through this device. For most of this generation, not having access to the internet is more frightening than not eating for two days. Working in the digital world is second nature to the majority of this group. That is why they look at future employment from this vantage point as opposed to the working in a cubicle doing paper work or on the assembly floor or, God forbid, working with machinery.
For this generation, working with 3D Printers is in complete alignment with their work philosophy. In order to print an object you must be able to create an object using some form of 3D modeling software. This gaming generation understands working in 3 dimensions and easily adapts to the skills required to create 3D models that can be built on 3D Printers. Even children as young as 6 years of age can grasp the concept of working with simple, browser based 3D modeling software like Tinkercad.
Additionally, 3D Printing is cool. It is an easy way to create anything. Once a child holds something in their hand that they created the "a ha" moment takes place. They now see 3D Printing as a partner in their digital world. This is important as it hopefully creates the spark for them to continue to look at creating hard technologies part of their employment future. It is also the best way to get young people to consider moving into needed skills such as CNC operators or machinists and product specialists.
You can view the White Paper on our website at: http://www.liteworldllc.com or you can contact me directly at: donmusilli@liteworldllc.com. LiteWorld is an authorized reseller for the LulzBot line of TAZ 3D Printers and our own LiteWorld enclosure.


text:
Q: JavaScript conditions Protractor testing I have an exercise that cant solve
Check that the page loaded is the expected one.
a. Yes: Continue with the test.
b. No: Return an Error notifying that the page loaded is not the expected one.
How can write these conditions below in my test case?
I am 100% sure its wrong but cant find the correct way how to write it.
const {element, by} = require ("protractor")
const {ExpectedConditions} = require('protractor')

describe('wefox task', function(){
    it('login', async function(){
        await browser.get('URL');
        if (window.location.href=='URL')
        {
            const user_input = element(by.css("body > wf-root > wf-public-layout > section > div > div > wf-login-page > section > form > div > div > div.wf-c-field.wf-u-pb-24 > div"))
            const username = element(by.id('user_name'))
            const pass_input = element(by.css("body > wf-root > wf-public-layout > section > div > div > wf-login-page > section > form > div > div > div.wf-c-field.--password.wf-u-pb-32 > div"))
            const password = element(by.id('password'))
            const btn_login = element(by.css('body > wf-root > wf-public-layout > section > div > div > wf-login-page > section > form > div > div > button'))
            const button = element(by.buttonText('Anmeldung'))

            await browser.wait(ExpectedConditions.visibilityOf(username),10*1000)
            await browser.wait(ExpectedConditions.elementToBeClickable(user_input),10*1000)
            await browser.wait(ExpectedConditions.visibilityOf(password),10*1000)
            await browser.wait(ExpectedConditions.elementToBeClickable(pass_input),10*1000)

            await user_input.click ()
            await username.sendKeys ("login")
            await pass_input.click ()
            await password.sendKeys ("password")
            await btn_login.click()

            await browser.sleep(50000);
        } else {
            console.log ("error")
        }
    });
});

A: The simple if-else statement to check that URL is the expected one:
it('should verify the URL', async () => {
    const url = 'http://www.protractortest.org/#/';

    await browser.get(url);

    const expectedUrl = await browser.getCurrentUrl();

    if (expectedUrl === url) {
        //...
        console.log('success')
    } else {
        //...
        console.log('error')
    }
});

But I would recommend writing it with the 'expect' function:
it('should verify the URL', async () => {
    const url = 'http://www.protractortest.org/#/';

    await browser.get(url);

    expect(await browser.getCurrentUrl()).toBe(url);
});

Also, you may need to wait for the URL changes. There are some methods for it:
// Waits for the URL to be 'http://www.protractortest.org/#/'.
await browser.wait(ExpectedConditions.urlIs('http://www.protractortest.org/#/'), 5000);

// Waits for the URL to contain 'protractortest'.
await browser.wait(ExpectedConditions.urlContains('protractortest'), 5000);


text:
Physician Agrees to $1.5 Million Payment and 15-Year Exclusion To Settle Civil Monetary Penalty Case
media@oig.hhs.gov
Washington, DC -- Joseph A. Raia, M.D., agreed to resolve his liability for submitting false and fraudulent Medicare claims, the Office of Inspector General (OIG) for the U.S. Department of Health and Human Services is announcing today. Dr. Raia will pay $1.5 million in assessments and penalties and be excluded from participation in all Federal health care programs for at least 15 years under the terms of the agreement.
OIG alleged that between January 2006 and November 2011, Dr. Raia submitted, or caused to be submitted, thousands of claims for physical therapy and related physical medicine and rehabilitation services to Medicare for services that were never provided or were otherwise false or fraudulent.
Dr. Raia, a physiatrist licensed in New Jersey and New York, was the owner and chief operating officer of Grafton Medical Center, PC, and Joseph A. Raia, M.D., P.C., physical medicine and rehabilitation practices located in Newark and Brooklyn. Dr. Raia was also an employee of a physician group practice with multiple locations in Brooklyn.
OIG had initiated an administrative case alleging the following conduct. Dr. Raia submitted claims to Medicare for the provision or supervision of physical therapy and related services for which he was not in the State where the services were allegedly performed. Dr. Raia submitted claims for physical therapy and related services simultaneously rendered in five different locations in two States.
Additionally, OIG alleged that Dr. Raia had improperly used chiropractors to provide physical therapy services "incident to" his professional services. OIG alleged further that Dr. Raia had routinely submitted claims for time-based procedures that exceeded 24 hours in one day.
"This settlement and its significant period of exclusion send a strong message that physicians who defraud Federal health care programs face significant consequences," said Gregory E. Demske, Chief Counsel to the HHS Inspector General. "OIG is committed to using our administrative enforcement tools to take action against physicians who are stealing from taxpayers by falsely billing the Medicare program."
Under the Civil Monetary Penalties Law (CMPL), OIG may seek civil money penalties, assessments, and exclusion for causing the submission of false or fraudulent claims to Federal health care programs. The CMPL is designed to deter persons from defrauding Federal health care programs, to compensate those programs for damages resulting from such fraud, and to protect the integrity of these programs.
Mr. Demske credited special agents from OIG's Office of Investigations, New York Regional Office, under the direction of Special Agent in Charge Tom O'Donnell, with conducting the investigation leading to the settlement of this matter.
OIG was represented in the investigation and litigation of this matter by the following legal staff: David M. Blank, Tamara T. Forys, Lauren E. Marziani, and Karen Glassman, with assistance from Mariel Filtz.
In resolving this matter through settlement, Dr. Raia has denied any liability. No judgment or finding of liability has been made against Dr. Raia.


The EKI-9500 series switch is designed for railway application with rugged and high EMC performance, being suitable for networking solution for rolling stock and wayside applications. The EKI-9500 series provides M12 connectors for Ethernet/ console/ relay/ power input connections to ensure tight & robust connectivity, and thus to guarantee reliable operation against environmental disturbances such as vibration and shock on train.
The EKI-9508G-MH & EKI-9508G-ML are managed Ethernet switches that provide 8 x Gigabit Ethernet M12 X-code port interface. The EKI 9508G-MH/ ML features "slim" designs which can be easy deployed with its slender size and make the network deployment easier in crowded carriage/ cabinet.


from the first smack of the opening break to the satisfying sound of the winning ball dropping in. Pool tables are rented by the hour, so there's no need to bring a pocket full of quarters and you won't be challenged for your table. Whether you're super competitive or just like a friendly game with lively conversation, Flattop is the perfect venue. Our Olhausen tables are impressive enough for the serious shooter, but our laid back vibe will make even the most casual player comfortable. 8-ball. 9-ball. We've got it all.
We're all about fun at Flattop Pizza + Pool, but we take pool very seriously. That's why we feature Grand Champion 3 tables by Olhausen Billiards. These beauties are eight feet of sturdy, elegant design. With a diamond-honed 1" thick slate, these tables are built for the pros and have an authentic billiard hall feel. They're definitely not the typical crapola bar table. Olhausen has been manufacturing top of the line tables for over 40 years right here in America. Respect the table, but have fun!
Have a pool & pizza party!


Corporate and Branding House (CB House) in George supplies wide range BARRON wear. Their in-house design and branding team will take care of all your branding needs.
If you need any branded clothing or corporate gift items before the end of the year please note that all orders must be placed before Tuesday 12 December 2017.


text:
Perfect Strangers este al unsprezecelea album de studio al trupei Deep Purple, lansat în Octombrie 1984. Este primul album cu cea de-a doua componență și cea mai de succes a formației, reunită după 11 ani, ultimul disc înregistrat de aceasta fiind Who Do We Think We Are , apărut în 1973 .

A fost primul album Deep Purple după nouă ani. Ritchie Blackmore și Roger Glover s-au întors de la Rainbow, Ian Gillan de la Black Sabbath, Jon Lord de la Whitesnake iar Ian Paice din grupul lui Gary Moore.

Versiunile de pe CD și casetă ale albumului conțin o melodie bonus "Not Responsible". Albumul a fost remasterizat și reeditat pe 22 iunie 1999 cu o melodie instrumentală ca bonus "Son of Alerik".

Lista pieselor
 "Knocking at Your Back Door" (7:00)
 "Under The Gun" (4:35)
 "Nobody's Home" (Blackmore, Gillan, Glover, Jon Lord, Ian Paice) (3:55)
 "Mean Streak" (4:20)
 "Perfect Strangers" (5:23)
 "A Gypsy's Kiss" (4:40)
 "Wasted Sunsets" (3:55)
 "Hungry Daze" (4:44)

 Toate cântecele au fost scrise de Ritchie Blackmore, Ian Gillan și Roger Glover cu excepția celor notate.

Single-uri
 "Perfect Strangers" (1984)
 "Son of Alerik" (1985)
 "Nobody's Home" (1985)
 "Knocking at Your Back Door" (1985)

Componență
 Ritchie Blackmore - chitară
 Ian Gillan - voce
 Jon Lord - orgă, claviaturi
 Roger Glover - chitară bas
 Ian Paice - baterie

Albume din 1984
Albume heavy metal
Albume Deep Purple

redpajama_set_name: RedPajamaWikipedia


text:
Real Haunted Houses: House of Death
With a name as "House of Death", you have to do a lot to live up to the expectations. Fortunately, or perhaps unfortunately, the "House of Death" in New York City, located on 14 West 10th Street, has no trouble living up to these expectations.
Built in the late 1850s, the brownstone saw its share of famous people passing by, including Mark Twain aka Samuel Clemens, who only lived there for about a year, though.
In the late 1900s, the house was converted into several apartments.
An actress named Jan Bryant Bartell and her husband moved into the top floor apartment. Bartell claimed she had several paranormal experiences in the house, including hearing phantom footsteps and voices. Bartell later died in mysterious circumstances. Her experiences involving the house were detailed in her book: "Spindrift: Spray from a Psychic Sea" which was published in 1974, just before she died.
In the late 1980s, criminal defense attorney Joel Steinberg killed his six-year-old, illegally adopted daughter Elizabeth ("Lisa") in the house.
Apparently, twenty plus ghosts are stalking this home, an astonishing amount. One of these ghosts is Mark Twain, although he only lived in the house for about a year. Multiple inhabitants of the apartments have claimed to see him on the first floor and near staircases in the house. These occurences happened early on in the house's history, even as far back at the 1930s.
Perhaps the most notorious account of ghosts is the one described by aformentioned actress Bartell in her book. While living in the house, Bartell and her husband were tormented by spirits. Things started out small, with phantom footsteps and disembodied voices. But soon, their pet dog started freaking out, and a phantom grape even appeared on a clean dinner plate, although the couple hadn't bought grapes in month. The grape was completely shriveled and smelled horribly.
Most unsettling, according to Bartell herself, were the odors that appeared out of nowhere: perfume, and a "rotting miasma" that smelled disgusting.
Bartell and her husband eventually called in a medium, who felt the presence of "something dead" under the floorboards: "a young girl with curly hair, blue eyes and a tiny nose, an aborted child and, of course, a small gray cat".
Now, I don't know about you, but those words seem pretty creepy to me. Creepy enough to pack my bags and leave. And that's exactly what the Bartells did. Bartell herself believed the house had "poisoned her".
If the house is haunted or not, it certainly seems like a scary location to live, what with all the tragedy, the murder, and the corpses possibly hiding under the floorboards (if you believe the medium the Bartells hired, that is). I wouldn't want to stay the night, that's for sure.
ghostshaunted housesHouse of DeathNew Yorkreal haunted houses
Monthly Goals April 2018
Win an eBook copy of Ghost Slayer


Questions about Aqueduct SW 6758? Please leave a comment below!
I want to use Sagey in most of the house as a neutral and then use pops of color off of that in specific rooms. For instance, I'm in love with Aqueduct and would like to use it in my kitchen, which is adjacent to the great room. But, will that be too great a contrast?


text:
Home News Sarah Brightman announces fifteenth studio album, with North America tour dates
Sarah Brightman announces fifteenth studio album, HYMN
Sarah Brightman announces fifteenth studio album, with North America tour dates
Lindsey Borders
The magnificent Sarah Brightman is the world's most successful and best-selling soprano, and will release her anticipated fifteenth full-length album, HYMN, out on Nov. 9, 2018 on Decca Gold/Universal Music Group. This is Brightman's first new studio recording with her 2013 international chart-topper, Dreamchaser.
Pre-orders for HYMN are available here. Brightman's first single from the album, "Sogni," can be heard here.
Check out Sarah Brightman's EPK below:
Additionally, Brightman announced her world tour, Hymn: Sarah Brightman In Concert, which begins in South American in November 2018, and includes 125 shows across five continents throughout 2019. The North American tour dates, produced by Live Nation, wil kick off in January 2019, and tickets for the general public will go on sale Friday, September 21 at 10am local time here.
Fan club and forum community members are able to purchase tickets before the general public as of today at 2pm local time here. Citi is the official pre-sale credit card for the Hymn: Sarah Brightman In Concert Tour. Likewise, Citi cardmembers will have access to purchase U.S. presale tickets beginning Tuesday, September 18th at 10:00am local time until Thursday, September 20th at 10:00pm local time through Citi's Private Pass program. For complete presale details visit www.citiprivatepass.com. Every pair of online tickets for this show includes a physical CD of Sarah Brightman's forthcoming album, HYMN. All albums must be redeemed by April 29, 2019.* Additional tour dates to be announced in the coming months. See the announced tour routing below.
To enhance her world of enchantment, Sarah Brightman has partnered with Swarovski on her world tour. Her elaborate costumes and dazzling tiaras will be composed of Swarovski crystals. Fans will also have the opportunity to take home a sparkling memento through a variety of custom tour merchandise from Sarah's signature product line designed and embellished with crystals from Swarovski.
"I'm so excited to share this album with everyone. HYMN is excitingly eclectic, encompassing many different styles, and I'm looking forward to performing the new songs on my world tour. Every project I've done has come from an emotional place, and I wanted to make something that sounded very beautiful and uplifting. To me, 'hymn,' suggests joy — a feeling of hope and light, something that is familiar and secure, and I hope that sentiment resonates through the music," said Sarah Brightman.
Brightman returned to the recording studio in 2016 to begin working on HYMN with long time producer and collaborator Frank Peterson who notably helmed production on eight seminal recordings by the artist, including Dive [1993], Fly [1995], Timeless (Time To Say Goodbye) [1997], Eden [1998], La Luna [2000], Harem [2003], and Symphony and Winter Symphony [2008]. The spiritually themed HYMN is an inspirational collection of orchestrated, choir-based songs that Brightman says felt soothing to record at this moment in her life. The album was recorded over the past two years in Hamburg, Miami, London, Vancouver, Los Angeles, New York, and Budapest.
HYMN's mystical, uplifting tone is set with its title track — a song by British prog-rock band Barclay James Harvest. The release also encompasses songs by such modern composers as Eric Whitacre ("Fly To Paradise"), Japanese superstar musician and songwriter Yoshiki ("Miracle"), and German DJ Paul Kalkbrenner ("Sky and Sand"). The album closes with a new rendition of Brightman's signature smash duet with Andrea Bocelli, "Time To Say Goodbye," singing lyrics that she wrote herself, and sung in English for the first time. The full tracklisting is listed below:
Hymn Overture
Sogni featuring Vincent Niclo
Sky And Sand
Canto Per Noi
Fly To Paradise featuring Eric Whitacre Singers
Gia Nel Seno (La Storia Di Lucrezia)
Better Is One Day
Tu Che M'hai Preso IL Cuor
Miracle featuring Yoshiki
Tour Dates in South America, Mexico and Puerto Rico:
Nov. 24 – São Paolo, Brazil – Espcao das Americas
Nov. 25 – São Paolo, Brazil – Espaco das Americas
Nov. 27 – Brasília, Brazil – Ulysses Guimarães Convention Center
Nov. 29 – Rio de Janeiro, Brazil – Vivo Rio
Dec. 1 – Curitiba, Brazil – Teatro Guaira
Dec. 4 – Lima, Peru – Gran Teatro Nacional
Dec. 6 – Montevideo, Uruguay – Antel Arena
Dec. 8 – Buenos Aires, Argentina – Teatro Colon
Dec. 10 – Buenos Aires, Argentina – Teatro Colon
Jan. 17 – San Juan, Puerto Rico – Coliseo de Puerto Rico
Jan. 19 – Monterrey, Mexico – Arena Monterrey
Jan. 22 – Guadalajara, Mexico – Auditorio Telmex
Jan. 24 – Puebla, Mexico – Auditorio Metropolitano
Jan. 26 – Mexico City, Mexico – Arena Ciudad de Mexico
North America Tour Dates:
Jan. 30 – Baltimore, MD – Hippodrome Theatre
Feb. 1 – Mashantucket, CT – Foxwoods Resort Casino
Feb. 2 – Atlantic City, NJ – Tropicana AC*
Feb. 3 – Philadelphia, PA – The Met Philadelphia
Feb. 5 – Washington, DC – DAR Constitution Hall
Feb. 6 – New York, NY – Radio City Music Hall
Feb. 7 – Boston, MA – Orpheum Theatre
Feb. 9 – Montreal, QC – Place Bell
Feb. 10 – Toronto, ON – Sony Center
Feb. 12 – Pittsburgh, PA – Benedum Center for the Performing Arts
Feb. 13 – Detroit, MI – Fox Theatre
Feb. 14 – Chicago, IL – Chicago Theatre
Feb. 16 – Greenville, SC – Bon Secours Wellness Arena
Feb. 17 – Atlanta, GA – Fox Theatre
Feb. 19 – St. Petersburg, FL – Mahaffey Theater
Feb. 20 – Hollywood, FL – Hard Rock Live at The Event Center
Feb. 21 – Orlando, FL – Dr. Phillips Center for the Performing Arts
Feb. 23 – Dallas, TX – Margo and Bill Winspear Opera House
Feb. 25 – Sugar Land, TX – Smart Financial Centre at Sugar Land
Feb. 27 – Phoenix, AZ – Comerica Theatre
March 1 – San Diego, CA – Viejas Arena
March 2 – Anaheim, CA – Honda Center
March 3 – Las Vegas, NV – Smith Center PAC
March 5 – Denver, CO – Paramount Theatre
March 7 – Salt Lake City, UT – Abravenal Hall
March 9 – San Francisco, CA – The Masonic
March 10 – Los Angeles, CA – Dobly Theatre
March 13 – San Jose, CA – City National Civic
March 15 – Portland, OR – Keller Auditorium
March 16 – Seattle, WA – Paramount Theatre
March 18 – Vancouver, BC – Queen Elizabeth Theatre
Additional tour dates to be announced in the coming months.
*The ticket CD bundle offer includes all North American dates with the exception of Atlantic City, NJ.
Connect with Sarah Brightman on Facebook | Instagram | YouTube | Twitter
new music single
Sarah Brightman
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http://talent-in-borders.com/
Lindsey is an avid music enthusiast, and has worked in every capacity that music and entertainment have to offer. Because her parents had her young, she grew up on mostly '70s and '80s music, which was a staple in their household every day. She has interviewed a wide range of artists, actors and authors, including Lzzy Hale (Halestorm), Jake Kiszka (Greta Van Fleet), Beth Hall ("Mom," "Mad Men"), Chris McNally ("When Calls the Heart"), Anna Todd (After), among numerous others. Catch her on Instagram and Facebook @talentinborders.
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We Are Moving The Needle presents FIX THE MIX Job Fair during She Knows Tech Summit August 11-14 in NYC
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