Women empowerment has been the topic of various discussions across the globe. The attempts for the upheaval of the status of women in India had gone through many trials and as a result, these trials have given us a number of eminent women figures now dominating different sectors of India once monopolized by the patriarchal influence. Gaining a favorable repute in highly competitive sectors, be it political, economical or technological, is a difficult task but living up to the standards of being an 'influential personality' is a whole different story. Here is a list of some of the strong women personalities, disclosing the reasons 'why' they are influential.
Jayalalitha is an actress turned politician popular for her controversial and lavish lifestyle. If Indira Gandhi is believed to be one of the most important political women of India, then Jayalalitha cannot be left behind in the race of influential women personalities of politics. Like Gandhi held the reins of Indian democracy while ruling as the first Woman Prime Minister, Jayalalitha holds power over Tamil Nadu with the help of her supporters. Even after getting sentenced for four years of imprisonment in September 2014, for being involved in a corruption scandal, her supporters didn't betray her but protested against the conviction and shed tears of anguish for their 'Amma'. And when she got a clean chit from the Karnataka High Court, the same supporters were crying with happiness. She even gets to be worshipped as a 'Goddess' by them and has also created a brand image of Amma. Well that says a lot about her influence. It is another story if this influential personality is born out of the benevolence or covetousness.
Roy is recognized for the authorship of the novel 'The God of Small Things' which gained her a global fame after securing the Man Booker Prize for Fiction in 1997. She has been subjected to various criticisms for her political activism and views on Human Rights and Environmental Safety. She has openly criticized the U.S. government for their 'bombing- wars' against different nations. Her support to Kashmir separatism and consideration of Maoists as 'Gandhians', gave birth to the controversies surrounding her. She was also a supporter of the protest of 'Narmada Bachao Andolan'. She has indeed shown the courage by freely speaking her views and opinions on various important subjects inspite of facing intimidation and criticism from different people belonging to dominant sectors of Indian society.
Mazumdar-Shaw is featured as 92nd most powerful women of 2014 in Forbes. She is the chairman and managing director of the biotechnological company Biocon Ltd. She is also the receiver of Othmer Gold Medal for her contribution in the field of science and chemistry. She is a self-learned entrepreneur who with her belief in 'affordable innovation' helped Biocon to evolve from an enzyme-manufacturing company to a biopharmaceutical firm. She also opened corporate social responsibility wing 'The Biocon Foundation' and has supported the development of 'Arogya Raksha Yojana'. Her support towards the sectors of health, education and improved infrastructure add up to other compassionate activities for the betterment of society. She is also the current chairperson of IIM- Bengaluru. Her personality is no doubt influential because this lady owns a major company of India worth billions which started in an empty garage with mere Rs. 10,000.
The number of female scientists in India used to be very less compared to the males. This is again another sector where 'man power' was dominant. But with changing times, India is also taking steps forward in utilizing the female intelligence in the field of research and technology. One such lady who has certainly made her name famous in scientific world is Dr. Tessy Thomas. Thomas is the first Indian woman who headed a missile project. She is the Project Director of Agni-IV missile in Defence Research and Development Organization. She has also received Lal Bahadur Shastri National Award for her contribution in the field of missile technology. Thomas is famously known as 'Missile Woman' or 'Agniputri (Daughter of Fire)' in India.
Kom is professionally an Indian Boxer who has gained recognition and fame after winning numerous awards in various boxing championships. She is also the recipient of Padma Bhushan, Padma Shree and Arjuna Awards. She is the first to win a gold medal in boxing in Asian Games in 2014. Kom is a successful sports personality as well as a reliable mother of three. She has built an image of 'magnificence' for her marvelous performance in the ring of boxing as well as in the arena of life. She is also a supporter of animal rights and has also talked about that how being a mother has helped her to relate with the animals whose children are taken away from them to perform in circuses. This sports personality is indeed 'magnificent' and 'influential' because of 'simplicity' in her success. A bollywood movie has also been made on her life in which Priyanka Chopra portrayed as Mary Kom and it won a National Award.


Anyone in Dallas/TX area that can read codes?
I am looking for someone in Dallas/TX area who can help me read the codes on my 2001 Audi TT-- the MIL is on.
Last edited by TTAM; 08-02-2008 at 11:43 AM.
i have a vag com. i am located in north houston though. The woodlands area. Let me know if your ever around that way.
if you have a laptop we can read the codes this weekend i have the cable, i will be in dallas fr 8.29 till mo 9.1st. let me know.
You might want to try Autozone-- they have/sell diagnostic readers that will read/troubleshoot fault codes. I picked one up this weekend for roughly $150. Going trouble trouble shooting issues myself. Good luck!
Where can I get a engine for cheap in Dallas texas area???
Any audi Junk yards in the dallas Area??
Anyone in ATX w/ 2000+ 2.8L A4?
Quick Reply: Anyone in Dallas/TX area that can read codes?


Admitted, the most spoken about feature documentary, based on on the striking journey of Mx. Dhananjay Chauhan - the 1st Transgender student of the Panjab University, helmed by acclaimed filmmaker Ojaswwee Sharma, has won a prestigious - Award of Merit at The Impact DOCS Awards Competition (United States). The award was given for under the category: Ojaswwee Sharma, Pinaka Mediaworks (India), Admitted, Documentary Feature).
Documentaries were received from 30 countries, including veteran award winning filmmakers and fresh new talent. Entries were judged by highly qualified and award winning professionals in the film and television industry.
In winning an Impact DOCS award, Ojaswwee Sharma, the Director of Admitted, joins the ranks of other high-profile winners of this internationally respected award including the Oscar winning director Louie Psihoyos for his 2016 Best of Show – Racing Extinction, Oscar winner Yael Melamede for (Dis)Honesty – The Truth About Lies, and Emmy Award winner Gerald Rafshoon for Endless Corridors narrated by Oscar winner Jeremy Irons, and many more.


A law that gives a police authority to search your car or home without a warrant if you are deemed a "red flagged" individual.
A law that permits police or family members to petition a court to temporarily remove firearms from someone who may pose a threat to themselves or others.
A law that allows a civilian to detain someone with a firearm in public if they think that person is a danger to those around them.


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Q: Do the isomorphism classes of indecomposable objects in $R{\text{-mod}}$ form a set? Let $R$ be a unital (associative) ring.  Consider the category $R\text{-mod}$ of unitary left $R$-modules.  Set $\text{Indec}(R)$ to be the class of all isomorphism classes of indecomposable objects in $R\text{-mod}$.

Is $\text{Indec}(R)$ a set?  If not, for which ring $R$ is $\text{Indec}(R)$ a set, and for which ring $R$ is $\text{Indec}(R)$ a proper class?

Clearly, if $R$ is semisimple, then $\text{Indec}(R)$ coincides with the set $\text{Irred}(R)$ of isomorphism classes of simple $R$-modules.   I am not sure what would happen if $R$ is nonsemisimple.
If possible, I would like to request a reference that discusses a more general result.  That is, if $\mathscr{C}$ is an arbitrary abelian category, and $\text{Indec}(\mathscr{C})$ is the class of all isomorphism classes of indecomposable objects in $\mathscr{C}$.  How do we tell when $\text{Indec}(\mathscr{C})$ is a set?
Just as in the case of $R\text{-mod}$, the same observation holds: if $\mathscr{C}$ is semisimple, then $\text{Indec}(\mathscr{C})$ is identical to the class $\text{Irred}(\mathscr{C})$ of isomorphism classes of simple objects in $\mathscr{C}$.  However, I am very certain that there are nonsemisimple abelian category $\mathscr{C}$ such that $\text{Indec}(\mathscr{C})$ is a proper class.  Such an example is very welcome. $\phantom{aaa}$ Edit:  With help from YCor, at least when $R=\mathbb{Z}$, $\text{Indec}(\mathbb{Z})$ is a proper class.
Remark.  I am even more interested in the case where $R$ is a (not necessarily finite-dimensional) $\mathbb{K}$-algebra for some field $\mathbb{K}$.  We may assume that $R$ is countable-dimesional.  Even more specifically, I would like to know what happens if $R$ is the universal enveloping algebra of some (not necessarily finite-dimensional) Lie algebra $\mathfrak{g}$ over some field $\mathbb{K}$.  Again, we may assume that $\mathfrak{g}$ is countable-dimensional.  However, anything that can elaborate me on how to find out when $\text{Indec}(\mathscr{C})$ is a set will be greatly appreciated.

A: In Conjecture $1_{\infty}$ of
Simson, Daniel, On large indecomposable modules, endo-wild representation type and right pure semisimple rings., Algebra Discrete Math. 2003, No. 2, 93-118 (2003). ZBL1067.16029,
Simson conjectures that a right noetherian ring either

*

*is right pure semisimple (which would imply it is right artinian, and conjecturally would imply that it is right artinian of finite representation type), or

*has indecomposable modules of arbitrarily large cardinality.

So if this conjecture is true, then the answer to the question "for which noetherian rings is $\operatorname{Indec}(R)$ a proper class" is "almost all of them".
Simson proved this conjecture for several classes of finite dimensional algebras (e.g., finite dimensional local $k$-algebras with residue field $k$, and group algebras of finite groups) in
Simson, Daniel, On Corner type endo-wild algebras., J. Pure Appl. Algebra 202, No. 1-3, 118-132 (2005). ZBL1151.16014.
For non-noetherian rings the answer will be more complicated, since, for example, there are non-noetherian rings for which every indecomposable module is simple.

redpajama_set_name: RedPajamaStackExchange


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Fallen Angel Theatre Company
http://www.fallenangeltheatre.org
Epoch Times says Aedin Moloney a "standout" in Dancing at Lughnasa at Lughnasa' | Theatre | Arts & Entertainment | Epoch Times
Theater Review: 'Dancing at Lughnasa' | Theatre | Arts & Entertainment | Epoch Times
Aedin Moloney, a Spectacular review in Showbusiness weekly for Dancing at Lughnasa
All of us at Fallen Angel Theatre Company would like to congratulate our founder, Aedin Moloney, on a spectacular review in Showbusiness weekly for her work in the Irish Repertory Theatre's production of Dancing at Lughnasa by Brian Friel.
http://showbusinessweekly.com/article-1936-dancing-at-lughnasa.html
Another GREAT Review in the Irish Voice/Irish Central by Cahir O'Doherty
Thank you to the incredible Cahir O'Doherty for this spectacular review in the Irish Voice/Irish Central for the Irish Rep's Production of Dancing at Lughnasa.
http://www.irishcentral.com/ent/Brian-Friels-unforgettable-last-dance---Dancing-with-Lughnasa-133374968.html
RAVE Review in Wall street Journal for Aedin Moloney in Dancing at Lughnasa
Thank you to Terry Teachout for this incredible review in the Wall Street Journal of the Irish Repertory Theatre's production of Dancing at Lughnasa by Brian Friel, and especially for the lovely review of our very own, Aedin Moloney.
Photo by Carol Rosegg.
Epoch Times says Aedin Moloney a "standout" in Dan...
Aedin Moloney, a Spectacular review in Showbusines...
Another GREAT Review in the Irish Voice/Irish Cent...
RAVE Review in Wall street Journal for Aedin Molon...
www.fallenangeltheatre.org

redpajama_set_name: RedPajamaCommonCrawl


A double saber first designed for male users. Its stylish red photons and light weight have won the weapon its share of female fans as well.
The Japanese name of this weapon is スタッグカットラリ.
Obtained as a reward for getting the Gladiator title (win 100 battles). Comes with 23% attribute.
This page was last modified on 26 October 2010, at 15:38.


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Posted by Lee Hayhurst on Jul 3rd, 2020 at 09:04
Big Interview: What might the post pandemic travel sector shake out look like?
Tim Davis, managing director of PACE Dimensions, assesses the prospects for the industry
When the dust finally settles on the COVID-19 crisis the impact on the travel and hospitality sector will be much analysed.
But even as firms continue to secure their near term futures it is already possible to see a number of trends emerging.
For Tim Davis, managing director of consultancy and research firm PACE Dimensions, the first challenge many will face is a lack of in-house tech skills.
He says third party technology providers are likely to benefit as firms turn to external expertise when survival mode switches to the recovery phase.
"Business has fallen off a cliff, particularly in Europe where hotel occupancy numbers are down 85%, a level at which the industry simply can't operate," he said.
"What most companies have been doing is survival, holding on to cash and cutting capital investment. Secondly, they are moving from furlough to redundancy.
"When you look at what people have been cutting, they are the logical things to constrain cash but most have not been necessarily to improve productivity or thinking about recovery.
"What I think we will see is most companies will be looking for help from third parties because while they shift from survival to focus on recovery they will find they will be short of the right skills."
Tapping into third party expertise
Davis said firms in recovery mode will need to focus on a smaller number of areas that will really make a difference, and so need to tap into the expertise of specialist teams.
Before COVID-19 hit there was a trend for the larger travel firms to favour external development with strategic partners rather than proprietary technology, something which he sees as accelerating due to the crisis.
This has been complemented by a switch from large Capex investment models to Software as a Service (SaaS) and Platforms as a Service operating models now favoured by many of the major technology vendors.
"The technology vendors are looking to increase their growth and support those companies that aren't going to have significant capital to invest," Davis said.
"Vendors are going to need to adapt and share some of the risk with their customers that they serve by providing different business models in order to grow going forward."
The firms that emerge from the pandemic in better shape will be those that are built on modern cloud-based technological architecture as opposed to those reliant on large inflexible proprietary systems.
"This crisis is going to be an inflexion point in the way companies advance their capabilities," Davis says.
"For at least a couple of years there's not going to be the flexibility or ambition to invest significantly because companies will be financially constrained while they are recovering."
An important area for firms to invest in, particularly in the hospitality sector according to Davis, is analytical tools that can make intelligent forward pricing and yield management decisions that do not rely on historical data.
"Early warning indicators allow you to see actual future volatility of demand and bookings. Most companies lack that capability because they are reliant on technology that uses history as a predictor of the future," he said.
Another vital area for the hospitality sector to grasp is the enduring issue of hotels being able to retail more than just the room, emulating what the aviation sector has done with ancillaries.
Changing business models in hospitality
Davis said although 40% of a hotel's P&L relates to non-hotel room products operators' main KPI remains the number of nights sold because that is the biggest contributor to profit.
"The focus should be on profit per square foot to drive the performance of the business, but the hotel franchise models don't think that way, for them it's about gross room revenue because that's how they are paid.
"What we will see develop are the business models of the big franchise that broadens beyond the selling of bedrooms, that contribute more to the owners and operators."
A third area for the hospitality industry to focus on will be digital capabilities to support new health and safety and hygiene protocols, said Davis.
"Other sectors are far more advanced in this. Guests needs to be able to make choices about their stay and get service delivery without having to talk to anyone.
"You have to believe there is an opportunity for either existing players or new entrants to make a difference in that area."
Another inflection point Davis sees is with technology companies themselves that have attracted huge amount of private equity investment all looking for a return within the usual five to seven year timescales.
New tech vendor business models could emerge encouraging hotels to dispense with legacy and adopt new platforms now while booking levels are low and so the risk to ongoing operations is also low.
"It will give them the chance to innovate," Davis said. "The number one barrier to companies doing more is moving away from legacy, under the desk, systems that are fragmented around each and every department.
"They cannot adequately upsell or cross sell. Pricing and inventory is siloed. Something's got to give."
Hotel groups fight back in distribution battle
Another inflexion point Davis sees emerging from the COVID crisis is in hotel distribution and the possibility of a fight back against the dominant OTAs and media companies.
He claims that while OTAs, metasearch and the likes of Google, have grown massively since the turn of the century, large hospitality brands have not done so badly in terms of growing their own branded traffic.
"This crisis is going to be an inflexion point where either they [hotels] have learned their lessons of the past or not.
"If you go back 20 years there were no online retailers, now there are a handful of really large ones worth a lot of money. And big online media companies are about eighty times bigger than any hotel companies.
"The distribution, value and market power of some digital natives is very strong. But that's just one side of the story, the other is the top 10 hotel brands have doubled their share of branded supply.
"While there is still huge fragmentation there is no question that the big boys are getting bigger very quickly. Those big multi-brand hotel groups are using substantial marketing power with loyalty programmes, which have grown ten times.
"Those are the main assets they are using to compete with the digital natives and, to be fair, they have not done too badly. The days of 25% commission are largely gone, we are down to 12% or 13%. It's not a one horse race by any stretch of the imagination.
"Intensity of competition has already increased dramatically because more inventory and pricing is available to the consumer direct. More nimble competitors are using intelligence and adapting to a marketplace that's more discerning.
"The big question is whether the big digital companies are going to develop more agile capabilities and greater speed of innovation. If they do there is a good fight to be had. If not, then scale alone will certainly help but it might mean a gradual erosion of longer term value."
Product and content key for intermediaries
For intermediaries and retailers the two big challenges are closer integration with suppliers through direct connect technologies to be able to offer customers the full range of pricing and product, and paucity of content, said Davis.
Without this they will not be able to personalise their offering to customers and improve their merchandising abilities based on their investment in gaining valuable insight into customer behaviour.
Davis said: "Content is critical to success. That's where most companies have a very legacy view. They store pictures, images, video and copy that describe the product, but the problem is most customers have become much more discerning.
"What they want is very personal to them. They have many criteria that they want to get reassurance on to decide on what they buy.
"The conversion we are going to see here is from the old monolithic content management systems to more granular storing of data with automated processes to convert that into personalised merchandising content, inventory and pricing that's more relevant to the consumer and the purpose of the trip.
"The front-end technology to manage that data is already there and the likes of Adobe have moved beyond managing content to be more about dynamic publishing of content that's relevant to a particular transaction.
"It's the storage and gathering of that data where there is a gap and that is going to spawn new players in the sector. Suppliers will grow up to fill that void and it will evolve like it has in other sectors like media and luxury consumer goods and apparel."
Sector set for a shake out
So, does Davis expect the post COVID recovery to be characterised by a period of renewed innovation and change or stifled by a lack of resources?
"The innovation is going to come in very small doses from a handful of companies that happen to be well funded and be in a strong financial position to be flexible, to invest and be bold.
"There will inevitably be a few players who come out of this very well, for the vast majority that's not going to happen. What we are going to see is a bit of a shake out.
"Private equity right now do not know whether to buy now or in a year's time. They want to buy at the bottom of the market, but in a market that's about to grow.
"It's still one for the jury as to whether the hotel and travel industry is going to go through that Y or W-shaped recovery, no one really knows.
"Not a lot is going to happen in the next six to nine months, but for sure people are going to be looking very, very carefully."


Kickboxing promotion GLORY returns this Saturday (March 25, 2017). Glory 39 features a welterweight title bout and some other high-profile fights that will air live from Brussels, Belgium. The main event of the evening will be the light welterweight championship of the world, as current champion Cedric Doumbe defends his title against Yoann Kongolo, who has already beaten the champ twice previously….
CES MMA 37 will air its main card live on AXS TV starting at 9 pm ET/6 pm PT tonight (August 12, 2016). The event will be held inside the Twin River Casino in Lincoln, Rhode Island. The event will be headlined by a bantamweight title fight between Andre Soukhamthath (10-3) and Kin Moy (8-2)….


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January 30, 2013 by dereknewmanstille
Interview with Holly Bennett
An interview with Holly Bennett by Derek Newman-Stille
It is always exciting to meet an author who lives in the same town as I do, so I was really pleased to come across Holly Bennett's name when I was searching for new authors on Kobo, and then to find out that she also lives in Peterborough. I was very pleased that she was willing to do an interview here on Speculating Canada. If you have an interest in Teen Fiction, music, Peterborough, the role of fantasy writing to open up new ideas, ghosts, character development, or myth, I think you will enjoy hearing Holly Bennett's insights.
Author photo courtesy of Holly Bennett
Spec Can: To begin our interview, could you tell readers a little bit about yourself?
Holly Bennett: Oh dear. I'm sort of embarrassingly average, really. I grew up in Montreal, came to Peterborough to go to Trent, and turned into one of those Trent alumni who stay — we are legion. I did live in Toronto for a while after graduating, but came back to Peterborough in search of a cheaper, saner lifestyle, mainly so we could afford to have kids.
Career-wise, I started out in non-profit work, doing research and program development with various Aboriginal organizations (my undergrad degree's in Native Studies, and I studied Adult Education at OISE). Then a couple of years after moving back to Peterborough I lucked into a home-based job as an assistant editor at Today's Parent. I loved the work, and discovered I am pretty damn good at it, and have made my living as an editor and non-fiction writer ever since.
I didn't turn my hand to fiction until I was past 40. Don't ask me why I waited so long, or what suddenly put it into my head to try. It seems like I transformed over the course of about a year from being sure I didn't have the imagination to write fiction to being completely addicted to it.
Spec Can: Why is the supernatural so popular in Young Adult fiction at the moment? What is the appeal of the supernatural for teens?
Holly Bennett: I think it's the same appeal as for adults, really. The supernatural — or let's broaden that out to fantasy in general — it's the appeal of what lurks at the edges of things, I suppose. The yearning for the expansive possibilities of the supernatural and the fear of its dark face are very primal, I think. It allows us to play with the idea, "What if the rules and constraints we think we operate under didn't apply?" At the same time, fantasy stories allow us to grapple with huge issues— questions of good and evil, oppression and freedom, terror and courage—in a kind of "safe" way. We know it's not real, so that frees us to dive into things that might be too painful or threatening in 'real life.'
I do think the 'quest' nature of many fantasy stories is very well-suited to this age group. It's the mythic journey of the young adult, really. So it resonates with kids who are starting to imagine and test themselves as young adults.
Spec Can: What are some of the key differences in writing characters for YA than for adult fiction?
Holly Bennett: Well, publishers will tell you the main characters in YA must be young people themselves. I've broken that rule fairly often myself, and so have many others. I think it's a rule that's easier to break in the fantasy genre, but I do think you need to create characters that teens can identify with and/or think about how to draw them into the world you have created. Another way to look at it is, are your characters dealing with issues that teens can relate to? The classic mytho-fantasy themes are pretty ageless: readers of any age (if they like the genre) can relate to them, even if the character is older. But if that character is feeling bored and depressed by his retirement, or trying to come to terms with a marriage gone stale, then no, that's not going to captivate many young readers.
For audiences of any age, the characters have to feel authentic, real, rounded. Teens aren't drawn to cardboard stereotypes anymore than adults are. What is often different is the pace of the writing. You don't have a lot of room for descriptions of anything, including characters, so the characters have to unfold, to a large extent, through their actions and the plot.
Spec Can: What myths of the magical do you draw on when you write?
Holly Bennett: I've been especially drawn to the Irish Celtic myths — two of my novels are retelling/embellishments of old Irish stories that date back to the Iron Age, which I found really resonated richly for me. But I find I also borrow quite a bit from some of the spiritual ideas and practices I learned back in Native Studies at Trent — in the Warrior's Daughter for example Luaine attends a kind of sweat lodge ceremony, and she also does a version of a dream fast. The Celts did have some kind of sauna or sweat lodge, and they did have the "bed of dreams" I described in the book, but we don't have much knowledge about their ceremonies or practices. I drew on aboriginal ceremonies I've attended when imagining what actually happened.
Spec Can: What is the role of the outsider in your work? How do you bring ideas of diversity into your work?
Cover photo of Shapeshifter courtesy of Holly Bennett
Holly Bennett: It's funny, I've never set out to write about outsiders but I see I very often do bring in characters who are "outside" in some way, and I seem to become quite attached to them too! Dirk, in The Bonemende, was my first outsider character, and he started out as a simple plot device. Then Gabrielle brought him home, and the second book was really spurred on by my need to explore his experience.
Outsiders do play a special role, don't they? They bring a different perspective, a way of looking at the dominant culture and people that helps the readers see more complexity and shades of grey. In The Bonemender, the Greffaires are just "the bad guys" until we meet Dirk.
I think another form of the Outsider is the Outcast. That was a really dominant theme in Shapeshifter, where Sive is forced to leave not only her world but her human form. Thinking about the loneliness of that experience, the struggle to adapt and yet still hold on to who you are, was very moving for me. And there are so many real, contemporary human experiences that would be in some way like Sive's. I think of the experience of refugees, of the homeless, so many others.
Spec Can: Do your characters ever take you to places that you didn't intend to go? Do they take on personalities of their own?
Holly Bennett: Oh yes. I think this is my very favourite part of writing, and also sometimes the scariest. At a certain point, if you've really gotten to know your characters and developed them adequately, they do seem to take on a life of their own. And now you can't just make them do what you want them to do; they have to do what they would do, given who you've turned them into.
This happened with my very first novel, The Bonemender. I looked down at my computer screen and saw that Féolan had just decided to travel over the mountains into Greffaire territory, and I had not planned that at all. My first thought was, "Oh crap. Now I have to come up with a whole new country, and a whole new subplot." But it was absolutely the right thing, both for Féolan and in terms of keeping the story interesting.
I don't mean to suggest that as a writer you end up at the mercy of your characters. It's more that as the characters develop and change, the story has to kind of adjust itself around them.
Spec Can: Your novel Redwing follows the lives of musicians. What role can music play in literature? What appealed to you about writing about musicians?
Holly Bennett: Some of my favourite books are infused with music. Cold Mountain, by Charles Frazier, is so full of music Tim O'Brien made an album of it. It's tricky, because music is not going to speak to everyone, especially described in print! But music can give a strong sensory, emotional context, and it can also evoke a certain culture, history or personality.
It's amazing, really, that I haven't written about musicians earlier, considering I'm the only one in my family who doesn't play. At a certain period of our family life, it wasn't unheard of to have four instruments going at once, and not together—from traditional Irish fiddle to black metal guitar. So it's been an important backdrop to my life for a long time.
Spec Can: In Redwing the ghost of Rowan's sister forms an ever present voice, preserving him from danger the same as she did while she was alive. How do ideas about ghosts and haunting add to the human experience? What do haunting narratives teach us?
Cover photo of Redwing courtesy of Holly Bennett
Holly Bennett: I think we have a real yearning for ghosts, along with the fear. Somehow even people who firmly reject the notion of an afterlife are attracted to the thought that the people we love could still exist in some form, or even communicate with us. It's a very seductive thought.
I think because of that shared desire — who hasn't thought, "if only my Dad could see this" or "I wish I could talk to Grandma now"?— the idea of ghosts can seem more "possible" than some fantasy elements. I'm attracted to these supernatural or fantasy elements that seem like they could be possible; we know there are many things about our natural world that we still don't understand or perhaps even know about, so why couldn't there be the Second Sight or a genetic mutation that enhances telepathy or a spirit energy that remains after death? To me, these ideas are more intriguing than magic swords or invisibility cloaks.
Spec Can: As a Peterborough author, how have you found this area as a place to create a writing community, and how has this place influenced your writing?
Holly Bennett: I confess I'm kind of a solitary writer. I tell myself from time to time that I should join a writing group, that it would be fun and make me a better writer, but the fact is I don't like to share writing-in-progress. I just don't. I do have some people I consider my "writing buddies" and at least one of them is here in Peterborough but they tend to be scattered about.
However, I do believe living in Peterborough has helped me write. First, the thriving arts community here is simply encouraging — all kinds of people I know, of all ages, are making different kinds of art. Second, living here gives me more time and mental space to do the writing. Because we could live cheaper here, I was able to work four days a week instead of 100% full-time and that was a fantastic gift.
I want to thank Holly Bennett for being willing to share some of her insights here on Speculating Canada and hope that we get a chance to hear from her again. If you haven't yet had a chance to explore Ms. Bennett's work, you can check out her website at http://www.hollybennett.net/ . There is also a review of her novel Redwing on Speculating Canada at https://speculatingcanada.wordpress.com/2012/12/27/haunting-lullabies/
This entry was posted in Interviews and tagged Celtic, Diversity, ghosts, haunting, Holly Bennett, interviews, music, myth, outsider, Peterborough, Teen Fiction, Young Adult.


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Prey Tell: An Anthology of Poems about Birds of Prey
Still looking for a gift for someone on your holiday shopping list? How about a book of poems inspired by birds of prey?
Owl Moon Raptor Center is excited to present Prey Tell: An Anthology of Poems About Birds of Prey. This summer we collaborated with poet and editor Julie A. Dickson to produce a collection of poems about owls, hawks, falcons, and eagles. The book features new and previously published works by over 100 US and international poets.
Jane Yolen, acclaimed author of the award-winning children's book Owl Moon, wrote the foreword to the anthology together with her daughter, Heidi Stemple. The collection includes three original poems by Jane Yolen, two of which are published here for the first time.
We are delighted to offer this dynamic and inspired collection of poems as your thank you gift when you donate $45 dollars or more to Owl Moon Raptor Center. It will make a great gift for your nature-loving friends and family, or wonderful addition to your own library! As always, all donations are tax deductible and 100 percent of proceeds go towards supporting the care of orphaned and injured birds of prey.
Works by over 100 US and international poets
Foreword by Jane Yolen and Heidi Stemple
Introduction by Suzanne Shoemaker, founder and president of Owl Moon Raptor Center
Original cover art by Natasha Lewandrowski
2016 calendars are here!
3 thoughts on "Prey Tell: An Anthology of Poems about Birds of Prey"
Janetta says:
WOW! I forgot all about this! I am so freaking proud of you, and I can't wait to read it… I love you so much, my sister!
Julie A. Dickson says:
It was an honor to work with Suzanne and Natasha on this anthology, a completely non-profit fundraiser for the Owl Moon Raptor Center!
Poems by Kate Leigh [Poet Laureate of Portsmouth, NH], Koon Woon [Editor of Five Willows Literary Review], many poet contributors from The Avocet Nature Poetry Review, and a short true account by Singer/ Song Writer Rex Fowler of Aztec-Two Step. Contributing poets hail from all over the United States, Canada, Ireland, England, Trinidad and India.
Please support Owl Moon Raptor Center and Suzanne's wonderful work with birds of prey!
Julie A. Dickson
What a wonderful title! Also, what a fine video of the hawk being released after rehab. Must be such a gratifying feeling to be part of that. I hope this book goes out to the whole world.


Click the button below to add the (Dark Eldar) 2 Raider 5 Venom Foam Tray (BFL-4) to your wish list.
This tray can hold two new Dark Eldar Raiders and five Venoms.
4 inch (102 mm) thick tray.
The venom's fit perfectly in this tray.


Welcome to the Sonnenhof in Mörbisch am See!
Nice that you have found us!
Recipe for a perfect vacation in Burgenland – easy and uncomplicated!
Now you have to mix it gentle, put some toping "lazy powder" on it and you are just ready for vacation at hotel Sonnenhof.
We guarantee an uncomplicated and pleasant stay! We will make you feel like home!
You stay at a non-smoking double bedroom with a shower, toilette, hair dreyer, cosmetic products, flat TV, heating, room safe, internet with free wlan, partially with balkony and garden view.
All rooms are non-smoking rooms and are on the 1st floor.
House guests are offered a special discount on our bikes. If you want to bring your own bike it will be safe in our garage.
We will be available for our guests all day long. If you come home late we offer you a fridge with wine, water and non alcoholic drinks.
If you have special wishes don ́t hesitate to ask in advance.
We have a really nice garden which will invite you to relax. Compfortable deckchairs are available.
Check in at 3 pm, if possible also earlier.
Our team has been well-rehearsed for years!
Heinz, the boss, is responsible for the breakfast – after preparing breakfast you will find him in the garage where all the bikes are.
Michi – jack of all trades – is responsible for organization, purchase, emails and guest requests Our son Benjamin helps with the bikes. He loves to talk to our guests. Sometimes he plays chess with them.
Grandma Hilde – our helping hand. She loves to bake. You can always relay on her!
Our lovely Rosmary – she will serve drinks for breakfast, lays the table and alsways has an eye on cleanness. She will make you feel comfortable.
Emilie – our good soul. She will always be aroud when a helping hand is needed!
We do our best that your vacation will be perfect!
Our motto: " YOU are on vacation, we do the rest!"
Let the evening fade away at our "chatting table" and enjoy the evening atmosphere in our romantically lit courtyard!
Is simple - we want you to feel like home. Warmth, good mood, fun and good talks are waiting for you!


In 2015, Aerlex presented a two-part online series entitled "Employee or Independent Contractor?" which examined the question of whether pilots and cabin attendants could be treated as independent contractors rather than employees. At that time, we concluded that the State of California might be following the nationwide trend toward classifying more workers as employees and cautioned that a proper analysis should be undertaken to avoid misclassifying workers.
Misclassification can result in lawsuits by employees and governmental actions costing employers far more than what they save in treating workers as independent contractors. In response to what it perceives as a continuing problem with misclassification of workers as independent contractors, the California Legislature has enacted laws imposing substantial civil penalties on employers who willfully misclassify, or willfully aid in misclassifying, workers as independent contractors.
On April 30, 2018, the California Supreme Court decided Dynamex Operations West v. Superior Court and the Court's unanimous decision left no doubt how the seven members of the state's highest tribunal interpret the law. The issue in the Dynamex case related to the resolution of the employee or independent contractor question in one specific context: which standard applies, under California law, in determining whether workers should be classified as employees or as independent contractors for purposes of enforcing the California Wage Orders adopted by the California Industrial Welfare Commission ("IWC"). The IWC's Wage Orders impose obligations on employers in various industries relating to minimum wages, maximum hours, and a limited number of very basic working conditions (such as minimally required meal and rest breaks) of California employees.
In the Dynamex Operations West case, two individual delivery drivers, suing on their own behalf and on behalf of a class of similarly situated drivers, filed a complaint against Dynamex Operations West, Inc. (Dynamex), a nationwide package and document delivery company. The drivers alleged that Dynamex had misclassified its delivery drivers as independent contractors rather than employees. They claimed that Dynamex's alleged misclassification of its drivers as independent contractors resulted in Dynamex's violation of the provisions of IWC Wage Order No. 9, the applicable state regulation governing the transportation industry, as well as various other laws. This is the same Wage Order that regulates much of the aviation industry in California, and applies "to all persons employed in the transportation industry, whether paid on a time, piece rate, commission, or other basis," except for persons employed in administrative, executive, or professional capacities, who are exempt from most of the Wage Order's provisions.
The California Supreme Court concluded that, in determining whether a worker is properly considered the type of independent contractor to whom the Wage Order does not apply, it is appropriate to look to a standard commonly referred to as the "ABC" test. Under this test, a worker is properly considered an independent contractor to whom a Wage Order does not apply only if the hiring entity establishes: (A) the worker is free from the control and direction of the hirer in connection with the performance of the work, both under the contract for the performance of such work and in fact; (B) the worker performs work that is outside the usual course of the hiring entity's business; and (C) the worker is customarily engaged in an independently established trade, occupation, or business of the same nature as the work performed for the hiring entity.
The Court explained that an individual worker who has been hired by a company can properly be viewed as the type of independent contractor to which the Wage Order was not intended to apply only if the worker is the type of traditional independent contractor — such as an independent plumber or electrician — who would not reasonably have been viewed as working in the hiring business. Such an individual would have been realistically understood, instead, as working only in his or her own independent business.
Writing for the unanimous Court, Chief Justice Cantil-Sakauye provided the following example: a store that hires an outside plumber to fix a leak, or an electrician to install a new line, could consider them contractors. But a clothing manufacturer that hires seamstresses who work at home to make dresses that the company will sell has hired them to perform work in its usual line of business and must pay them as employees.
Although this new Supreme Court ruling does not apply to every situation in California, it is consistent with Aerlex's previous prediction that California would continue to limit the classification of workers as independent contractors. Every California employer in the aviation industry must continue to devote sufficient time and resources into properly hiring and classifying their workers, including flight crew, ground crew and office staff. After the decision in Dynamex, it will be even more difficult to classify your workers as independent contractors.
To contact Aerlex litigator and labor law expert Douglas Stuart about labor or litigation issues, please call 310-392-5200 or write to dstuart@aerlex.com.


The Brackley Drive-in generally opens for the season in mid-May and closes for the season in mid-September. We may, however, stay open one or two more weeks into the fall, depending on what movies are available.
8:45 p.m. in the late summer.
Gates always open at 8:00.
You cannot miss seeing our giant screen, over 5 stories tall from the ground and 70 feet wide -- truly the best way to see any movie!
Before the double bill starts at dusk, you and your family can challenge yourself to a game of mini-golf on our 18 hole course, and cool off with an ice cream from our dairy bar.
The Brackley Drive-in Theatre is one of a special few remaining in the Maritimes and we are grateful to our faithful customers who have made the Drive-in a success over the past years.


"With Evel Knievel, most people know his name, but many people do not know his life. When making this film, we wanted to capture the spirit of Evel in a way that would do him justice. Blackmagic's products let us bring to life the vision we had for the film and do it in a way that was efficient and within our budget," said Junge.
Beyond being just simple interviews, many were done across the globe in front of green screens for compositing later with the archival footage and effects. As Blackmagic explains, "Each interview was shot from various angles using four Blackmagic Cinema Cameras, which were then composited into a single unique backdrop for the film". Junge expands on that by praising the cameras' color space, as well as the level of detail captured that they were able to work with in post.
Blackmagic's Teranex 2D Processor allowed the crew to convert all of their footage so as to help marry the freshly shot interviews with the older footage from the 50s. This let them utilize footage from numerous sources, "…everything from high end digital to Super8 and VHS tapes," says Milkhaus compositor James Durée, who handled the films post production. The Teranex also allowed them to not only color balance the footage, but up convert the older footage to 1080p. Finally, DaVinci Resolve was used to color correct the whole film, as well as help create LUTs during production to keep a consistent feel throughout the shoot.
Fremont, CA – January 23, 2015 – Blackmagic Design today announced that the film "Being Evel" was shot using Blackmagic Cinema Cameras, and post production was completed using Teranex 2D Processors and DaVinci Resolve. Co created by "Jackass" star Johnny Knoxville, along with director, co creator and Oscar winner Daniel Junge, the documentary will make its world premier at the 2015 Sundance Film Festival.
Millions know the man, but few know his story. In BEING EVEL, Academy Award-winning filmmaker Daniel Junge (Saving Face) and actor/producer Johnny Knoxville take a candid look at American daredevil and icon Robert "Evel" Knievel, while also reflecting on our voracious public appetite for heroes and spectacle.
To capture the life of one of the most colorful celebrities of the 20th century, director Daniel Junge, who won a 2012 Academy Award for Best Documentary Short and a 2012 Emmy for Best Documentary for his film "Saving Face," shot over 60 interviews to compliment a host of rich archival materials. To accomplish this, Junge and the film's producers at HeLo chose to use Blackmagic Cinema Cameras as the main cameras for the production, as well as Teranex 2D Processors for extensive conversions and DaVinci Resolve for color correction.
Shot with Blackmagic Cinema Cameras in ProRes, the film's interviews were done in various locations across the country in green screen studios so that compositing on each shot could be done later with archival footage and effects. Each interview was shot from various angles using four Blackmagic Cinema Cameras, which were then composited into a single unique backdrop for the film.
Once the interviews were captured, newly shot and archival footage going back to the 1950s had to be converted using the Teranex 2D Processor. All footage was sent through the Teranex 2D Processor, where an initial color balance was completed, and then footage was converted to 1080p. Final color correction was done using DaVinci Resolve, which was also used prior to shooting interviews to create LUTs to ensure that all of the interviews had a specific look and feel.


For those of us who haven't been stricken with the #wanderlust bug (or simply don't have the means), let's be honest: The prospect of travelling is daunting. There are a hundred different things on your mind, of course, but we're ALL united in that age-old girl prob: How do I know how much to pack?
If you're anything like me, you are constantly over- and under-packing … and still somehow never prepared for all eventualities. Womp womp. It's hard to be a woman and travel. We like to have options, and multiple shoes to match. And then there's the beauty routine, which we can't just leave behind while we are on vacation. It's even harder to pack when you are going somewhere for work and you've never been there before. Is is humid there? Does it rain ALL THE TIME? Do people wear shorts to work? Ah yes, the packing predicament can be mind boggling.
Fear not, darlings. While you may not be Beyonce, and you don't have a traveling entourage to help you do your hair, pick out clothes, and fix your makeup, we're glad to say that now you have some LD advice, which—let's be real—is just as good.
All those bags that came with your free gift at Clinique are about to come in handy. Some people need to keep all the bathroom things together, and that is totally OK. I, however, have found it easier to break up my toiletries into smaller bags rather than lug around one of those big caboodle cases from the 90s. My make up bag can go with me on a plane (in case I need to retouch), the shower stuff stays in one, and the toothpaste and contact stuff is separate in case I leave my glasses on or need to brush after lunch. Orla Kiely for Ulta (pictured, below) have some adorable, bright designs that match, too, for all you OCD ladyfolk out there.
I know that my make up routine probably seems almost comical at times, but it's taken a long time to get a system down, and when I travel it all goes out the window. I put on cover-up (for my circles—sleeping on planes is not productive), mascara, a spot of eyeliner, color my brows, and maybe some Chapstick. I know that many of you would rather look your best all the time, but you know your essential areas to cover, and as long as you think you look nice I say go with the quick version. No need to stress about impressing people in an airport. This goes for jewelry as well. Pack your favorites that you won't spend the day trying to fix or adjust. They might not be a perfect color match to your skirt, but you don't always have to bat .300.
Happy Travels! Tweet us your travel tips @litdarling!


text:
movies Dec. 18, 2014
The Sony Hack Might Have Killed a Certain Kind of Satire
By Adam Sternbergh
Photo: Sony
As they say on the internet, quoting an Anchorman: Well, that escalated quickly. The Sony hack story, in just a few weeks, went from a bemusing diversion — at least for those of us whose personal info wasn't spilled all over the internet — about what Sony employees think about Adam Sandler movies to an unprecedented corporate fiasco to an Alamo-like last stand to protect Freedom of Expression, in which the Alamo got torched to the ground and American freedom is now dead (1776–2014, RIP). Yesterday Sony decided to disappear The Interview — not apologize for it, not delay it, not bury it on VOD, but actually more or less pretend that it never happened and doesn't exist and what is this Interview of which you speak?
Naturally, the notion that anonymous hackers can force a major corporation not only to recall but essentially recant a movie is, to put it mildly, unnerving. As to the threat of actual violence in actual theaters, cybersecurity expert Peter Singer put it this way to Vice: "The ability to steal gossipy emails from a not-so-great protected computer network is not the same thing as being able to carry out physical, 9/11-style attacks in 18,000 locations simultaneously." He also inconveniently reminds us that words like hacking invoke an outsize, irrational fear; after all, he says, "Someone killed 12 people and shot another 70 people at the opening night" of The Dark Knight Rises, and "they kept that movie in the theaters."
Meanwhile, Aaron Sorkin didn't need to point a finger of blame at his favorite villain, the media, since his finger's been pointed in that direction for years. "The wishes of the terrorists were fulfilled in part by easily distracted members of the American press who chose gossip and schadenfreude-fueled reporting over a story with immeasurable consequences for the public," he said in a released statement. It's a little weird that Aaron Sorkin felt he had to release a statement about all this, as if the world were paralyzed, wondering, BUT WHAT DOES AARON SORKIN THINK? It's also a little unclear how Sorkin wishes, in hindsight, the media would have handled the affair, given only days ago he wrote an op-ed chastising the media for publishing any details of the stolen Sony documents. It's unfortunate that his TV show The Newsroom just ended, since that whole show was predicated on telling us, in detail, how Sorkin wishes in hindsight the media had handled everything.
Everything That's Happened in the Sony Leak Scandal
Really, though, underneath all this not entirely unwarranted hand-wringing about bedrock American values, there's a strong sense of someone sitting on the back of a large corporation and twisting its arm until the large corporation cries uncle. This, too, is frightening, sort of, but it should tell us that large corporations like Sony need to get their cybershit together, not that the Constitution's in tatters and the terrorists have really, finally won. The fact that Sony chose not to release the film at all — not to VOD, DVD, VHS, or traveling hand-puppet reenactments — suggests that the calculus was less "How do we protect moviegoers while also standing up for free expression and artistic integrity" and more "Please, oh mighty lord in heaven, just make this go away." Simply put, at a certain point — given the accumulated damage in industry relationships, in corporate practices revealed, in class-action lawsuits from its own employees, in potential liability nightmares — The Interview was no longer the hill that Sony wanted to die on.
We'll all just have to wait and see what this means for Sony, or future cyberattacks, or Aaron Sorkin's waning faith in American ideals. What seems clear right now, however, is that this is most certainly the death knell for the kinds of comedies in which real-life foreign dictators come to a fiery end and/or turn out to be alien cockroaches. This may seem like a tiny niche but, in fact, it's been a robust genre for quite awhile. It was heartening to learn that Alamo Drafthouse will be screening Team America, which features a demented-puppet version of Kim Jong-il, in place of the canceled The Interview. You may recall the South Park guys also gave us Saddam Hussein waving a dildo at Satan in an entirely different movie way back in 1999 — and you might have thought, at that point, there was really nowhere to go with the Degredation of a Real-Life Foreign Dictator gag.
From what we know about The Interview, it certainly seems more in the spirit of Team America than of, say, Charlie Chaplin's The Great Dictator, the other oft-cited point of comparison, or even this episode of The Three Stooges titled "I'll Never Heil Again." The Great Dictator is a satire of the curdled mindset that can produce a figure like Hitler. Team America is a satire, really, of America, whose creators incidentally realized (correctly) that it's funnier and edgier to watch a puppet of a real dictator than a made-up one, in the same way it's funnier to make fun of "Matt Damon" than "Max Diamond." It's seems doubtful that the goal of The Interview was to illuminate what drives Kim Jong-un or to dissect the society that created him. More likely, there was, in the development of The Interview, at least one conversation in which someone asked Seth Rogen and James Franco, "Why does it have to be the real guy?" and they said, "Because it's funnier!" In fact, Rogen recently recounted just such a conversation: "There was a moment where they were like: 'They've threatened war over the movie. You kill him [Kim Jong-un]. Would you consider not killing him?' And we were like, 'Nope.'" This kind of edginess — the kind that puts Saddam Hussein in bed with Satan — is actually the safest kind because, really, what are the possible repercussions? Or, at least, that's the way it used to be.
So if you're worried about anything disappearing, worry about that — the desire to push something just a little farther for the sake of being funnier. Because there is absolutely no way that anyone anytime soon will get through the door of anywhere with anything resembling a script about a real-life figure who has the capacity to inflict the kind of damage that these hackers inflicted on Sony, or forced Sony to inflict on itself. The argument, "Because it's funnier!" is just not going to carry much weight anymore, especially now that people can invoke this Sony fiasco as a counter-argument. Freedom of expression will no doubt endure, greater battles than this will be won, firewalls will hopefully be secured, and corporate emails will likely get a lot less freewheeling. But Saddam Hussein has waved his last dildo in Satan's face.
The Sony Hack Might Have Killed a Kind of Satire


This year's crop was hearteningly appealing — musically, if not always dramatically.
My favorite of the eight was the last opera presented: The Song of Susan Smith by composer Zach Redler and librettist Mark Campbell. The subject matter was not appealing: Susan Smith is a real South Carolina woman who is serving a life sentence for drowning her two small sons; she first told police that they had been abducted by an African-American man.
But a long aria sung Friday night made it clear Smith had had more than her share of hard knocks in life — a point that created some sense of tragedy if not sympathy. The aria, which was quite moving, was sung brilliantly by soprano Maren Weinberger.
In another scene, Smith family members pray for the two boys. Their deep religious feelings might have been mocked by some composers but not here. The music for the prayer (a quartet including Weinberger, mezzo Clara Nieman, tenor Dane Suarez and bass-baritone Nate Mattingly) was dead-on perfect for the mood of the scene.
The participation of Weinberger was one illustration of the benefit of having top-notch singers available to take part in Frontiers. Weinberger was previously impressive as Annina in the Fort Worth Opera's mainstage production of La Traviata. Another prominent participant in Frontiers was baritone Wes Mason, the lead singer in this season's Hamlet.
Thursday night's operatic fragments were The Sorrows of Frederick by composer Scott Wheeler and librettist Romulus Linney, The Golden Gate (Conrad Cummings as both composer and librettist), And Jill Came Tumbling After (Charles Halka and John Grimmett), and La Reina (Jorge Sosa and Laura Sosa).
Performed Friday night, in addition to The Song of Susan Smith, were When Adonis Calls (Clint Borzoni and John de los Santos), The Lady of Thi Kinh (P.Q. Phan both composer and librettist), and The Hill (Frank Ferko and Sally Gall).
By and large the music, which tended to be conservative, ranged from effective to downright appealing. This was a well-chosen crop of composers.


Saturday December 29, 2018-Director of Public Prosecutions (DPP), Noordin Haji, has revealed why prominent city lawyer, Prof Tom Ojienda, was arrested on Friday.
Ojienda, who is a member of Judicial Service Commission (JSC), was arrested together with lawyer Peter Wanyama and the two are being held at Muthaiga Police Station.
According to DPP, Ojienda was arrested for defrauding Mumias Sugar company Sh 200 million together with Wanyama and former Nairobi Governor , Dr Evans Kidero.
However in a statement, Ojienda denied having ever conspired to defraud the sugar company through fake cases.
"I have read the Director of Public Prosecution's statement with utter shock and disbelief. I would like to state without any fear of contradiction that I do not, I cannot and I have never filed a fake case. I have never conspired with any person to be paid for work not done," Ojienda wrote on his WhatsApp page.
Ojienda's arrest comes in the wake of a protracted court battle between him and Kenya Revenue Authority (KRA) over tax compliance.
The taxman has filed an appeal after High Court judge Wilfrida Okwany directed that KRA issue a tax compliance certificate at a time when the taxman is demanding Sh443.6 million arrears from the advocate.
The case will be heard next year.


2006-07: Played in the Slovak junior league and at the U-18 WJC for Team Slovakia.
Well built center, tall and heavy defensive-minded center with a reliable style of play. He has good positioning and is tough to move in the corners. Checks well and uses his big body to his advantage. Not much of a goal scorer.
He has the potential to be a reliable two-way center.


text:
Q: How to make the difference between PDF and PDF/A C# I developed a console based application which browses the same folder all midnights to converts PDF in PDF/A using ghostscript.
It actually works but now we get hundreds of files and I will need to check if each file is a PDF or a PDF/A to avoid launching the script in PDF/A files.
Is there any solution to make the difference between PDF and PDF/A ?
Thank you in advance.

A: You can use a library like ITextSharp that will allow you to read PDF file.
To check if it is a PDF/A (well, actually to check if it claims to be a PDF/A, which should be sufficient for your needs) is a simple operation on reading PDF tags.
The code in this answer to another question should be what you need. It is VB.NET and it should be easy to translate to C# .
Basically :

*

*open the PDF with the reader from ITextSharp (or probably any pdf reading library)

*extract the XML metadata

*check for a XML tag named pdfaid:conformance, and see if its value is A

A: You can use Spire.PDF to detect the conformance level of a PDF document. Check out the following code:
PdfDocument pdf = new PdfDocument();
pdf.LoadFromFile("MS_Example.pdf");
PdfConformanceLevel conformance = pdf.Conformance;
Console.WriteLine(conformance.ToString());

Output:

Disclaimer:I'm an employee of Spire.

A: You can check whether a document claims to be compliant by examining the XMP Metadata of the document.
Using the Datalogics PDFL Library C# Interface:
using (var docInput = new Document("input.pdf"))
{
    bool bIsPdfA1a =  docInput.XMPMetadata.Contains("pdfaid:conformance=\"A\"");
}

Disclaimer: I work for Datalogics

A: Sorry for the delay, I was sick.
I found the solution for my problem using Pac0's solution.
Instead of using XML, I used iTextSharp.xmp like that :
public static bool CheckIfPdfa(PdfReader reader)
    {
        if (reader.Metadata != null && reader.Metadata.Length > 0)
        {
            IXmpMeta xmpMeta = XmpMetaParser.Parse(reader.Metadata, null);
            IXmpProperty pdfaidConformance = xmpMeta.GetProperty(XmpConst.NS_PDFA_ID, "pdfaid:conformance");
            IXmpProperty pdfaidPart = xmpMeta.GetProperty(XmpConst.NS_PDFA_ID, "pdfaid:part");
            reader.Close();

            if (pdfaidConformance == null || pdfaidPart == null)
            {
                return false;
            }
            else
            {
                return true;
            }
        }
        return false;
    }

Thank you all for your answers.


text:
Playstation, Video Game Reviews
The Real Driving Simulator? – Gran Turismo 1,2 & 3 Reviews
May 22, 2011 Darren Cooke	3 Comments
When discussing the simulation racing genre, there is one franchise that towers over the rest: Gran Turismo. There have been many pretenders to the crown, most notably the Forza Motorsport series, but nothing has been able to truly swerve the appeal of Polyphony Digital's behemoth. Since the release of the original in 1998, the Gran Turismo games have sold over 60 million titles, making it the most successful racing simulation series of all time (Need For Speed holds the record for the most successful racing franchise) and meaning that it is has sold more than franchises like Street Fighter, Halo and even The Legend Of Zelda. I happen to have contributed to its success in a very small way, by buying copies of the first three titles in the series. This article will comprise of my reviews of these games, and a small roundup on where I see the future of the franchise going.
And so, without further adieu let's travel back to 1998
GRAN TURISMO (1998) – POLYPHONY DIGITAL
Gran Turismo - It's made of tyres
Before the original, there weren't that many quality racers on the Playstation. You had Ridge Racer for the arcade fans, Wipeout for futuristic fans, and TOCA for those who liked touring cars (myself included). Gran Turismo changed the scene completely. You had two modes available to you from the start; Arcade mode, where you could pick whatever car and track you wanted and race, or Gran Turismo/Simulation mode, which was unlike anything we had ever witnessed. You had to pass simple tests of driving, like braking and cornering, to earn a license before you could race. And then when you attained the relevant license, you could participate in cup races for credits and new cars, building up your garage. Earning more credits allowed you to buy better cars and the parts to upgrade them, before you had a car that could dominate the AI opposition.
The game was also helped by the fact it had an enormous roster of real life cars; around 180 from the likes of Honda,Toyota and Chevrolet, all of which looked like real life and sounded as if they were passing you by in the street. Crucially, the cars all feel different; cornering fast in a small family car was awkward, whereas doing the same process in something sporty like a Nissan Skyline was a piece of cake. The game also features some excellent tracks; there was no real life tracks to play on, but the tracks made by Polyphony offered a suitable level of challenges. For example, the High Speed Ring was a test of acceleration and speed, whereas Special Stage 11 required sharp braking and good turning. There are 11 tracks overall, and reversals of each of them as well. The AI was also surprisingly competent; if you were in a similar class of car you can be easily given a run for your money. It set the benchmark for how a racer should play out
Gran Turismo also set new standards for graphics. When this game came out, it was a sensation. All of the cars were rendered to look similar to their real life counterparts, right down to the alloys on the wheels. Some of the supercars, with their custom decals, looked stunning. The tracks were also well fleshed out, with different levels of scenery and some excellent lighting effects in the special stages. And all of this was helped along by one important new feature: the replay option. When you finished a race, you had the option to watch it again from a variety of camera angles, along with telemetries showing you when you were braking, accelerating and turning. If you squinted, you could have been forgiven for thinking that you were watching Top Gear (the old version of course…the one with cars in it). As mentioned previously, Polyphony also worked hard to ensure that the game sounded right. The cars all sound different when racing, there are various growls and tempos that help create the atmosphere that the grid was different. If you get bored of listening to the revving however, there was a soundtrack to go along with the racing, featuring the likes of Ash, Garbage and Feeder.
I simply couldn't wait to play this game when I bought it, and I was not disappointed. If nothing else, this is the game that taught me how to use a game controller properly; I could no longer win by holding down the X button and moving because I was going to crash, so I had to learn to co-ordinate button pressing for direction and turning. I also have very fond memories of some of the races, winning my first trophy by one point, the first time I lapped the entire field, and the day that I finally amassed enough credits for the Subaru Impreza Rally Car, which remains one of the best cars I have come across in a racing game.
The game is far from fault though. Getting the credits for a good car can take forever, because the payouts from tournaments are measly. This means that you can become bored long before you ever get what you want. Also, if you want to race in a European car, good luck. The roster is dominated by Japanese cars, which is fair enough considering that Polyphony is based in Japan, but you get the feeling that out of the 180 cars on show you only ever need about 20 to comfortably own the game. It's also worth noting that the graphics have aged horribly, and that you cannot damage cars at all. Driving into a wall at 200mph will not even scratch your paintwork, which in a game that promotes realism, seems a bit off. And the hairpin bend halfway through Special Stage 5 when I was going for my S-License gave me nightmares.
These complaints are made largely in hindsight however, at the time I loved it and it seems many others agreed; Gran Turismo shifted 10.85 million copies, meaning that it holds the distinction of being the best selling Playstation game of all time ahead of Final Fantasy 7. Based on the overwhelming success, it was agreed that Gran Turismo needed a sequel.
GRAN TURISMO 2 (2000) – POLYPHONY DIGITAL
Gran Turismo 2 - It's made out of engine covers
Not the most inspiring of titles for a sequel, by my god this game was good.
Like all good sequels, Gran Turismo 2 kept everything that had made the first game unique and great. You still have Arcade and Simulation modes, although they now belonged on two separate discs. In Arcade mode everything is still open to race on, and in Simulation you still had to earn licenses. The replay function was back (having been given more exposure in Driver, and you still had to earn credits to buy new cars and parts. But that is where the similarities end. When designing Gran Turismo 2, Kazunori Yamauchi said he wanted to create 'an even better product', and he sure lived up to his word. Sure, Gran Turismo had 180 cars: now you have an astonishing 650, with loads more from Europe and America. Whereas you had 11 tracks, now you have 27 (plus the 27 reverse tracks), including a track based on Rome, one the recreates the famous Laguna Seca track from America, and rally tracks including the fearsome Pikes Peak. There were more championships to enter, and you could choose what order to complete them in by selecting the individual race. There was a new test track to see the limits of your car. The licenses had more tests and were tougher to complete. Cars were more individual than before. It was more of everything and became the petrolhead's dream.
Not content to rest on the original product, Polyphony also sought to refine the presentation. All the new cars needed rendering, so every car was redone from scratch to look even more authentic. In order to get the sounds, they actually stuck microphones up the exhaust of each car to get the right sound and put it in the game. The tracks looked more realistic, and there were more options to play around with in replay mode. It was a great leap up from what had gone before, and when the thing before was the greatest racing game to date, you can tell how impressive it was.
I think using a reasoned argument, I would say that this is the greatest racing game that I have ever played. I absolutely adored it, and it never left the disc bay of my console for four months after buying it. Collecting cars in my garage became a hobby, meaning that I could flip one moment from having a 22bhp Fiat 500 to a 1000bhp Nismo drag racer. I spent hours getting the Super License and competing in the endurance races (a new addition where races were literally about 100 laps – proper race time). Some of the cars and tracks in this game have also stuck hard in my memory; the likes of Red Rock Valley, Grindelwald, Tahiti Maze and Pikes Peak are some of my absolute favourite tracks, and the Cultus and Espace F1 are insane. I would estimate that I put a good 150 hours plus into this game.
Again though, Gran Turismo 2 is not flawless. Polyphony seemed to have cut some elements short to make up for the massive increase in content. The soundtrack for example; there's about five songs and none of them are any good. Also, there are some annoying glitches in this game, some copies will not allow 100% completion, and sometimes cars will magically disappear from your garage even with save data. Polyphony also found it difficult to find a balance to the credit system; whereas the first game was stingy with credits, this time round you are swimming in them. Factor in that cars awarded for winning races are given out indefinitely, and you can blitz this game. I have seen a friend manage to get from 0 credits to the best car in the game in 12 races. And speaking of the best car, the Escudo is the most overpowered car I have seen in gaming. It can break the laws of physics with its speed.
Ridiculous power, 4WD, handles like a dream - fear the Escudo
No-one really seemed to care though. Gran Turismo 2 predictably flew off the shelves, and while not quite reaching the levels of its predecessor, it sits as the third best selling game on the Playstation with 9.37 million copies. It established Gran Turismo as one of the top brands for Sony alongside the likes of Tomb Raider and Metal Gear Solid, and people anticipated a next gen game from Polyphony. They wouldn't have to wait long.
GRAN TURISMO 3: A-SPEC (2001) – POLYPHONY DIGITAL
Gran Turismo 3 - It's made out of...red
Gran Turismo 3 was originally meant to be a launch title for the PS2, being shown off at E3 2000 as 'Gran Turismo 2000'. A year later, gamers got their hands on the finished product. Its relatively early release on the console, combined with positive reviews, meant that it became the essential title for the PS2 in its early years. It was rewarded with about 14.89 million sales, a figure that makes it the best selling entry into the Gran Turismo series and the second best seller on the PS2, behind Rockstar's Grand Theft Auto: San Andreas.
I got Gran Turismo 3 bundled in with my PS2, and considering my past experience with the series it was the first game I played on the system. Sadly, unlike the first two games I am filled with mixed emotions about GT3. The core of the series is still there in the licenses and credits etc., there was a great soundtrack (anytime I hear Feeder I imagine this game) and it looked truly and utterly wonderful on the more powerful PS2 (seriously if you have played it in a while, go back to it for five minutes or so and compare it to Forza now…it has stood up remarkably well), but on the flipside it felt like it had lost a lot of its soul. For example, the massive roster of cars from GT2 has been stripped back, and you now only have access to about 180 cars. They also removed a lot of the tracks, all in order to give the space required for the new graphics. It was also unfortunate that by this time I had developed what I like to call 'Gran Turismo Syndrome', a state of mind where you simply give up a game due to the tedious repetition of tasks; put simply I couldn't be bothered with it, especially when the likes of Grand Theft Auto: Vice City were around to play. It's by no means a bad game, but I always had the feeling that it could be better: quite similar to my views on Pro Evolution Soccer 5 afew year later.
Still, it gave me some good moments. Finally unlocking the Polphony 001 Formula One car after 2 gruelling hours of the Seattle endurance race. Getting the Escudo on two wheels doing a thousand miles an hour. Challenging friends to a race and then having a barging match. Good memories, but not as many as the originals had given me.
THE FUTURE OF THE SERIES
I dropped Gran Turismo at the third instalment, but without my support it has continued strong regardless. Gran Turismo 4, released in 2004, brought back large numbers of cars and tracks, as well as pioneering 1080i output on the PS2, and Gran Turismo 5 marked the debut of the series on the PS3 in 2010 (featuring amongst may other new and exciting features, the Top Gear test track: the irony that Gran Turismo would eventually look like Top Gear). Both have been welcomed warmly and sold very well, with GT5 being the best seller on the PS3 to date. The difference between when I played Gran Turismo and now however is that there is proper competition around. Forza Motorsport has proved to be a formidable rival on the Xbox 360, and Project Gotham Racing/Blur provides a good balance of realism and arcade action. I anticipate that Polyphony will one day be able to make the perfect driving simulator, but in the meantime they need to look over their shoulders.
And thus ends my look into the Gran Turismo series. The best alternative to actually driving a car? Probably. Check out the rest of my blog for more reviews and features, including my look at football on consoles through the ages, and I'll be back soon.
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The Whole World's in Tune . . . with Bing and Bergman together at their most brilliant best !
Father O'Malley is a friendly priest who comes to the struggling catholic school St. Mary's. He and the head nun, Sister Benedict, work together to teach the children proper values, get a new building donated, and settle the troubles of the students. His laid-back attitude and her kind but strict devotion to standards builds a friendship between them but also cause several dilemmas. After a doctor's appointment, Father is informed that Sister Benedict is sick and needs to be sent away, but the doctor encourages O'Malley to hide the sickness from her. This creates a deep sadness in her as she feels she is being sent away because he disapproves of her. On the night that she leaves, Father can't stand it and runs to tell her that she has tuberculosis. This truth brings her joy and she promises to return soon.


Whether you've recently built a new home and you're looking to lay some new grass or you just want to give your existing lawn a bit of a makeover, there are a few things you need to consider before buying turf.
We spoke to the experts at Centenary Landscaping to get their advice on choosing the right turf.
Not all grass is the same. Just like plants in the garden, some grass species thrive in shade and others in full sun, so it's important to do a bit of research before you buy any turf.
Most grass types thrive in sun, but you've got to remember the sun tracks differently throughout the year when the seasons change, so it won't be in full sun the whole year round. Types of grass like Nullarbor Couch, Blue Couch and Legend may thrive throughout the summer, but go limp through the winter shade. When this happens, the turf will only cope for a few seasons before it starts to thin and die and no one likes crispy dead grass under their feet!
If your turf is already established and struggling to grow, try looking at the surrounding trees you may be able to thin the canopies to allow more light to shine through.
For grass that will survive the sun and shadier conditions (yards covered by trees), try a soft leaf buffalo grass like Sir Walter DNA Certified Buffalo or Platinum Zoysia.
There are so many different varieties of grass, you've just got to take your yard conditions into consideration and research what type of grass would suit it best.
Unfortunately, water costs money and lawns need a whole lot of it – especially in Queensland!
There is nothing worse than giving the yard a bit of TLC (every once in a blue moon) only to get a hefty water bill at the end of it. Choosing a drought tolerant turf won't prevent this all together, but it will lessen the bill every quarter!
Grasses like Sir Walter DNA Certified Buffalo and Platinum Zoysia are not only drought tolerant, but pest and weed resistance too! Score!
Then there's over watering – are you one of those water happy people?
Did you know that if you water your lawn too much you can drown and kill your grass? You horrible person!
So, how much water is the right amount? Well, it depends on your geographic location and the grass type, but generally most lawns respond well to a maximum of 2.5cm or 25mm per week (which would work out to be Brisbane's average rainfall of 1200m a year).
Just because you've had grass in the same position previously, does not guarantee results. Test the soil first. Does it need to be enriched with fertilisers, sand or compost? Does it need to be replaced completely?
It's best to lay new grass on a 100mm thick friable layer of quality soil. In areas of heavy clay, consider adding gypsum and sand to allow deeper root penetration.
When it is established, it's also extremely important to feed your lawn with a good nutrient-rich fertiliser regularly.
The key times to fertiliser your lawn include spring (now) which will in turn help it recover from the winter and set it up for a hot Queensland summer; and autumn to prepare the yard for a cold chilly winter. It's also possible to fertiliser through the summer, which will provide the essential nutrients to keep your lawn healthy through the hotter days and encourage speedy growth and stronger roots.
You'll need to take special care however, as many fertilisers will need to be watered in immediately, so try and sync your fertilising routine with some more substantial rainfall. Follow these tips and your yard will look luscious all year round!
Just so you know, this is a sponsored post. Regardless, we only recommend services and products we believe our readers will appreciate.


Αναμνηστική πινακίδα για την ανέγερση του κτηρίου.
The Museum's building was erected in the 1950s through the generosity of expatriated Vatikiotes with a view to housing the Health Services Station. However, the building was later abandoned. In the early 1990s it served as the quarters of three Elementary School classes and of the Community's Philharmonic.
Given the advanced neglect and dilapidation of the building and the repeated requests by the area's residents to be founded a Museum, the former Community of Neapolis ceded the building of the old Health Services Station to the Ministry of Culture with a view to transferring the Archaeological Collection there and establishing a Museum.
During the period 2006-2008, within the framework of the 3rd CSF, the building underwent structural and electrical-mechanical renovation so that it would become suitable for housing antiquities. The renovation was implemented by the Directorate of Museum and Cultural Buildings Technical Works, Ministry of Culture.
In 2009, the 5th Ephorate of Prehistoric and Classical Antiquities of Sparta became the final recipient and supervisor of the building.


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CHICAGO SLAM WORKS CLOSES 2015-16 SEASON WITH ORIGINAL AND TIMELY POLITICAL SATIRE
April 25, 2016 Michael J. Roberts
Chicago Slam Works Ensemble Theatre proudly presents the third in its three-performance 2015-16 season, "This Great Nation, Much Enduring", opening Friday, May 6at Stage 773, 1225 W. Belmont. "This Great Nation, Much Enduring" follows the political path of an ambitious young Senator as he struggles to connect in the Midwest. Chicago Slam Works Ensemble Theatre (formerly Chicago Slam Works House Ensemble) incorporates elements of spoken word, movement, drama, music, and sketch comedy in each production. Using a central theme, each show is created and performed by the cast members using performance poetry as a stepping stone to produce an original and cohesive evening of theater. J.W. Basilo directs and the lead writer for this production is Shelley Elaine Geiszler. Performances are Fridays at 8:15 p.m. through June 10. Tickets are $20. For tickets and information visit www.ChicagoSlamWorks.com or call 773-327-5252.
"Chicago Slam Works is creating something that no one else in the city is doing" said artistic director of Chicago Slam Works J.W. Basilo. "Our foundation is performance poetry but we've taken that out of the coffee shop and on to the main stage through incorporating other artforms and having everyone's work revolve around a central theme. This production goes one step further by expanding to include a central character too. The cast is having a ball with it."
"This Great Nation, Much Enduring" follows the path of the well-meaning presidential hopeful Senator Thomas Denton on his battle for traction in the middle of the country. As he meets the citizens of the tiny county of Dullish, he learns how in the endless cycle of war, politics and distraction, showmanship is king. Will he be up to the challenge to play the game? Or will his dignity and search for truth overrule his ambitions?
Cast members for "This Great Nation, Much Enduring" include: Lauren Deaton, Osiris Khepera, Felix Mayes, Kyla Norton, Dru Smith and Teagan Walsh-Davis. Bios below.
Chicago Slam Works Ensemble Theatre presents "This Great Nation, Much Enduring", opening Friday, May 6 at Stage 773, 1225 W. Belmont. Press Night is May 6. Shows run Fridays at 8:15 p.m. through June 10. Tickets are $20. For tickets and information visitwww.ChicagoSlamWorks.com or call 773-327-5252.
"This Great Nation, Much Enduring"
Presented by Chicago Slam Works Ensemble Theatre
Head writer: Shelley B
Directed by J.W. Basilo
Fridays, May 6 through June 10
Stage773, 1225 W. Belmont Ave.
Tickets are $20
For tickets or information visit www.Stage773.com
J.W. Basilo (Director) is the Executive Director of Chicago Slam Works and founder and Artistic Director of the CSW Ensemble Theatre. He serves as co-writer and director of the company's 6 original shows to date. Basilo is also a National and World Poetry Slam finalist, a PushCart Prize Nominee, and a company member with Red Theater Chicago. His work has appeared on NPR, CNN, CBS, WGN, in the Chicago Tribune, NewCity, numerous literary journals, and in hundreds of theaters, dive bars, prisons, schools and comedy clubs across the world. Recently, Basilo was honored by NewCity as one of Chicago's "Lit 50." Currently, Basilo co-hosts the world famous Uptown Poetry Slam everySunday at the Green Mill in Chicago.
Shelley Elaine Geiszler (Head writer for "This Great Nation, Much Enduring") is a founding member of the CSW House Ensemble, contributing writing & performance to six productions since 2014. Her performances have featured in The Fly Honey Show, at Salonathon, and numerous other venues around Chicago. She competed with The Green Mill Slam Team, and has performed in Europe with The Speak'Easy Ensemble. Playwrighting collaborations include the puppet shows Ichthyodyssey, Into the Uncanny Valley, and an upcoming adaptation of Ubu Roi with Rough House Theater. Shelley earned her B.A. in Acting at UCLA.
Lauren S. Deaton earned her BFA in Acting from Wright State University. Her Chicago credits include: Play with Glass Apple Theater (Emily), The Factory Theater's The Last Big Mistake (Roxy u/s), The Sonnet Projects' Letters to Antonio (The Girl), and Reservoir Dogs with Bare Knuckle Productions (Brown). As a lover of words and a lover of the collaborative art of theatre, in general, she is thrilled to be making her Chicago Slam Works debut!
Osiris Khepera is a renaissance artist: Actor. Poet. Playwright. Singer. SGI Buddhist: Nam Myoho Renge Kyo. Cooker of Things. Abstract Painter with no Canvas. Creator of Hullabaloo. Hater of Sycophants. Practitioner of Healing Magic. Gender Fluid Queer Freedom Fighter. Fairy Godfather. Speaker of Truths. Lover of Acts of Nobility. Encourager of Courageous Freedom. Leo. Lives in / Works from the Heart Chakra. Seeker of Knowledge. Generally Chill Individual. Recently worked with: Second City, THTR Unspeakable, MPAACT, the Hypocrites, Pavement Group, Pegasus Players, Peninsula Players, Lincoln Center, and. Basements Jook Joints the world over.
Felix Mayes is honored to have his Chicago premier be with Slam Works. Felix has had the opportunity to perform on stages from NJPAC to the Lincoln Center to Dvorák Hall in Prague, as a singer, actor, and dancer. Some of his credits include: Angel (Rent), Edgar (Bat Boy), Juliet (Romeo and Juliet), Franklin Shepard (Merrily We Roll Along), and The Mummy (Ghost Sonata). He has participated in the Philly Fringe Festival and Irene Ryan Acting Festival, as well as the American College Dance Festival. Felix is a graduate a Muhlenberg College.
Kyla Norton is currently an Acting major/Playwriting Minor at Columbia College Chicago. Recent credits include 15 Breaths (AFYT) Getting Out (Columbia College Chicago), All Girl Edgar Allen Poe (Chicago Mammals) and Checking Boxes (AFYT)
Dru Smith graduated from SUNY Purchase with his BFA in Theatre Arts before moving back to the Midwest. He attended The School at Steppenwolf in 2010 and has been working as an actor, teacher and writer in Chicago for the past five years.
Teagan Walsh-Davis is an actor, poet, and playwright who is originally from Ohio. She holds a BFA in acting from Columbia College Chicago, and she has performed with Cold Basement Dramatics, The Mammals, The Right Brain Project, The Living Canvas, and others. She is a member of The Electric Brain, as well as the spoken word/acoustic duo The Loving Blood.
« Chris' Birthday Belt Fest, Annual Benefit Concert for Howard Brown Health, returns May 16
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NBC is freaking out about Megyn Kelly's ratings
Filed to: Megyn KellyFiled to: Megyn Kelly
Photo: Frazer Harrison/Getty Images
The National Broadcasting Corporation is absolutely right to be worried about its incoming morning show host Megyn Kelly. She's a legitimately noxious person who has publicly stated that fictional character Santa Claus has to be a white man. (She also insisted Jesus was white in the same breath, a claim she had to walk back on account of the unfortunate existence of recorded history.) She used a wackadoo and minuscule fringe group as a stand-in for all of Black America. It's not hard to argue, as the late, lamented Gawker did, that, "Her career has been one long, low, racist dogwhistle." So, yes, NBC should be freaking out about giving her a platform with which to spout this crap.
And it looks like her ratings are bearing out this concern. According to a new piece by The Daily Beast, NBC insiders are in a state of "total panic" over the upcoming September 22 launch of Megyn Kelly Today, the former Fox anchor's new morning show that will function as the third hour of the network's popular, long-running Today. Presumably, they're outraged by her blithe assertion, "I'm a soulless lawyer. Give me any opinion and I can argue it," which is the opposite of the trusted and ethical stance people look for in a news broadcaster and viewpoint-possessor. And the poor ratings for her Sunday evening journalism show—which recently canceled the final two installments of the planned 10-episode run—suggest America is in agreement with NBC, and wants no part of this woman.
Of course, there's a chance that loyal Today viewers will end up unfortunately embracing this pundit, simply due to inertia. "The Sunday show struggled and tried to be very splashy and even controversial, but the Today show is a different format with a very strong underlying brand," says one internal source. "She should be able to excel there even if the Sunday show was perceived as compromised. They're totally different animals." Understandably, NBC should fear this potential disastrous outcome, and be very worried that the millions of people who turned in to watch her recent series will tolerate, even encourage, her amoral posturing of behalf of whoever signs her checks. So we at The A.V. Club applaud NBC's soul-searching and hope the network...
...one moment.
Sorry, we've just been informed that the network is worried not enough people are on board with Kelly and her views, instead of the other way around. NBC is in a panic because the reported $17 million they are paying her annually will not bring more people to her show, and not because it would be promoting someone who has espoused reprehensible viewpoints in service of catering to an aging population's basest instincts, as we previously reported. The A.V. Club regrets the error.
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Nobody wants NBC to air Megyn Kelly's Alex Jones interview, not even Alex Jones
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Reporters and Presenters M
ITV News Presenters and Reporters M
Welcome to our section about those ITV people with a name beginning with M who have bought us the news over the years
VYVYAN MACKESON
Vyvyan Mackeson was the main presenter of Coast to Coast in the South East of England. She launched the programme in the small former Southern Television studios at Dover. She left after a few months
SIR TREVOR MCDONALD
Trevor McDonald joined ITN in 1973 having previously spent time working for BBC Radio. After spending time as a international and sport reporter he later spent time presenting the Channel Four News before returning to ITV to present the Early Evening News. In 1992 he became the presenter for News at Ten, the role he made his own and would become best known for. When News at Ten was scrapped in 1999 he moved back to early evening news. He retired in 2001 only to return in 2008 when News at Ten returned where he co-presented with Julie Etchingham. He retired again on the 30th October 2008.
SALLY MEEN
Sally Meen started her TV career as a dancer on The Benny Hill Show before working as a continuity announcer and newsreader at local station TSW. When they went off the air in 1992 she presented the weather at breakfast TV provider GMTV followed by two years on the Generation Games along with stints with various cable / satellite channels
GRAHAM MILLER
Graham Miller started out as a reporter for BBC Radio Birmingham and later BBC Radio London. He joined Anglia Television and later HTV West before ending up at Thames in 1983 as sports editor. Folowing the demise of Thames Graham moved to ITN as lead sports correspondant before leaving and undertaking freelance work. He also runs a sports marketing and communicaions agency.
CLIFF MICHELMORE
Cliff Michelmore started out in BBC radio before he moved into television. In 1957 he presented the BBC evening news programme Tonight which remained on the air for a decade. Following on from that he presented various programmes including the coverage of the Apollo moon landings. In 1979 he joined Southern Television co-presenting the evening news programme Day by Day with Christopher Peacock where he stayed until the end of Southern in 1981. He later went on to present the last show from the BBC's Lime Grove Studios. Cliff passed away in 2016
MALCOLM MITCHELL
Malcolm Micthell read the sports news for the South East programme Scene South East
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View Obituary The Times-Picayune Obituaries
Gayle Esler LeBlanc
Flowers delivered to Bagnell & Son Funeral Home
Celebration of Life begins in 66 days
Gayle Esler LeBlanc, 80, a resident of Covington, Louisiana, passed away on July 28, 2020, surrounded by her family after a courageous battle with cancer. She was born on March 24, 1940 to Odette and Alvin Esler (deceased), in New Orleans, Louisiana. She graduated from St. Joseph Academy in 1958. She later moved to Lacombe, Louisiana, where she raised her children and spent her time reading her paperback novels, cheering on her beloved Saints, and making her trips to the Silver Slipper Casino. She was a Tiger on Saturday and a Saint on Sunday. She is survived by her former spouse, Lawrence J. Lala, Sr., and her children; son, Larry J. Lala, Jr. (Dollie) of Kenner, Louisiana; daughter, Lesley Lala Mizell (Charles) of Covington, Louisiana; son, Leonard J. Lala (Shannon) of Westminster, Maryland; daughter, Susan (Robert) of California; son, Bryan J. LeBlanc (Lina) of Schenectady, New York; 14 grandchildren; and 17 great-grandchildren. Due to the current pandemic, interment and a Celebration of Life will take place on her birthday, March 24, 2021 at Lake Lawn Cemetery in Metairie, Louisiana where she will be placed alongside her beloved family. Cremation handled by Bagnell and Son's Funeral Home, Covington, Louisiana.
Bagnell & Son Funeral Home
75212 Lee Road (Hwy. 437)
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Lake Lawn Cemetery