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Collections Explorer
Colonel George Montagu (1753-1815)
Francis Godolphin Bond (1765-1839)
Amelia Warren Griffiths (1768-1858)
Sir John Bowring (1792-1872)
Francis William Locke Ross (1793-1860)
John Gilbert (c1810-1845)
Philip Henry Gosse (1810-1888)
Kent Kingdon (1810-1889)
The Kent Kingdon bequest
Solomon Caesar Malan (1812-1894)
Henry Townsend (1820-1885)
Charlotte Treadwin (1820-1890)
William D'Urban (1836-1934)
William Philip Hiern (1839-1925)
Sir Harry Veitch (1840-1924)
Harry Hems (1842-1916)
Miss J. E. Linter (1844-1909)
Percy Sladen (1849-1900)
John Stevens FRMS (1850-1914)
John Lane (1854-1925)
Richard Dennett (1857-1921)
Leopold Agar Denys Montague (1861-1940)
Adolphus Herbert Rousham (1864-1938)
William Weaver Baker (1866-1954)
Frederick Richard Rowley (1868-1939)
Philip Le Hardy de la Garde (c1869-1913)
Charles Victor Alexander Peel (1869-1931)
Alfred Rowden (1877-1960)
Ernest Isles (1883-1954)
Captain Oscar Greig (1889-1969)
Major Arthur 'Bertie' Gay (1896-1959)
Lieutenant George Peard
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November 2016, a bridge too far?
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West of England fire insurance company teapot
RAMM's decorative arts collection has something to suit many tastes and interests, from precious silver to intricate watch movements. The largest collections include Exeter silver, ceramics, glassware and clocks and watches.
Discover the decorative arts collection on Collections Explorer
The fascinating horology collection includes clocks, watches and workshop tools. Most of the watch collection was bequeathed by C.R. Venn in 1928 and is one of the most important outside London. Clockmaking was not highly organised in Devon and some local makers acted also as wholesale dealers and retailers, offering materials, parts and finished clocks made elsewhere. In rural areas some combined their horological activities with other trades such as ironmongery, gunsmithing and even taxidermy. Records suggest that at the beginning of the 18th century there were only ten or so clockmakers active in Exeter. Even so, the area produced some notable makers such as Ambrose Hawkins (d.1705) and Jacob Lovelace (d.1755) of Exeter, Abell Cottey of Crediton (d.1711) and William Stumbels of Totnes (d.1769).
Silver wares have certainly been made in Exeter since the 12th century and probably since Roman times. However a town mark did not appear until the 1570s and the Museum's collection of Exeter and West Country silver is mostly dateable to between the late 16th and 19th centuries.
Silver and the church in 16th century Exeter
Up to and including the 16th century, West Country silversmiths relied heavily upon the church for business. Two notable Exeter goldsmiths of the 16th century were John Jones and Richard Hilliard. One of the most productive goldsmiths of his age, John Jones (d.1583-84) was Bailiff in 1567 and Churchwarden at St. Petrock's in 1570. More than a hundred of his communion cups have survived. The father of Nicolas Hilliard, the famous miniaturist, Richard Hilliard also produced church plate of outstanding quality such as the communion cup made for St. Sidwell's in c.1572.
Silver in Exeter's 'golden age'
By the end of the 17th century Exeter was entering a 'golden age' of trade and commerce when a new class of wealthy patrons demanded a wide variety of domestic silverware. Much of the wealth resulted from the important West Country trade in wool and cloth. In 1700 Exeter, Chester, Bristol, Norwich and York established their own assay offices, and in Exeter the assaying of plate began in 1701 and continued until 1883. John Elston (d.1732) was Exeter's most successful goldsmith of the early 18th century. Elston, who became Mayor in 1727 also helped to establish the Assay Office in 1701.
19th century silver and the Great Exhibition
By the beginning of the 19th century the decline of Exeter's economy had reduced demand for silverware. Competition from the industrial firms of Birmingham, Sheffield and London also forced many West Country goldsmiths out of business. Henry Ellis (d.1871) was one of the few Exeter goldsmiths to thrive during this period. In 1814 he opened his first shop in the High Street. A watchmaker by trade, Ellis retailed goods made locally and in Birmingham and London. In 1847 his eldest son, Henry Samuel, registered the firm's design for 'Patent Safety Chain Brooches', some of which were made from silver mined at Comb Martin on Exmoor. After the purchase of five brooches by Queen Victoria, Ellis & Son were appointed silversmiths in ordinary to the Queen in 1848 and exhibited at the Great Exhibition in 1851.
Elston chocolate pot
For more than 3000 years glass has been used in the production of a vast range of objects both decorative and functional. Although in Exeter and Devon glass production has been limited, the Museum's collections are wide ranging and the most significant historical periods of glassmaking are well represented – from ancient Rome through to the 20th century. A collection of some two hundred English 18th century drinking glasses was bequeathed by Henry Hamilton Clark in 1928.
Outstanding glass objects
Individual articles of special note include: the 17th century Exeter Flute Glass, engraved with a portrait of Charles II; a pair of beakers associated with the 19th century prophetess, Joanna Southcott and an outstanding Victorian reproduction of the Portland Vase, engraved by Zach.
Reproduction of the Portland Vase
Detail of the reproduction of the Portland Vase
The Museum's ceramics collections reflect the history of Devon pottery in both the north and south of the county.
Ceramics from North Devon
In North Devon, pottery has been made in the Barnstaple and Bideford area since at least the 13th century. Here the industry thrived because large quantities of red clay were available locally and the nearby estuaries of the rivers Taw and Torridge enabled a profitable trade by sea. By the 17th century North Devon wares were exported to Wales, Ireland, Northern Europe and the New World. Home markets also flourished as communities demanded a wide range of domestic wares.
North Devon harvest jugs
Many of the North Devon harvest jugs in museum collections were made as decorative, commemorative objects but a far greater number of plain, functional wares have not survived. These were used for transportation of beer and other drinks to thirsty agricultural workers out in the fields. North Devon harvest jugs, dating from the mid 17th century onwards, are notable for elaborate sgraffito decoration which includes ships, unicorns, birds, flowers, and hunting and harvesting scenes. Many of these jugs were made as gifts or to commemorate events such as marriages, christenings and successful harvests. For Sgraffito (after the Italian "to scratch") sharp tools were used to scratch or carve away the outer coating of pale slip clay to reveal the red body beneath.
Ceramics from South Devon
The Torquay and South Devon pottery industry was launched in 1869 when a deposit of fine red clay was discovered at Watcombe. Further deposits were soon located and several potteries were established during the closing years of the 19th century. The expansion of the industry was helped by the new railways which brought more visitors along with reliable supplies of coal. During the 1870s and 80s a wide variety of terracotta (unglazed red) wares were made. Decorative wares, which included vases, figures and busts were commonly based upon Greek, Etruscan, Roman or Egyptian originals. In the 1890s and early 1900s as holidaymakers arrived in increasing numbers, mottowares were introduced. These were decorated in coloured slips with Sgraffito motto inscriptions and sold locally and throughout the country. Despite falling demand several South Devon potteries continued production well into the 20th century but this once thriving industry is now virtually extinct.
Harvest jug
Mug depicting British Sign Language (BSL)
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RAMM Terms and Conditions
Website terms and conditions Links Photos, media and information Social media Ticket sales Children Venue hire terms Guided Group Visits, Guided School Activity and External Talk Bookings
These terms and conditions (Terms) apply to the entire contents of this website. Please read these Terms carefully before using this website. Using this website indicates that you accept these Terms. If you do not accept these Terms, please do not use this website.
These Terms shall constitute an agreement between you and RAMM and shall set out the conditions upon which you may access the information available on this website
We reserve the right to change these Terms, at any time and to notify you by posting an updated version of these Terms on this website, at which point they will become immediately effective
Your continued use of this website after any changes referred to in clause 2 shall constitute your consent to such changes
Access to this website may be suspended temporarily and without notice in the case of system failure, maintenance or repair, or for reasons beyond our control
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While we endeavour to ensure that the information contained on this website is accurate, complete and up-to-date, we make no representations or warranties, whether express or implied, as to the accuracy, completeness or fitness for purpose of such information
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The failure by us to insist on any occasion upon performance of these Terms shall not thereby act as a waiver of such a breach or an acceptance of any variation of these Terms
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RAMM aims to ensure all information, photos, video and audio content on the website is accurate and up to date. Where photos of identifiable individuals are used permission has been granted for RAMM to use those images. If you believe any information or other content is:
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As a museum of the world the Royal Albert Memorial Museum & Art Gallery (RAMM) wants to engage with a global public. Our social media presence is focused on helping people find out more about, discuss and engage with the museum's collection, public programme and research. It is intended to encourage cross-cultural understanding, storytelling and inclusive, lively debate. The views expressed by our fans and followers are their own and may not represent the views of the Royal Albert Memorial Museum & Art Gallery, Exeter City Council, employees, or affiliates. We love hearing from you and, to ensure that everyone has a positive experience, please don't post any hateful, defamatory, or offensive comments, photos or videos. Anything seen as offensive to others will be removed or blocked. Spamming, inappropriate posting of private information, repeated posts and off-topic comments and posts may be removed or blocked. Our core office hours are between 10.00 and 17.00 GMT Monday to Friday, excluding UK national holidays. We aim to respond to all enquiries as quickly as possible, but please note that some enquiries can take longer to resolve. There is a lot of helpful information relating to the collections, exhibitions and general visiting information on the museum's website. If you can't find what you are looking for, and haven't heard back from us, use the contact page. Unfortunately, we are only able to respond to enquiries made in English. If you would like to pass on feedback or make a complaint about your visit to the museum, the best way to do this is to use the contact page RAMM's social media channels are linked to in the page footer
In buying ticket(s) from the Royal Albert Memorial Museum & Art Gallery (RAMM) you understand and agree that:
Once purchased, tickets cannot be refunded or exchanged except in the event of the event's cancellation. However if an event is fully booked, and there is a waiting list, we will try to resell your tickets.
Tickets purchased over the phone are available to be collected from the Garden Entrance Reception
Events and activities may on rare occasions be subject to change without notice, although we will always make our best efforts to inform people of any change.
Customers are advised to check their purchase upon receipt as mistakes cannot always be rectified.
Every effort will be made to admit latecomers as soon as a suitable break occurs, but admission is not guaranteed and is at the discretion of the Duty Manager
By purchasing, you agree that the tickets are for the personal use of you and your party only, and will not be resold or transferred. Any resale or attempt to resell the tickets at a price higher than purchased will result in your tickets being cancelled without prior notification.
In the event of a cancellation by the organiser or by RAMM (i.e. a cancellation due to circumstances beyond RAMM's control), RAMM will only refund the face value of the ticket. RAMM will use every reasonable effort to contact purchasers either by phone or email (using the details provided at the time of purchase) and advise them to return the tickets. Please note, however, it is the customer's responsibility to check whether the event is going ahead at the scheduled date and time and RAMM cannot guarantee that they will inform the customer of any changes to the event date and time.
The right to admission to an event is reserved by RAMM, who may take health and safety, environmental and security concerns into account at their reasonable discretion.
RAMM would advise customers that no refunds will be offered to customers who are refused entry or ejected from the venue on account of late arrival, being (or appearing to be) under age when purchasing alcohol, abusive, threatening, engaging in drunken or other antisocial behaviour, carrying offensive weapons or illegal substances, or making unauthorised audio, video or photographic recordings.
We accept all major credit cards and debit cards except American Express. When payment is take from your card the transaction on your card statement will say: Museums Exeter EX4 GBR.
Your tickets are valid only for the number of persons, the date and time stated on its surface.
During your visit you must retain your ticket safely for production on demand by our representatives.
The following definitions will apply to ticket sales from the Royal Albert Memorial Museum & Art Gallery:
Child 16 and under: A person aged from 0 years old to 16 years old (inclusive)
Young person aged 17-19: person aged from 17 years old to 19 years old (inclusive)
Adult: a person aged from 20-59 years old (inclusive)
Adult senior: a person aged 60 years or more
Unemployed person: person in receipt of benefits with appropriate documentation
Disabled person: a person is disabled under the Equality Act 2010 if they have a physical or mental impairment that has a 'substantial' and 'long-term' negative effect on their ability to do normal daily activities
Disabled person's assistant: a person accompanying a disabled person
Student: an adult who shows valid photographic student ID
The contact details you supply will be retained within the till system and only used to contact you with regard to the tickets you have purchased unless you opt in to receiving communications from RAMM. These details are not shared with any third parties without your consent. Please see RAMM's Privacy Policy for more details.
Online bookings will only remain held for 10 minutes without payment
Once your online booking has been confirmed an order confirmation will be sent to the email address you specified
On arrival at the event, the following will be required in order to validate an eticket purchased though the RAMM website:
Appropriate proof of entitlement to any discounted ticket rate (such as NUS card or benefit documents) for each person to be admitted with the ticket
A legible ticket or purchase confirmation
Any bar operating as part of a function may be closed by the duty manager at any time if any person using the bar shall behave in an unruly, disorderly or unseemly manner or it, in the exercise of his absolute discretion, he is of the opinion that such unruly, disorderly or unseemly behaviour may occur there.
The Royal Albert Memorial Museum is suitable for children
All children under the age of 11 should be accompanied at all times by someone over the age of 16
Parents with young children are welcome in the Royal Albert Memorial Museum
Some temporary exhibitions may contain content not suitable for children. These will be clearly advertised and signposted.
Venue Hire Terms Royal Albert Memorial Museum & Art Gallery (RAMM)
Conditions of Hire 1 (a) The council reserves the right to refuse any application for the use of the venue or any part thereof without stating its reason for such refusal. (b) Should the hirer cancel the booking within 28 days of the booking then 50% of the hire fee shall be forfeited. (c) The Council reserves the right to cancel bookings at any time by not less than 24 hours previous notice in writing to the Hirer, and the Hirer shall not be entitled to any compensation in consequence thereof or in connection therewith other than the refunding of appropriate hiring fees agreed. (d) The Council reserves the right to cancel at any time any booking of the said premises should the venue be closed in consequence of any public calamity, Royal demise, epidemic, fire, act of God, war (or its consequences), or is not available for the purpose of the hiring in consequence of the withdrawal or suspension of any license, or by reason of any work required to be done by the Licensing or other Authority, to be any reason of any combination or any strike or lock-out of any workman interfering with the efficient working of the premises, or from any cause whatsoever not within the control of, or not occasioned by default of, the council. (e) The Council's decision upon the above matters shall be final and conclusive, and in such circumstances the Hirer shall not be entitled to any compensation in consequence thereof, but any charge for hire previously paid shall be refunded. (f) The Council reserves the right to terminate any hiring in the event of the hire committing a breach or failure to observe or perform any of the regulations or conditions. (g) The Hirer shall not without the previous consent in writing of the venue management, use the venue or any part thereof for any purposed or purposes other than those specified in the letter of hire confirmation without prior agreement of the venue manager (h) The Hirer shall not without the consent in writing of the venue management, sub-let the venue or any part thereof. (i) These conditions and regulations for the use of the Royal Albert Memorial Museum and any part thereof may be amended by the Council at any time, without notice and, if so amended, shall apply to all hirings taking place thereafter regardless of the date of such hirings. (j) The term 'Hirer' in these Conditions shall be taken to mean the person, persons, or body incorporate making application to hire the venue and any part thereof. (k) The term 'Venue' in these Conditions shall be taken to mean those parts of the venue booked as noted on the letter of hire confirmation. 2 (a) The Hirer shall be deemed to have notice of the Conditions attached to such licences and shall observe and perform such Conditions insofar as they affect the hiring. (b) The maximum capacity of the venue is 500 persons however a smaller maximum may be enforced depending on the particular event and set-up required. You should check this with the venue management before finalising your plans for an event. (c) Any bar operating as part of a function may be closed by the duty manager at any time if any person using the bar shall behave in an unruly, disorderly or unseemly manner or it, in the exercise of his absolute discretion, he is of the opinion that such unruly, disorderly or unseemly behaviour may occur there. (d) the Hirer shall comply with the Conditions endorsed on the Premises Licence, and shall not do or permit any act which may imperil the Licence held by the Council or be a nuisance or annoyance to any person and shall not commit or permit any breach of the statutory provision, or regulation for the time being in force relating to the licensed premises. 3 (a) The Council shall not be liable for any accident or injury sustained by the Hirer or any person present in the venue or any part thereof arising from the negligence or default of the Hirer and his servants or agents. The Hirer shall indemnify the Council against all costs, claims an demands in respect of any such accident or injury as aforesaid. A copy of the hirer's public liability insurance certificate should be made available to the venue management on request. Such public liability should be in force to a limit of £5,000,000. (b) Where requested, the Hirer must provide a copy of a risk assessment for the event at least 7 days prior to the event being staged. (c) The venue shall be in the care and custody of the Hirer and the Council accepts no responsibility for any loss or damage sustained in respect of articles, wearing apparel or other property brought into or left in the venue or any party thereof by or on behalf of the Hirer or any other person. (d) The Hirer will be held responsible and accept full responsibility for any damage done to the venue or any part thereof, furniture, utensils or other property of the Council during the period of or otherwise arising out of the hire of the venue or any part thereof. All internal or external decorations shall be subject to the approval of the management. These should not be fixed to the fabric of the building or internal walls and should be removed to the satisfaction of the venue management. (e) No entertainment shall be held or given which will involve any increased risk of fire unless previously agreed by the venue management. (f) The Hirer agrees not to fix decorations or any other material to the walls, floors, stage, furniture or any other part of the premises. (g) Any liability or expenditure incurred by the Council on behalf of and at the request of the Hirer shall be discharged by the Hirer and the Council will not accept any responsibility in connection therewith. (h) Any caterers engaged to provide food or other refreshments as part of a function shall be taken from RAMM's list of approved caterers. 4 (a) All seats and tables will be arranged with sufficient gangways in all respects to afford means of rapid exit and the Hirer shall keep such gangways, together with all passages and exits free from obstruction. (b) All doors giving egress from the venue or any part thereof shall be kept unfastened and unobstructed and immediately available for exit during the whole of such time as the venue or any part thereof is being used by the Hirer. (c) All enquiries regarding the facilities available, layout, times of entry etc should be made to the venue management. (d) The Hirer should not use, or permit to be used, any electrical equipment in the venue without the prior consent of the venue management. The Hirer must ensure that a competent person is in attendance during the operation of any additional special effects, stage lighting, additional venue lighting, audio visual equipment or any electrical equipment. (e) All arrangements in connection with the hiring of the premises or any part thereof shall be to the approval of the venue management and the Hirer shall comply with all reasonable requests made to him at any time in respect thereof. (f) Naked flames, including gas ovens and candles, shall not be used on the premises. Red wine, orange juice and other staining or sticky drinks are not to be provided or drunk on the premises without the former consent of the venue management. (g) Balloons cannot be used to decorate rooms or galleries without the express permission of the management due to the risk of them setting off the intruder alarm systems. 5 (a) The removal from the venue of all goods and/or equipment belonging to the Hirer, or brought into the venue in connection with the purpose, for which the venue was hired, shall be the responsibility of the Hirer. In the event of failure to discharge the foregoing responsibility within 14 days of an event, the Council may dispose of the goods and /or equipment as it thinks fit without being liable to the Hirer in respect thereof. The Hirer shall be liable to pay the Council's costs of so doing save to the extent they are recouped by the Council from any sale of the goods and/or equipment. (b) If the Hirer shall continue his/her occupation of the venue or any part thereof after the designated period of hire for which he/she engaged the same, he/she shall pay such additional hire fees as may be deemed appropriate by the venue management. The Hirer shall also, in addition, be responsible for any loss or damage occasioned by the Council for exceeding the designated times. The designated times being those booked by the Hirer and stated in the letter of confirmation. 6 Sufficient staff shall be provided by the Hirer to supervise properly the function in the venue or any part thereof as the venue management shall, in their absolute discretion determine. 7 The Council's officers and servants are not permitted, under any circumstances, to accept gratuities of any kind. 8 (a) The Hirer shall not use the venue or any part thereof for the performance in public of any dramatic or musical work or for the delivery in public of any lectures in which copyright subsists without the consent of the owner of the said copyright. The Hirer shall indemnify the Council against all sums of money, which the Council may have to pay by reason of any infringement of copyright occurring during the whole of such time as the venue or any part thereof is being used by the Hirer. (b) The Hirer shall comply with the provisions of the Children and Young Persons Act. 9 (a) The hirer shall not be entitled to grant sound, television broadcasting or filming rights without the prior written consent of the venue management. 10 (a) Smoking is not allowed in any part of the venue. 11(a) In accordance with RAMM's responsibility under the Data Protect Act 1998 the information you provide will be held in an Exeter City Council database for the purpose of fulfilling your venue hire arrangements. It will not be used for any other purpose unless you opt in to receiving communications from RAMM. 12 (a) a 50% non-refundable deposit is required to be paid upon booking and the remaining 50% one month before the event.
Guided Group Visits, Guided School Activity and External Talk Bookings
(1) The term 'Organiser' in these conditions shall be taken to mean the person, persons, or body incorporate making an application to book a guided visit/guided activities/external talk for any organisation or school (private or public) and any part thereof. (2) The term 'museum specialist' may refer to a RAMM staff member or a volunteer. (3) The term 'Council' refers to Exeter City Council. (4) The term 'Guided Group Visits' includes all tours and talks attended at RAMM that are delivered by a museum specialist. (5) The term 'Guided School Activity' includes all visits to RAMM by educational organisations that are guided by a museum specialist. It does not include self-led school visits to the museum (6) The term 'External Talk' refers to talks that are delivered by a museum specialist to a group of people at a venue that the Organiser has booked (7) Payment
A 50% deposit is required to be paid upon booking where the overall charge is greater than £100
Should the organiser cancel the booking within 28 days of the date of the visit then 50% of the total fee shall be forfeited/requested.
Unless you are a school requesting payment via the issue of an invoice, the total cost/balance of payment for the booking must be made in full 14 days before the date of the visit. Failure to do so may result in the booking being cancelled.
(8) Cancellation
We reserve the right to cancel at any time any booking should the venue be closed in consequence of any public calamity, epidemic, fire, act of God, war (or its consequences), or the premises is not available for the purpose of the booking in consequence if any reason of any combination or any strike or lock-out of any workman interfering with the efficient working of the premises, or from any cause whatsoever not within the control of, or not occasioned by default of, the council
The Council's decision upon the above matters shall be final and conclusive, and in such circumstances the organiser shall not be entitled to any compensation as a consequence, but any charge for guided visits or guided school activities previously paid will be refunded
The Council reserves the right to terminate any booking in the event of the organiser or officers of the organisation/school committing a breach or failure to observe or perform any of the regulations or conditions
(9) Capacity The maximum capacity of each guided group visit or guided school activity at RAMM will be stated and agreed on the booking provisional and confirmations email. Failure of the organiser to keep to the limit, depending on the number of additional participants, will result in one or a combination of:
The guided visit or guided school activity not going ahead
The additional participants being excluded from taking part
Agreement that the guided visit or guided school activity experience will be compromised in terms of the enjoyment/learning outcomes that will be derived by the participants
An additional charge will be requested.
(10) Public Liability Insurance The Council shall not be liable for any accident or injury sustained by the organiser or any person present in the venue or any part thereof arising from the negligence or default of the organiser and his organisation's officers. Visits by the public to any Council premises is covered by £25,000,000 liability insurance [PDF]. (11) Risk Assessment Guidance for Guided School Visits Supervision One teacher must be QTS accredited (Qualified Teacher Status) and there must also be an additional teacher to circulate between groups. We recommend the following minimum ratio of adults to children
Children aged 0-4 1 adult: 3 children
Children aged 5-7 (KS1) 1 adult: 6 children
Children aged 8 -11 (KS2) 1 adult: 10 children
Children aged 12 and over (KS3 +) 1 adult: 15 children
Accompanying adults should not have babies/toddlers/buggies with them. First aid provision RAMM can provide basic first aid in the event of a minor accident. If any pupil has specific illnesses, however, e.g. epilepsy, diabetes, allergies etc., the school must bring an adult who has specialist knowledge and ability to treat these pupils. Minor injury
All pupils and adults should wear appropriate clothing and footwear and only walk in the museum to avoid slips and trips.
Allergic reaction to materials on open display
Teachers need to be aware of allergies amongst their children and if in any doubt about the possibility of allergic reaction to materials on open display then the risk to their children should be assessed in the familiarisation visit.
(12) Risk Assessment for External Talks
It is the responsibility of the organiser to ensure that the necessary risk assessments, licenses and health and safety checks are in place at the venue that they have booked for the museum specialist to attend to give a talk
The Council accepts no responsibility if the organiser fails to meet the above statutory requirements and in such instances the council will seek compensation should injury through negligence on the part of the organiser or the venue occur to the museum specialist whilst at the venue.
(13) Food and Drink - No eating is allowed in the galleries, but you are welcome to take a snack break in our grassy area by the garden entrance. Lunch rooms are available to book, please request on making your booking. (14) The Organiser will be held responsible and accept full responsibility for any damage done to the premises or any part thereof, furniture, utensils or other property of the Council during the period of or otherwise arising out of the visit or any part thereof. (15) Any liability or expenditure incurred by the Council on behalf of or at the request of the Organiser shall be settled by the Organiser and the Council will not accept any responsibility. (16) Any liability of expenditure incurred by the Organiser in the hire of an external venue for the delivery of a talk by a museum specialist, shall remain the sole responsibility of the organiser to discharge and the Council will not accept any responsibility. (17) All enquiries regarding the facilities available, content, activity and times of entry etc should be made to ramm.extra@exeter.gov.uk
We reserve the right to refuse additional requests that result in a significant change to the delivery and content of the guided group visit, external talk or guided school activity less than 28 days before the date of the visit
(18) Safeguarding
The Organiser and RAMM shall comply with the provisions of the Children and Young Persons Act and the Disclosure and Barring Service
Sufficient staff/officers of the organisation/school shall be provided to supervise the visit
All children under the age of 16 should be accompanied at all times by an adult over the age of 18
(19) The Council's officers and volunteers are not permitted, under any circumstances, to accept gratuities of any kind. (20) In accordance with RAMM's responsibility under the Data Protect Act 1998 and the General Data Protection Regulation the information you provide will be held in an Exeter City Council database for the purpose of fulfilling your booking arrangements. It will not be used for any other purpose unless you opt in to receiving communications from RAMM.
© 2020 Royal Albert Memorial Museum & Art Gallery, Exeter City Council
Website design & development by Toucan


Attorney Robert D. Wagman, Esq., P.C.
Robert D. Wagman, Esq., P.C.
Copyright © by Robert D. Wagman, Esquire, P.C. All rights reserved. You may reproduce materials available at this site for your own personal use and for non-commercial distribution. All copies must include this copyright statement.


Adds a few features to the Escape the World modpack.
This Mod Allows You To Craft a Block Which You Right Click And Gives You a House So You Can Survive You First Night In Minecraft!
This Is Just a Snapshot! Expect Bugs!
A mod that converts all your copper, tin, silver, lead... ingots/dust to a universal version.
Some description here, currently missing.


In case you haven't noticed, we live in the information era. Very few things can truly be kept secret. Wanting to hop on the WikiLeaks bandwagon, the Wall Street Journal just launched their new site SafeHouse.
Allowing people to securely and anonymously submit tips, documents and databases for consideration, WSJ says their aim is to "uncover fraud, abuse and other wrongdoing." Once and item is submitted, editors will be able to work with the tipster as the vet and review the information. And the WSJ aren't the only ones considering something like this. Back in January, NY Times editors also expressed interest in a submission tool for leakers.


text:
U2.COM : 'catholic'
Gavin Friday grew up on the same street as Bono, and was part of the 'Lipton Village' gang with Bono and their mate Guggi.
Gavin formed the Virgin Prunes with Guggi (and Edge's brother Dik, among others) in 1977, and has enjoyed a celebrated and eclectic career since - as punk, performance artist, actor, soundtrack composer, and much more. He also advises U2 on the visual and performance side of their work - an "aesthetic midwife", is the phrase he uses.
Gavin's first solo album in 16 years – 'catholic' - was recently released to widespread acclaim. A good moment for U2.com to track him down again. (Here's part one of our interview, with part two coming in a few days.
posted by P.G. at 5:19 PM 0 comments
U2.COM : North Star Over Miami
Moviegoers watching 'Transformers: Dark of the Moon', which opens in cinemas this week, will hear a new song by U2 - North Star - but not before 75,000 fans at the Sun Life Stadium in Miami tonight.
The North American debut of the new track, ' a love song to the universe' as Bono called it, was one of the stand-out moments on a hot and sticky evening where the rain stayed away and the 360 space ship took off again.
U2 rocks Michigan
About 30 ONE volunteers approached 70,000 people attending the U2 concert in East Lansing, Michigan, adding 3,257 new members to the existing 2.5 million members of ONE. Each signature also supported the GAVI vaccine petition, which will help save four million premature childhood deaths by 2015. ONE members from as far as South Carolina and Ohio engaged concert attendees alongside Amnesty International and the Aung San Suu Kyi Charity in the summertime heat for nearly five hours on the Michigan State University campus.
Steve Radelet, chief economist at USAID, was also seen at the concert. ONE members had the opportunity to hear from Steve in April at the ONE Summit, which gave volunteers from across the nation the opportunity to engage their state representatives on Capitol Hill.
"This is something we want to look back on, and be proud that we were a part of." said GVSU volunteer Zac Lantz. U2 shows amplify the message of ONE to the world that together we can work to make a difference for the world's poorest.
-William Dorn and Aaron Vince, ONE Congressional District Leaders (SC 4, MI 3)
source : http://www.one.org/
U2 setlist - June 29, 2011 at Miami, FL
Venue: Sun Life Stadium
Opening Act(s): Florence and the Machine
Main Set: Even Better Than The Real Thing, The Fly, Mysterious Ways, Until the End of the World, I Will Follow, Get On Your Boots, I Still Haven't Found What I'm Looking For - The Promised Land, North Star, Beautiful Day - Space Oddity, Elevation, Pride, Miss Sarajevo, Zooropa, City of Blinding Lights, Vertigo, I'll Go Crazy (remix), Sunday Bloody Sunday, Scarlet, Walk On
Encore(s): One, Will You Love Me Tomorrow - Where the Streets Have No Name, Hold Me Thrill Me Kiss Me Kill Me, With or Without You, Moment of Surrender
Comments: North Star is performed for the first time since April 10, 2011 in Sao Paulo. NBA star Lebron James is at the show.
source : http://www.u2tours.com/
U2.COM : Follow The Show in Miami
Got tickets for the show in Miami? Planning to follow online? Here's how.
If you want to follow the build up to the shows, take a look at this thread and join the chat.
U2.com Subscribers can check in here for live updates from fans in Miami as it all happens.
You can upload images, video and even have your own blog directly embedded in our #U2360MIA Group over on our community pages.
On show day, open another window for the home page of our Community area and join fans tweeting from the show and others following online.
If you're tweeting from - or about - the show, use the hashtag #U2360MIA or #U2360USA, that way we can feature your updates in our rolling feed.
U2.COM : All Aboard For Glastonbury
It's Friday morning and the band are taking off for Worthy Farm. Edge has his wellies ready.
U2.COM : 'A Pub Like Dooleys'
Seems like only a few hours ago that the band came off stage at Glastonbury in the UK and they were still in the festival groove tonight opening up with four straight songs from Achtung Baby.
'C'mon East Lansing - go green… go white… go orange… where you going to take the Irish tonight?'
We had our own festival at Michigan State University's Spartan Stadium with an exuberant audience singing along at every note, the joint rocking from 'Real Thing' to Moment of Surrender'.
Let's shrink this place down to a little club, Bono told a 65,000-strong crowd, before adding, ' or a pub like Dooleys'.
posted by P.G. at 11:42 AM 0 comments
June 26, 2011 at East Lansing, MI
Venue: Spartan Stadium
Main Set: Even Better Than The Real Thing, The Fly, Mysterious Ways, Until the End of the World, I Will Follow, Get On Your Boots, I Still Haven't Found What I'm Looking For - The Promised Land, Stay, Beautiful Day - Space Oddity, Elevation, Pride, Miss Sarajevo, Zooropa, City of Blinding Lights, Vertigo - T.V. Eye, I'll Go Crazy (remix) - Discotheque - Psycho Killer - Life During Wartime, Sunday Bloody Sunday, Scarlet, Walk On - You'll Never Walk Alone
Encore(s): One, Will You Love Me Tomorrow - Where the Streets Have No Name, Hold Me Thrill Me Kiss Me Kill Me, With or Without You, Moment of Surrender - Jungleland
Comments: The video screen stops working during the Mark Kelly intro before Beautiful Day, but comes back in time for his lyric recital later in the song. Bono again pays tribute to the late Clarence Clemons with a couple snippets during the show. Rolling Stone Editor Jann Wenner is at the show, as is veteran rock singer Bob Seger.
U2.COM : I WILL FOLLOW @ GLASTONBURY
posted by P.G. at 2:15 AM 0 comments
U2.COM : Follow The Show in East Lansing
Got tickets for the show in East Lansing ? Planning to follow online? Here's how.
U2.com Subscribers can check in here for live updates from fans in Baltimore as it all happens.
You can upload images, video and even have your own blog directly embedded in our #U2360EL Group over on our community pages.
If you're tweeting from - or about - the show, use the hashtag #U2360EL or #U2360USA, that way we can feature your updates in our rolling feed.
U2.COM : Download 'I Will Follow' From Glasto
Last night's Glastonbury performance of I Will Follow is now available to download, a fundraiser for three Glastonbury charities - Oxfam, WaterAid and Greenpeace Environmental Trust.
The proceeds from the sale of the song on iTunes - including 100% of iTunes' share - will go to the three charities.
Download I Will Follow (Live From Glastonbury) from the UK iTunes Store.
Download I Will Follow (Live From Glastonbury) from Ireland's iTunes Store.
Download I Will Follow (Live From Glastonbury) from the US iTunes Store.
U2 @ Glastonbury 24/06/2011 (Parts 1 2 3)
U2 are the sweetest thing at Glastonbury
Last night U2 left their comfort zone of the highest-grossing tour in history to play to their toughest audience yet at the UK's Glastonbury music festival.
In front of a crowd who are traditionally suspicious of 'stadium rock', it could have gone either way.
But U2's debut performance at Worthy Farm turned into a triumph last night as the Bono & Co crew abandoned their 360 tour setlist to perform a 'greatest hits' package, which when you're U2 is some songbook to draw on.
U2.COM : Live From Glastonbury
U2 headlined the Glastonbury Festival in the UK tonight and from the opening bars of 'Real Thing' to the closing seconds of Out of Control, it was a rock'n'roll tour de force.
Over an hour and three quarters on stage, the band played 19 songs from eight albums spanning three decades - a blistering show that set Glastonbury 2011 alight.
'Has any other headline band performed so many hits?' asked steelerik on our live feed. 'I doubt it...'
A year after they were due to make their debut here on Worthy Farm, tonight they finally made it, their first UK festival set since the eighties. By the time they arrived on stage shortly before 10pm, there were tens of thousands of U2 fans who'd made their way to the front of the Pyramid Stage - holding high their flags and banners.
And from the start of 'Real Thing' - accompanied by the premiere of a stunning video specially commissioned from artist Damien Hirst - and running into four more tracks from Achtung Baby, the band never took their foot off the gas.
'They absolutely nailed it,' tweeted gayleague. 'Hugely enjoyable, they've still got it...'
As well as the live broadcast in the UK and Ireland, there was a global audience following live updates online - at one point Bono, Adam, Achtung Baby, Edge, Larry and Zoo TV were all trending on Twitter.
'I think the guys have just shown glasto wot the last 41 years as been waitin for!!' tweeted Yvonne Murray.
We'll have a fuller report on tonight's show in a while but meantime we want to hear from you on the band's debut at Glastonbury. Were you there tonight? Did you watch it on TV or follow online?
Add your own comments below.
U2 setlist - June 24, 2011 at Pilton, England
Venue: Worthy Farm
Opening Act(s): Master Musicians of Joujouka, Metronomy, Two Door Cinema Club, Wu-Tang Clan, B.B. King, Biffy Clyro, and Morrissey.
Main Set: Even Better Than The Real Thing, The Fly, Mysterious Ways - Independent Women, Until the End of the World, One, Jerusalem - Where the Streets Have No Name - All You Need Is Love, I Will Follow, I Still Haven't Found What I'm Looking For - Movin' On Up, Stay, Beautiful Day - Rain, Elevation, Get On Your Boots, She Loves You - Vertigo - Garageland, Sunday Bloody Sunday, Bad - Jerusalem, Pride
Encore(s): With or Without You - Love Will Tear Us Apart, Yellow - Moment of Surrender, Out of Control
Comments: U2 plays the Glastonbury Festival for the first time. During the show, Bono sings several lines from 'Jerusalem', a song based on William Blake's poem, And Did Those Feet In Ancient Times. The Fly includes the full Zoo TV tour visuals, as do Mysterious Ways and One. Astronaut Mark Kelly appears on video before Beautiful Day as he's done on the 360 tour. Bono snippets The Beatles, The Clash and Coldplay. They also revisit Live Aid, playing Sunday Bloody Sunday and Bad together, and even Pride next - the song they were supposed to play at Live Aid. U2, especially Bono, gives this performance everything, and the crowd responds in kind. By the end, it seems U2 has won the night.
U2.COM : Live At Glastonbury
When the band headline the Glastonbury Festival on Worthy Farm in the UK, there'll be 150,000 watching the set live in Somerset - along with millions watching on TV in the UK and Ireland.
We've got Glastonbury covered on U2.com.
To follow the build up to the Festival, dive in to this thread.
U2.com Subscribers can check in here for live updates from fans on the farm as it all happens.
You can upload images, video and even have your own blog directly embedded in our #U2360GLASTO Group over on our community pages.
Open another window for the home page of our Community area and join fans adding live updates from the festival site as well as people all over the world following online.
If you're tweeting from (or about) the show, use the hashtag #U2GLASTO, that way we can feature your updates in our rolling feed.
Check in here for any special announcements.
U2.COM : 'Touch Down'
From Baltimore to Cardiff to Bath to... Glastonbury.
'16.18: Touch down! I slept the whole way. My head feels like a boiled onion.'
Edge is updating The Guardian with the all the latest as the band head to Worthy Farm.
U2.COM : Countdown to Glastonbury
The Glastonbury Festival is nearly upon us and the Countdown Clock is ticking.
Check out a cool new video every day.
U2 COM : Let's Go To Glastonbury
On Friday night the band headline the legendary Glastonbury Festival on Worthy Farm in the UK.
There'll be 150,000 watching the set live in Somerset - along with millions watching on TV in the UK and Ireland.
If you want to follow the build up to the Festival, dive in to this thread.
On Friday, open another window for the home page of our Community area and join fans adding live updates from the festival site as well as people all over the world following online.
If you're tweeting from (or about) the show, use the hashtag #U2360GLASTO, that way we can feature your updates in our rolling feed.
U2.COM : 'Lights go down, it's dark...'
In the studio the band are rehearsing for Glastonbury while Show Director Willie Williams is at the white board... writing up possible set lists.
Wonder if Vertigo will make it ?
U2.COM : 'Midsummer Nights Dream' in Baltimore.
'What a beautiful midsummer nights dream' said Bono, towards the end of one of the hottest nights of the tour in Baltimore tonight. 'Unbelievable...'
Or as Max, one of our presenters on the live feed in Zootopia put it: '80s and humid - possibility of Shirtless Adam: mid to high...'
And so it was as the forecasts of thunder and rain failed to materialise and the storm clouds disappeared by the time the band took the stage at the home of The Ravens tonight. We were expecting 'Real Thing' to open the show but still a surprise to hear Edge wind up The Fly after that - hard to beat the 'Kraut Rock - circa 1991'.
Florence and The Machine were up earlier for their first night on the tour and Bono thanked them for taking a ride on the space ship.
'It's great to be back, it's so beautiful, Maryland...' The rolling hills reminded him of Wicklow - that went down well.
After introducing everyone else, first of several special mentions to Clarence Clemons as 'Still Haven't Found' featured snatches of Springsteen before we were all singing Stay (Faraway So Close).
'If I could stay, then the night would give you up.
Stay, and the day would keep its trust.
Stay, and the night would be enough....'
Was the night enough for you in Baltimore ? How hot did it get and what was the moment you'll never surrender ? Write up your own review of the show and post your photos on our tour pages.
U2 setlist - June 22, 2011 at Baltimore, MD
Venue: M&T Bank Stadium
Main Set: Even Better Than The Real Thing, The Fly, Mysterious Ways, Until the End of the World, I Will Follow, Get On Your Boots, I Still Haven't Found What I'm Looking For - The Promised Land, Stay, Beautiful Day - Space Oddity, Elevation, Pride, Miss Sarajevo, Zooropa, City of Blinding Lights, Vertigo, I'll Go Crazy (remix) - Discotheque - Psycho Killer, Sunday Bloody Sunday, Scarlet, Walk On - You'll Never Walk Alone
Encore(s): One, Amazing Grace - Where the Streets Have No Name - All You Need Is Love, Ultraviolet, With or Without You, Moment of Surrender - Jungleland
Comments: As they did at the previous show in Anaheim, U2 remembers Clarence Clemons again tonight with a couple snippets during the show. Bono again sings/recites the lyrics of Jungleland as the show ends.
U2 - The Edge On Glastonbury
On the Hill with Bono
ONE's cofounder Bono came to Washington, D.C., today to meet with House and Senate lawmakers from both sides of the aisle to thank them for their bipartisan commitment to the fight against extreme poverty and preventable disease -– and to talk about the importance of continued support for effective programs that are saving millions of lives in the poorest places on the planet for less than 1 percent of the federal budget.
We had very good meetings in the Senate and House. US leadership in the fight against extreme poverty has been a global game changer. Thanks to effective programs, more than four million African men, women and children are on life-saving AIDS medicine and malaria deaths have been cut in half in countries across the continent –- all in a few years.
Bono is also meeting with members of the Obama Administration while he is in town to discuss these same issues. Urged on by ONE members, President Obama made a strong commitment last week to help fund vaccines that will ensure kids in poor countries don't die from preventable, treatable diseases like rotavirus. Now we need the Congress to do its part as well on vaccines, and based on our meetings today and the support of champions on both sides of the aisle, I believe it will.
It was great to have Bono in town today to help make the case that this stuff works, and it's more important now than ever.
source : http://www.one.org/ by Sheila Nix
U2 are world's best paid musicians
U2 are the highest paid act in the world, according to Forbes magazine.The magazine's poll of the highest grossing acts of the last 12 months reveals that the band's spectacular 360 degree world tour earned $195m, way ahead of their nearest rivals, Bon Jovi, whose Circle tour grossed $125m.
Elton John came in third, netting $100m from his show's last year's. Lady Gaga was fourth with earnings of $90m, thanks to her sell-out Monster Ball tour and back-to-back albums.
By the time it comes to an end later this year, the 360 degree tour is expected to have earned a total of $700m. Every concert in the tour has sold out, sometimes within minutes. The band were forced to put on a third concert in Dublin's Croke Park in July 2009, when the first two nights sold out in just 40 minutes.
The show is staged on a elaborate scale, with The Edge saying: "We're actually at the limit, the absolute limit, when you consider the economics and the practicality of transportation. We're really as big as we could ever get."
After the show, it takes six hours for production to dismantle the set and 48 hours to dismantle and load the steel structure and remove it from the stadium.
The Forbes Top 10 Highest Paid Musicians in 2011
1. U2 ($195 million)
2. Bon Jovi ($125 million)
3. Sir Elton John ($100 million)
4. Lady Gaga ($90 million)
5. Michael Buble ($70 million)
6. Sir Paul McCartney ($67 million)
7. The Black Eyed Peas ($61 million)
8. The Eagles ($60 million)
9. Justin Bieber ($53 million)
10. Dave Matthews Band ($51 million)
source : http://www.independent.ie/
U2.COM : Follow The Show in Baltimore
Got tickets for the show in Baltimore ? Planning to follow online? Here's how.
You can upload images, video and even have your own blog directly embedded in our #U2360BAL Group over on our community pages.
If you're tweeting from - or about - the show, use the hashtag #U2360BAL or #U2360USA, that way we can feature your updates in our rolling feed.
Setanta to show U2 set at Glastonbury
U2's first ever appearance at Glastonbury is to be broadcast live on Setanta Ireland.
The Glastonbury festival is broadcast by the BBC in the U.K., with its commercial wing BBC Worldwide distributing content internationally.
On Friday, BBC Two will begin broadcasting U2's headline set from 10pm, until Newsnight begins at 10.30pm, Coverage of the event will move to BBC4 before switching back to BBC Two shortly after 11pm.
"The band were keen that an Irish broadcaster would show it uninterrupted," a spokesman for Setanta said.
"We are delighted that U2 have allowed us to bring this live event to an Irish audience, with these channels involved over 1.3 million Irish homes will have access to U2 at Glastonbury."
The band's manager, Paul McGuinness, said "U2 fans across Ireland wanted to watch the Glastonbury show. We're fortunate that Setanta and the BBC have agreed to deliver uninterrupted coverage across the country."
source : http://www.irishtimes.com/
U2 bringing their own stage to Glastonbury?
Glastonbury boss Michael Eavis has suggested that U2 are bringing their own stage to the festival this weekend.
The Irish rock legends headline the festival this Friday (June 24) in their first festival performance since the 1980s. In recent years, the band have been more used to lavish stage productions, like the infamous 'claw' construction that formed the centerpiece of their most recent world tour.
Now, Eavis has suggested that their show may not be as stripped down as expected.
He told the Daily Star: "U2 are excited, especially after they couldn't come last year. I first tried to book them 35 years ago. They are bringing their own stage with them. We're having to put a lot of stuff in for them but we're so happy to have them."
Eavis' comments may have to be taken with a pinch of salt, however. It would not be logistically possible to install 'the claw' on Worthy Farm, and Glastonbury's own listings have it that U2 are playing the Pyramid Stage.
Yet at last year's Download, headliners AC/DC did bring their own stage, sat adjacent to the main stage, to accommodate their own huge production. No other acts were permitted to play at the same time as them.
Eavis once again repeated his annual claim that this year's festival will be the best ever. He said: "The line-up must be the best we've had -- we sold all the tickets in three hours. No other event has sold as fast as this one, so after 41 years that's not bad."
source : http://www.nme.com/
U2.COM : 'It's About The Songs...'
'It's about the songs,' explained Larry, calling in to Zane Lowe's Radio 1 show last night. 'About a band being able to get up and play the music...'
Larry sounds in great form and dropping some clues about how the band are thinking ahead of the Glastonbury set.
Listen in to the whole of the interview here -scroll forward to just past 1:03.
BIG MAN 4EVER
RIP BIG MAN
U2.COM : 'A Time To Run For Cover...'
Is there a time to run for cover
A time for kiss and tell.
A time for different colours
Different names you find hard to spell..
Another video special for subscribers, Miss Sarajevo, captured live in Anaheim and featuring a remarkable new animation by Run Wrake.
The idea of using childrens drawings came from Bono, who remembered an exhibition he'd seen of children's pictures in Mostar. Images of princesses and beauty queens seque into drawings from warzone, the matter-of-fact childrens illustration style complementing the theme of the song.
U2.COM : A Toast To Our Manager, Paul McGuinness
U2.COM : Club Night in Anaheim
'Saturday night in Anaheim, hope you like our big ol' rock show,' says Bono. 'Now I know this is Angels territory… and miracles abound, but there's a magic trick that we'd really like to try tonight. It's called 'Shrink This Stadium, Turn It Into A Club....'
It's a trick the band have been playing for some time and they pulled it off again tonight, mixing up the set list and dropping in some surprises.
'Closeness is not about physical proximity, we feel close to you up there on the top tier, we're feeling it (and) over to the left... can you feel us?'
U2 setlist - June 18, 2011 at Anaheim, CA
Venue: Angel Stadium
Opening Act(s): Lenny Kravitz
Main Set: Even Better Than The Real Thing, The Fly, Mysterious Ways, Until the End of the World, One, Amazing Grace - Where the Streets Have No Name - All You Need Is Love, I Will Follow, Get On Your Boots - She Loves You, I Still Haven't Found What I'm Looking For, Stuck In a Moment, Beautiful Day - Space Oddity, Elevation, Pride, Miss Sarajevo, Zooropa, City of Blinding Lights, Vertigo - It's Only Rock and Roll, I'll Go Crazy (remix) - Discotheque - Please, Sunday Bloody Sunday, Scarlet, Walk On - Never Walk
Encore(s): Ultraviolet, With or Without You, Moment of Surrender - Jungleland
Comments: The Fly is played for the first time since Dec. 9, 2006 in Hawaii, and is one of six Achtung Baby songs in the setlist. Bono dedicates I Still Haven't Found to Quincy Jones, who's at the show. Other celebrities in attendance include Rick Rubin, Tom Morello, and Cindy Crawford. Before Moment of Surrender, Bono pays tribute to E Street Band saxophonist Clarence Clemons, who died earlier today: 'Think about one man's saxophone. Think about Bruce Springsteen and the E Street Band. Think of Clarence Clemons. This man just carried music, and music carried him until this day.' He then sings/recites some of Jungleland at the end of the concert.
U2.COM : Birthday Wishes in Anaheim
'Tonight might be the night to toast a man who has meant so much to this band...
'Without this man, things might have turned out a little differently.
'Larry Mullen Jnr would not be the drummer of U2.. he'd be a highway patrol man. But in Dublin!
'Adam Clayton, what would he be without this man? I'm thinking hand bag designer. Really posh ones though... a designer of fine things...'
U2.COM : U2360° FANCAM in North America
Been at any of the North American shows? Know anyone who has ?
Don't forget to tag yourself - or them - on FANCAM.
The U2360° FANCAM is at the show every night in North America and producing spectacular interactive images.
Zip around the stadium and zoom in anywhere - from the smile on your best mate's face to the drum kit on stage waiting for Larry to arrive.
The detail is incredible, you'll be amazed at what you can find. Share the image on Facebook or Twitter and email it to friends.
Here's what FANCAM captured in Denver.
Here's the image from Salt Lake City.
And this was the big picture in
Edmonton...
Winnipeg...
Seattle....
and Oakland.
Coming to a show this month or next ? The U2360° FANCAM gets to work about fifteen minutes after the support act has left the stage. You'll see a camera set up at the downstage area and when you see the photographer rotating the camera, raise your hands towards the centre of the stage to get in the shot as it's taken!
(The FANCAM is flash-based and may not be available on all devices.)
It's seven days till Glasto and the Countdown Clock is ticking with some cool new video every day.
First up it's The Edge remembering Red Rocks... one of the all-time classic U2 live sets, way back in the 1980's.
Catch it here or, if you're on Facebook, here.
Venue: Angels Stadium
Main Set: Even Better Than The Real Thing, I Will Follow, Get On Your Boots, Magnificent, Mysterious Ways, Elevation, Until the End of the World, Happy Birthday, All I Want Is You, Stay, Beautiful Day - Space Oddity, Pride, Miss Sarajevo, Zooropa, City of Blinding Lights, Vertigo - Are You Gonna Go My Way, I'll Go Crazy (remix) - Discotheque - Life During Wartime - Psycho Killer, Sunday Bloody Sunday, Scarlet, Walk On - You'll Never Walk Alone
Encore(s): One - United We Stand, Will You Love Me Tomorrow - Where the Streets Have No Name, Hold Me Thrill Me Kiss Me Kill Me, With or Without You, Moment of Surrender
Comments: The band brings Paul McGuinness on stage where Bono leads the crowd in singing Happy Birthday to him. His birthday was yesterday. Bono dedicates Stay to Chris Blackwell and Pride to Maria Shriver -- both are at the show.
U2.COM : What Will They Play ?
It's barely a week until U2 finally walk out on stage to headline the opening night at the UK's Glastonbury Festival.
With 150,000 at Worthy Farm and a TV audience of millions, everyone's talking about what the band will play.
After two years on the road there's any number of tracks they could choose from.
So what do you think? Your best guess for what will be in the set ?
Let's not make this too easy... tell us FIVE tracks you have a hunch will definitely be in the show.
U2.COM : Follow The Shows in Anaheim
Got tickets for one of the shows in Anaheim this week ? Planning to follow online? Here's how.
U2.com Subscribers might like to check in here for live updates from fans at the show as it all happens.
You can upload images, video and even have your own blog directly embedded in our #U2360ANA Group over on our community pages.
If you're tweeting from - or about - the show, use the hashtag #U2360ANA or #U2360USA, that way we can feature your updates in our rolling feed.
U2.COM : Hold Me, Thrill Me, Kiss Me , Kill Me
U2.COM : Smile For The Camera
The U2360° FANCAM was in Oakland - were you ?
Dive in to another unique 360° image from the tour - this one from the show in Oakland, CA.
Explore the venue, zoom in, tag yourself. Share the image on Facebook or Twitter and email it to friends.
If you were at the shows in Edmonton, Winnipeg or Seattle this was how FANCAM captured things.
And here's the image from Salt Lake City.
If you're coming to a show this month or next, the U2360° FANCAM imaging gets to work about fifteen minutes after the support act has left the stage. You'll see a camera set up at the downstage area and if you see the photographer rotating the camera, raise your hands towards the centre of the stage to get in the shot as it's taken!
(The FANCAM, in beta-mode with U2.com, is flash-based and may not be available on all devices.)
Larry sings! U2 360 Oakland 6.7.11
U2.COM : 'Perfect Day' In Oakland
'We love it here, Oakland, San Francisco, you've got a lot of everything. You guys invented the C21st, didn't you?'
A beautiful night, tailgating parties in the parking lot, fine warm-up with Lenny Kravitz and the usual storming opening to the show with Real Thing, I Will Follow, 'Boots', Magnificent, Mysterious Ways.... before Bono takes time out to reflect a little on the unique local vibes.
'I think I understand why you think, and why you act differently,' he says. 'It's music: music shaped the Bay Area and the Bay Area shaped the world.'
U2 setlist - June 07, 2011 at Oakland, CA
Venue: O.co Coliseum
Opening Act(s): Moonalice, Lenny Kravitz
Main Set: Even Better Than The Real Thing, I Will Follow, Get On Your Boots, Magnificent, Mysterious Ways, Elevation, Until the End of the World - Anthem - Where Have All The Flowers Gone, Perfect Day - Happy Birthday, All I Want Is You, Stay, Beautiful Day - Space Oddity, Pride, Miss Sarajevo, Zooropa, City of Blinding Lights, Vertigo, I'll Go Crazy (remix) - Discotheque - Life During Wartime - Psycho Killer, Sunday Bloody Sunday, Scarlet, Walk On
Comments: Bono tells the crowd that U2 hung out with Green Day and Metallica a night earlier and talked about creating a new music festival. Lou Reed is at the show, prompting Larry to sing a bit of Perfect Day before Bono leads the crowd in singing Happy Birthday for a friend named John. He dedicates Pride to the Shriver family. After 'Streets', Bono brings a fan from Poland on stage - a guy who flew 20 hours to be at this show.
A 'beautiful day' at the Seattle U2 show
"It's a beautiful day/ Don't let it get away."
U2′s "Beautiful Day" song must have been written on a day like this past Saturday in Seattle. As volunteers from around the Pacific Northwest gathered to hit the streets with the message of vaccines, there was not a cloud in the sky. And for that reason, those lyrics echoed in my head as I challenged myself to talk to as many people as I possibly could about the ONE Campaign. I figured talking to hundreds of strangers about global poverty would be draining, but at the end of the five-hour frenzy, I actually felt incredibly inspired. I never could have guessed how invigorating it would be to add member after member to ONE or to spark someone's realization that their unique voice could be an incredibly powerful tool.
U2.COM : Follow The Show in Oakland
Coming to the show in Oakland ? Planning to follow online? Here's how.
If you want to follow the build up to the show in Seattle, take a look at this thread and join the chat.
You can upload images, video and even have your own blog directly embedded in our #U2360OAK Group over on our community pages.
If you're tweeting from - or about - the show, use the hashtag #U2360OAK or #U2360USA, that way we can feature your updates in our rolling feed.
U2.COM : Beautiful Day from space
U2.COM : 'Emerald City'
'Emerald City, shining in the sun, where are you gonna take us?'
It was the question Bono asked as the show opened in Seattle tonight and we had the answer during Beautiful Day, when NASA Commander Mark Kelly brought us a message from the final space mission of the shuttle Endeavour. (more on this coming up).
On a glorious evening at the home of The Seahawks, U2360 took Seattle into orbit tonight ... and safely back to earth again. From the opening chords of Even Better Than The Real Thing to the closing benediction of Moment of Surrender this was a night to remember - with an audience who'll never forget it: 'You're incredible people!'
U2 setlist - June 04, 2011 at Seattle, WA
Venue: Qwest Field
Main Set: Even Better Than The Real Thing, I Will Follow, Get On Your Boots, Magnificent, Mysterious Ways, Elevation, It's the End of the World as We Know It - Until the End of the World - Where Have All the Flowers Gone, All I Want Is You, Beautiful Day - Space Oddity, Pride, Miss Sarajevo, Zooropa, City of Blinding Lights, Vertigo, I'll Go Crazy (remix) - Discotheque - Life During Wartime - Psycho Killer, Sunday Bloody Sunday, Scarlet, Walk On - You'll Never Walk Alone
Encore(s): One, Will You Love Me Tomorrow - Where the Streets Have No Name - All You Need is Love, Hold Me Thrill Me Kiss Me Kill Me, With or Without You, Moment of Surrender
Comments: A new video debuts before Beautiful Day. It features astronaut Mark Kelly (Gabby Giffords husband, who is still on board the Space Shuttle) holding up a series of word parts that leads into the song, and then saying 'tell my wife I love her … she knows.' Kelly then reappears again later in the song on the video screen, and recites the bridge lyrics ('See the world in green and blue,' etc.) Members of Pearl Jam, R.E.M and Heart are at the show. Also at the show is one of Aung San Suu Kyi's sons.
U2.COM : Winnipeg and Edmonton On Camera
The U2360° FANCAM was in Winnipeg and Edmonton. Were you ?
Take a look at this unique 360° image from the show in Edmonton - and this one from Winnipeg - explore every corner of the venue, then zoom in and tag yourself or your friends.
And share the image with others on Facebook or Twitter or email it to friends.
If you're at one of the upcoming shows, the U2360° FANCAM imaging is executed about fifteen minutes after the support act has left the stage. You'll see a camera set up at the downstage area during this time and if you see the photographer rotating the camera, raise your hands towards the centre of the stage to get in the shot as it's taken!
(The FANCAM, in beta-mode with U2.com right now, is flash-based and may not be available on all devices.)
U2.COM : Follow The Show in Seattle
Coming to the show in Seattle ? Planning to follow online? Here's how.
You can upload images, video and even have your own blog directly embedded in our #U2360SEA Group over on our community pages.
If you're tweeting from - or about - the show, use the hashtag #U2360SEA or #U2360USA, that way we can feature your updates in our rolling feed.
U2.COM : Pride in Edmonton
posted by P.G. at 12:07 PM 0 comments
U2.COM : 'Edmonton - Kiss The Future'
It was threatening to rain tonight and once or twice it began to drizzle but in the end it held off right until the close of the show and, compared to Winnipeg, it even felt quite warm. Anyway, from the moment Bono greeted Edmonton as 'City of Champions' after Even Better Than The Real Thing', the forecast was always looking promising.
Or, as The Edmonton Journal put it, 'Under a partly cloudy Wednesday sky, and a 50-metre alien crustacean known as The Claw or The Spaceship, Bono and his boys took fans to new heights of excess, excitement and hockey hysteria at Commonwealth Stadium - 14 years after the band's last visit to Edmonton.'
U2 setlist - June 01, 2011 at Edmonton AB, Canada
Venue: Commonwealth Stadium
Opening Act(s): The Fray
Main Set: Even Better Than The Real Thing, I Will Follow, Get On Your Boots, Magnificent, Mysterious Ways, Elevation, Until the End of the World, All I Want Is You, Stay, Beautiful Day - Heart of Gold, Pride, Miss Sarajevo, Zooropa, City of Blinding Lights - Singin' In The Rain, Vertigo, I'll Go Crazy (remix) - Discotheque, Sunday Bloody Sunday, Scarlet, Walk On - You'll Never Walk Alone
Comments: It rains a bit during the show, prompting Bono to sing a bit of Singin' In The Rain. U2 plays well past the rumored 11 pm curfew in Edmonton. Bono dedicates Moment of Surrender to victims of the recent fires in Slave Lake, Alberta. Edmonton Oiler hockey player Gilbert Brule is at the show as Bono's guest, after Brule picked up a hitchhiking Bono in Vancouver a day earlier.
U2.COM : Follow The Show in Edmonton
Coming to the show in Edmonton ? Planning to follow online? Here's how.
If you want to follow the build up to the show in Edmonton, take a look at this thread and join the chat.
You can upload images, video and even have your own blog directly embedded in our #U2360EDM Group over on our community pages.
If you're tweeting from - or about - the show, use the hashtag #U2360EDM or #U2360CAN, that way we can feature your updates in our rolling feed.
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Congratulations, this image is Now Featured on the Gods Gorgeous Backyard Beauty group home page.
Hairy Woodpecker By LeeAnn McLaneGoetz McLaneGoetzStudioLLC.com Hairy Woodpecker on the Macomb Orchard Trail Washington Michigan With all of the sawdust the woodpecker raises it needs its nostril bristles to filter out the dust. This one has discovered a tasty bite under the bark.


Maniesh Paul attends screening of his short film, Black Briefcase, presented by SEA at George Mason University.
FAIRFAX, Virginia: The voices of domestic abuse survivors are more often than not, suppressed, thwarted, the sufferers silenced into submission. A new documentary drama, 'Invisible Citizens', set to release in October, seeks to ameliorate that by showcasing their concerns, amplifying their voices, on celluloid!
At a launch event held on the sprawling campus of the George Mason University, producer Vevek Paul explained, "In this film, we are just taking the cause of domestic violence" and how it affects immigrants here. Given the magnitude and importance of the issue, the docudrama will begin with three short stories, and ample scope for more to be added.
The film is being shot in the Washington area with both male and female protagonists. It is a collaborative effort by a Mumbai-based production company, Cinema addicts 9, and the Society for Enrichment of Asians (SEA), a non-profit organization based in Virginia.
Vevek, who heads Cinema addicts 9, told us, "In all the three stories that we have taken up in this film, in some way there is a discord between the couple. The reason why we are showing only one side (intimate partner violence) for now is because it is something that is going to be a process. It is not something that is complete right now. We will be presenting more stories. This is one flower in the whole bouquet that we will be collaborating on over a period of time. For us, in the production house, we are looking for interesting stories to tell. That is what catches our fancy".
He divulged that one of the stories in the film focuses on "a guy who comes from a different part of the world to America" and the hardships he faces. "It is a multi-cultural world as we all know, but what is right on the other side of the globe may not be right on this side", he said. "The law in this part of the world is much stronger than probably in the other part. When immigrants come here, they might not know where to go for help".
Seema Sethi, President of SEA, added, "One more thing that we have highlighted in the film is that when you come from different countries or different cultures, there are certain laws, values which are different and they may be right in any other country. But, when you move to the US, you can violate the laws without knowing it and that puts you in a lot of trouble".
On hand at the launch event was celebrity guest Maniesh Paul, Indian television host, anchor and actor, whose short film 'Black Briefcase' was screened for the Washington audience. The film, produced by his brother Vevek, explores the mind-set of a terrorist. Maniesh plays a dark character – intense, brooding, silent, a far cry from his witty self.
Following the screening, he told the audience, "You saw me in a different light. Generally, I make people laugh. This is the first time, I make people think".
Maniesh has acted in Bollywood films, all in the popular comedy genre. "I was looking to be more creative", he said about his role in Black Briefcase. "I've never done a short film. I had a great time. I would definitely like to do this kind of work in the future".
Vevek explained that "the film conveys a larger message. It is not only about terrorism. It is about a mind-change, a change of heart. That is the kind of cinema we are making under our production house", he said which he runs with Maniesh.
"We want to make films which have a larger worldly message. That is where 'Invisible Citizens' fits in very well", he added.
On a lighter note, he quipped, "Is it coincidental that my first film has no dialogue and my second film is invisible"?
Virginia Delegate Marcus Simon (District 53) presented certificates of appreciation to both the Paul brothers for their collaborative approach and innovative techniques in film-making.
Simon, a Democrat whose District encompasses parts of Fairfax County and Falls Church, extolled Sethi "for raising the profile of the issues of domestic violence in all communities in Fairfax and Northern Virginia. The work you are doing is invaluable and very helpful", he said.
Vevek recalled that he met Sethi for the first time in an elevator when he had come for the Dabangg Reloaded concert in July organized by Elite Bollywood Entertainment in Washington, DC. He described her as "a very perseverant women who started talking about her project immediately" and "was very adamant that we make the film".
"The stories that she told were very heart-touching. As a film-maker I got interested only because the stories had a connect of emotion. That's where I connected with the whole project", he said.
As Vevek started to work on 'Invisible Citizens', he realized "these stories are universal. She (Sethi) was narrating incidents that have happened here, but these kind of stories happen everywhere", he said.
"The concept of 'Invisible Citizens', bringing it on a bigger screen and then taking it to the right authorities is a very noble thing to do", he averred. "There are people who are suffering because of domestic violence. I believe education is very important. A lot of times, people don't know about these things and who to go to. So, these stories are very important".
The statistics on domestic abuse are staggering. The New York-based Sakhi for South Asian Women, an organization dedicated to ending violence against women, states that 2 of 5 South Asian immigrant women in the US are survivors of domestic violence.
Addressing the audience at the launch event, Mumbai-based Ravi Iyer, director of 'Invisible Citizens', affirmed that coming to the US to work on such a project "has been a good experience. I do a lot of work with NGOs (non-government organizations) in India and when you look at a socially relevant subject, you need to get under the skin", he said. "It's more difficult to explore that with actors, but when you are working with a subject (domestic violence) which is so intense, expecting a person who is actually going through it to say it on camera is more difficult. So, we didn't want to do that, but at the same time, we didn't want to make it look wrong".
Iyer continued, "We are treading a very thin line. It's a balancing act. It's looking cinematically nice and at the same time, it's looking real because it's about real people, it's real stories. So, somewhere, it's an evolving picture. I feel that when we take it forward tomorrow, we might just discover that this goes into a very much larger scale. You might want to do twenty stories next year", he said looking at Sethi. "Let it reach out to people. Let it connect with people. Let people ask you for help and that will be the day when you know this is working for you".
Commending Sethi for her efforts, he said, "You have a very warm heart. You are a very genuine person. I really hope you can help more people".
Well-known television hostess and producer Mrs. Nilima Mehra, who served as the emcee of the event, implored the audience to support the "docudrama stating the stories of silence" and, in turn, "the cause of domestic violence. There was absolutely no funding involved in making this movie", she said. "The entire movie is all due to a hard-working and dedicated field of volunteers".
About her organization, SEA, Sethi stated, "It promotes the exchange of technological, cultural, artistic, educational, social and civic engagement. It also fosters friendship between people of American and Asian cultures".


text:
If Beale Street Could Talk Review
It's downright ridiculous that a filmmaker can be working at this high a level so early in his career, and one can only imagine what the future holds for him.
If Beale Street Could Talk is a film that arrives with a great deal of expectations. After all, it's writer/director Barry Jenkins' follow-up to the Best Picture-winning Moonlight, and that positioning comes with the question of whether or not the filmmaker is the real deal (despite the fact that it's actually his third feature). The 2016 film is a stunning piece of art, but would any future work measure up to it?
Now that the new movie has been completed and screened, we can answer that question with a definitive "yes."
Though it's a work playing in a different arena than Moonlight, being an adaptation instead of an original story, If Beale Street Could Talk is yet another stunning, breathtaking work from Barry Jenkins, and an incredible affirmation of his gifts as a filmmaker. It's a bold and beautiful love story brought to life by an incredible ensemble delivering stellar performances, and while it's decidedly not "Hollywood" in its approach and narrative, it's an incredibly satisfying piece of cinema.
Based on the novel of the same name by James Baldwin, the tale takes us back to the early 1970s in New York and tells the story of the love between Clementine "Tish" Rivers (KiKi Layne) and Alonzo "Fonny" Hunt (Stephen James). At the start of the story, Fonny has been imprisoned for a crime he didn't commit, and making matters more complicated is the discovery that Tish is pregnant with his baby.
The first hurdle is telling her parents (Colman Domingo, Regina King) and her sister (Teyonah Parris) about the pregnancy, but that is only the start. The news still has to be delivered to Fonny's family (Michael Beach, Aunjanue Ellis, Ebony Obsidian, Dominique Thorne), and then there is the fight for the future, as Tish tries to do everything that she can to prove Fonny's innocence and bring him home to see the birth of his child.
Barry Jenkins' script weaves through a non-linear narrative with tremendous grace, artfully revealing the past as it becomes relevant to the present, and has a powerful story to tell that balances painful despair with a beautiful and ultimately surprising optimism. It touches on important, socially relevant themes that have been present in some of the best films we've seen this year -- including BlackKklansman, Blindspotting, The Hate U Give, and Sorry To Bother -- but very much has its own take and message to deliver.
If Beale Street Could Talk is an utterly enrapturing experience not only because of your intense emotional engagement with the characters, but also because of how the magnificent direction and cinematography draw you into the world. Barry Jenkins has a clear and demonstrated love of faces -- echoes of Stanley Kubrick in the work - and his collaboration with cinematographer James Laxton yields some of the most emotional work of the year as actors stare through the camera like looking down the barrel of a gun. It can be wrenching, but it's also balanced by the sheer beauty of the film's vision of 1970s New York, soft lit with a touch of sepia tone.
The power of the material in If Beale Street Could Talk requires actors strong enough to carry the weight, and each role is played to perfection. The film unquestionably lives or dies on the strength of the bond between Tish and Fonny, and young stars KiKi Layne and Stephen James each deliver stunning turns that will solidify interest in all of their forthcoming work. That being said, the movie still makes room for scene-stealers as well, with Colman Domingo leading the pack -- his character going against all expectations and bringing tremendous life and love to the story. And though he basically only appears for one scene, Brian Tyree Henry's appearance leaves an impact that you continue to think about well after the film has finished.
It's beyond exciting that this is only Barry Jenkins' third film. It's downright ridiculous that a filmmaker can be working at this high a level so early in his career, and one can only imagine what the future holds for him. If Beale Street Could Talk is a spectacular movie, a moving, emotional experience, and a brilliant complement to his previous history-making work.
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Always a strong promoter of the industry, Jean recognized the importance of education to its future. As a member of the Craft Yarn Council, she always challenged us to improve the ways we taught knit or crochet.
While she was a stickler for providing clearly written and illustrated how-to instructions, she also believed that one-on-one teaching was just as important. This belief was the genesis for her program called Each One Teach Two. She figured if each current knitter or crocheter would teach just one other person, we'd have millions of new knitters and crocheters over time. Most importantly, having a teacher next to you to offer advice and encouragement would be invaluable to ensuring a novice's success.
Jean designed an entire Each One Teach Two program for Craft Yarn Council's web site (http://www.craftyarncouncil.com/knitguide.html). On one page, she included clear how-to crochet illustrations, along with the answers to who, what, where, why and how to present the lesson, and instructions for a basic crocheted swatch. On another there was an attractive crocheted scarf pattern. Teachers also could download a Certificate of Achievement when their student had completed the program. The same information was provided for knitting.
Finally, to encourage knitters and crocheters to share their love and talents, she instituted a Teachers' Award Program. Teachers complete a form at the web site noting the number of students taught and their ages. Periodic drawings are held and the winners sent a gift.
Has Each One Teach Two been successful? We definitely think it has and our research supports that. The number of people that crocheters and knitters have taught over the past two years has increased 25%. The mean number of people taught is now 11.3! That's an impressive increase and we believe Jean's Each One Teach Two played a big part in that success.
Can we count on you to share your love of knit and crochet?


text:
Tory Party, Johnson, Antisemitism: Sunday morning tweets.
Some of this morning's tweets about the Tories, Boris Johnson and antisemitism are below:
(Before anyone accuses me of 'whataboutery' or 'deflection' I'll point out that these are ways of trying to neutralise a legitimate call for consistency across the field. Commentators who say they are combatting 'antisemitism in the Labour Party' and who are not combatting antisemitism in the Tory Party, are in fact just combatting the Labour Party. We know that that is a specific agenda of at least some of the commentators e.g. Stephen Pollard, editor of the Jewish Chronicle who announced in 2006 that he was in a 'battle to save Western Civilisation' and the 'enemy' was 'the left in all its forms'.)
Here are my tweets:
Think of the zillions of hours spent 'proving' that the anti-racist Corbyn is antisemitic, while in plain sight, there was Johnson's years of editing the self-identifying raving antisemite 'Taki'. Just google the name and eg 'Jews' or 'Holocaust'. Media attention? Hello? Hello?
The interview you haven't seen: "Mr Johnson, for years, you edited the columns of the raving antisemite 'Taki', and what's more you socialised with him. Do you apologise to Jewish people for this? Do you? Do you? Do you? Do you?"
I wonder why it's never been News that Johnson as editor of the Spectator edited 'Taki', a raving antisemite eg " The younger generation of Jews who control it [ie Hollywood] think that there's more money to be made by dumbing down."
At any time since Johnson became leader, the Jewish Chronicle and the chorus of 'Corbyn's an antisemite' singers (Peston, Freedland, Hodges, Mann etc) , could have shouted about Johnson as editor of antisemite 'Taki' at the Spectator: the columns, the parties, the jollies. Why didn't they?
I think I know why Johnson gets a free pass for the time he edited 'Taki' at the Spectator: it's because upper class antisemitism is 'funny'. I went to Oxford. I know. Free pass for upper class antisemitism please!
People accuse Corbyn of having been silent. Why then no accusation of Johnson being 'silent' about Rees-Mogg and his 'illuminati' and Soros jibes, Rees-Mogg retweeting an Alternativ für Deutschland tweet (AfD is an organisation that includes neo-Nazis); Dominic Cummings' talk of 'the likes of Goldman Sachs' and Goldman Sachs having 'fingers in every pie' in the EU for their own benefit; comments from: Suella Braverman, Crispin Blunt, Priti Patel, Toby Young, a new round of suspended Tory candidates, and of course himself editing the raving antisemite 'Taki'.
(I've passed these on to the 'Antisemitism Tsar', Lord John Mann, many many times. He messaged me to say that he doesn't deal with individual cases. He does. And frequently. But not these.)
Labels: current-affairs, jewish-history, judaism
Antisemitic daubing - who has the right to protest...
The Tiger who Came to Tea - don't try to make a nu...
The Enraged Centre finds its voice
Boris Johnson, Katie Hopkins - raving antisemitism
Boris Johnson's voice.
My advice to the media on how to handle the Labour...
My 10-point Guide to Labour Leadership Candidates
Labour lose: first thoughts
Using a phrase can do political work: memes and an...
Tory Party, Johnson, Antisemitism: Sunday morning ...
I remember Boris Johnson marching with us
Twittering convo with Lee Harpin and Dan Hodges
Apologise Now
To Slur with Love by Danny Finkelstein
There are no Jewish Labour candidates. Er...actual...
The Silence of the Manns: Lord John Mann and his s...


There are no reported cases of people getting banned by changing some random icons, but it isn't 100% safe. Use at your own discretion.
Can you do a second perk set?:) I like it so much!
can you just give every perk a Ultra rare Icon Colour? i mean Nothing editing , just Ultra rare perk Icons.
Can you do it for me ?


text:
Richard Rodríguez (Toledo, Canelones, 13 de julio de 1992) es un futbolista uruguayo. Juega de lateral o extremo izquierdo y su equipo actual es el Real Estelí de la Primera División de Nicaragua.

Trayectoria
Debutó con Rentistas durante la temporada 2010-11 de la Segunda División Profesional de Uruguay. Al finalizar esa temporada consigue el ascenso a la Primera División de Uruguay, donde debutaría bajo las órdenes del peruano Julio Balerio el 21 de agosto de 2011 en la derrota como local de Rentistas frente a Danubio por 1 a 0. A mediados de 2014 regresa a jugar a la segunda división con el Canadian, siendo dirigido por Elio Rodríguez, quien guio al club a conseguir el subcampeonato de la segunda división.

El 9 de julio de 2015 firmó contrato con el Platense de Honduras, como pedido expreso de Ricardo Ortiz.

Clubes

Palmarés

Campeonatos nacionales

Referencias

Enlaces externos
 Ficha en Footballdatabase

Nacidos en Toledo (Uruguay)
Futbolistas de Uruguay
Futbolistas del Club Atlético Rentistas
Futbolistas de Canadian Soccer Club
Futbolistas del Platense Fútbol Club
Futbolistas del Club Sportivo Cerrito
Futbolistas del Club Deportivo Vida
Futbolistas del Club Deportivo Santaní
Futbolistas del Real Estelí

redpajama_set_name: RedPajamaWikipedia