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PinnAfrica Life insurance offers hi-tech cover.
PinnAfrica started trading in 1997 as a life insurance firm on behalf of Lombard Life Limited.
PinnAfrica have the most advanced custom built underwriting system in the insurance game. They guarantee all their work and have a web based admin system on mobile.
Shortfall – Car insurance cover, sold as a stand-alone plan or together with Deposit Protector. No age limit and a R200 000 benefit.
Deposit – Cover for stolen or damaged cars beyond repair.
Excess – For the total loss of the vehicle, PinnAfrica pays the excess up to a limit of R7 500 @ R50 per month. Or excess up to a limit of R20 000 @ R168 per month.
Instalment – A stand-alone plan for the total loss of the vehicle. PinnAfrica pays the monthly instalment until settlement of the claim.
Death – A pay-out at the date of the incident which caused the claim.
Disability – As above. It excludes any issue arising from pre-existing conditions.
Critical Illness – A pay-out at the date of the incident which caused the claim.
Retrenchment – This option isn't for self employed people or contractors but for permanent workers.
With a custom built underwriting system, PinnAfrica has the means to process large volumes of premiums and data.
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Three reports that chart the transformation of this organisation. Our first report picks up on the squares in the new logo design. The second points to the expansion policies put into place while firmly positioning RS in its Surrey heartland. And the third report with its clock face design recognises changing times with the acquisition of Crown Housing and subsequent change of name.


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redpajama_set_name: RedPajamaCommonCrawl


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HEAVEN & EARTH "Refuge" [12" LP, Gatefold]
1973 - Rock from United States
Stock: Yes
Record Label : Lion
More From : HEAVEN & EARTH
Original Year : 1973
This reissue has been a long time coming, in no small part because we wanted it to be perfect. We're happy to finally be able to announce the re-release of this psychedelic folk/funk beauty from 1973, featuring the gorgeous voices of Pat Gefell and Jo D. Andrews (and produced by Space Age percussionist/composer Dick Schory for his short-lived but influential Ovation Records imprint). At one time this was an album completely unknown outside of Chicago, where the label was based; but these days, word gets around, and tracks like 'Feel The Spirit' and 'Jenny' have been making the rounds on the DJ circuit. No matter what your musical taste is-psych-folk, funk, soft rock-this LP seems to have something special to offer. This is due in part to notable backing from veterans like bassist Phil Upchurch (Curtis Mayfield, Otis Rush, Stan Getz, Groove Holmes, and Cannonball Adderly), and space age pop maven Bobby Christian on drums and percussion. But primarily, the perfection that this album emanates is due to the clear voices and intelligent songs crafted by Gefell and Andrews.
Recommend this Item to a Friend


Heat Australia not only supplies an extensive range of standard fans but we are able to manufacture fans and other equipment - even not fan related - to your specification.
We have qualified engineers on hand to assist you with your design whether it be a fan, support brackets, ducted systems or other non fan related equipment.
Fax or email your sketch or engineered drawings with a detailed description of the function of the item to be manufactured.
Your equipment will be manufactured to your specified design, standard and finish and shipped to you anywhere in Australia.
We look forward to hearing from you and providing this value added service.


These two stocks have been the market favorites for the last few years, and have generated returns far in excess of the market. We decided to analyze why Eicher Motors may have outperformed Page Industries, when many similarities exist between the two companies.
We are not commenting on the future financial performance or target price of the two companies.
Eicher Motors Ltd. and Page Industries Ltd. operate in totally diverse industries. Eicher Motors Ltd. operates in the automobile sector and is a leading manufacturer of commercial vehicles (trucks and buses), motorcycles and personal utility vehicles. Page Industries Ltd. is an apparel manufacturer and the India master franchisee of Jockey International of the U.S.
In other words, while Eicher Motors Ltd. is primarily into B2B, Page Industries Ltd. is only into B2C.
We review how the businesses of the two have evolved over the last few years.
We note that the share of Royal Enfield motorcycles in the company's sales grew aggressively over the last 5 years. The motorcycle business has proven to be the game-changer for the company's financial performance and valuations. Manufacturing capacity has been raised 9x since 2010.
Gross Sales (incl. excise) RsCr 662.85 1,073.65 1,763.06 3,074.41 N.A.
Average Sales Realisation Rs 88,823 94,651 98,981 101,602 N.A.
% of Company Sales 10.8% 15.3% 23.7% 32.9% N.A.
Company Gross Sales RsCr 6,130.29 6,995.04 7,433.29 9,351.74 N.A.
Royal Enfield sales volumes grew 7.6x, at 53.8% CAGR, during FY10-15. Royal Enfield enjoyed industry best EBIT margin of 25.2% in CY15. The manufacturing capacity is to be ramped up from 0.6mn units p.a., to 0.62mn p.a. during 2016, and further to 0.9mn by 2018. 1 new product is to be launched by end-2017.
We expect the share of Royal Enfield motorcycles to move up, within the company's consolidated sales, going ahead.
Page Industries has also been ramping capacities up over the last few years, and its Jockey brand has become a force to reckon with, in the innerwear market. It is riding on the consumption boom and fast growing market for ladies' innerwear in India. The rising share of unorganized sector in the innerwear market is a key positive for Page Industries, which is already a leading player in the segment.
What Do These Two Diverse Companies Have in Common?
We carried out a Comparison between the two and tabulated the same along a few criteria as contained later in this article.
Conclusion: Royal Enfield has been the Game Changer for Eicher Motors Ltd.
Based on our analysis as contained in this article, we conclude that investors seem to have clearly favored Eicher Motors Ltd. over Page Industries Ltd, in terms of stock price returns.
The one single reason we can think of which led to outperformance of Eicher Motors, is the 7.6x sales volume growth in Royal Enfield motorcycles since 2010, particularly after the launch of the Royal Enfield 'Classic'.
In contrast, the innerwear segment in which Page Industries operates, remains competitive, with most leading global players already present in the Indian innerwear market.
Eicher Motors's outperformance vis-à-vis Page Industries is significant in the backdrop of higher liquidity (trading volumes) enjoyed by the former, that too, in spite of slightly lower free-float and institutional ownership, than the latter. However, a much larger number of FIIs and MFs have invested in Eicher Motors than in Page Industries. Retail ownership is also higher in case of Eicher Motors Ltd.
Eicher Motors will likely continue to ride on the success of Royal Enfield motorcycles, by raising the manufacturing capacities. While the motorcycle market in India shrunk in 2015, the share of the premium segment, in which Royal Enfield has a strong presence, is in fact growing. This bodes well for the company.
Page Industries too will continue to grow by increasing manufacturing capacities. It entered the niche swimwear segment by tying up with the Speedo brand a few years ago.
As stated above, neither company has made any issue of bonus shares or split the stock. Both stocks have become "high-priced" stocks since the last 4-5 years, materially hampering liquidity. We believe investors could benefit, if the companies were to split the stock into face value of Rs5 or Rs2 per share.
Note: Eicher Motors has been in existence much before Page Industries. While Eicher Motors was incorporated in 1959, Page Industries was incorporated in 1994. Besides, the nature of the business partly explains the higher revenue size of Eicher Motors. The higher revenue CAGR of Page Industries can be attributed to smaller base. In spite of lower revenue CAGR, Eicher Motors's EBITDA and PAT CAGR is almost the same as of Page Industries.
Note: Eicher Motors is in the automobile industry and has an asset-heavy business model. Its gross block (consolidated financials) is significantly higher than that of Page Industries. However, so is its market capitalization.
Note: Eicher Motors generates much higher CFO than Page Industries in relation to revenue size.
Note: These valuations do not constitute advice to buy or sell the stocks discussed.
Note: Eicher Motors has a much higher absolute number free float shares, than Page Industries. It also has much higher number of FII, MF and retail investors, vis-à-vis Page Industries.
Note: Higher trading volumes for Eicher Motors can be attributed to higher number of free float shares and retail investors. Eicher Motors's trading volumes are higher in relation to its free float and retails holdings too. Both stocks enjoy comfortably high deliverable volumes, highlighting high share of delivery-based buying.
We computed returns for both stocks since the listing of Page Industries on March 16, 2007. Eicher Motors has given far superior returns, not just vis-à-vis NSE Nifty 50, but vis-à-vis Page Industries Ltd. too, over the last 3 years, and since listing of Page industries.
Consolidated figures have been considered for Eicher Motors Ltd.
Eicher Motors used to follow the calendar year as its financial year. However, it will revert to the financial year and hence its current financial year will have 15 months, ending on March 31, 2016. The company's FY15 figures in above tables should be considered as CY15, and so on.
Balance sheet figures are as at December 31, 2015 for Eicher Motors Ltd. and as at September 30, 2015 for Page Industries Ltd.
Beta computed for the period March 16, 2007, to February 29, 2016. Beta is relative to NSE Nifty 50 for Eicher Motors, and to Nifty Midcap 100 for Page Industries.
Stock ownership patterns as at December 31, 2015.
Eicher Motors has squarely beaten not just the Nifty 50 index, but also Page Industries over the last 3 years.
This blog article is for educational purpose only, and not meant to be investment advice, or a recommendation or solicitation to buy, or sell, the securities named herein. It is based primarily on information publicly available, including company websites, published financial results, annual reports, analyst presentations, media reports, etc.
The author does not claim accuracy of his opinions and estimates as contained in this article. While the author has taken reasonable care to avoid errors or misstatements of facts, he does not accept responsibility for errors, if any, in this article.
In any case, the author will not be liable for losses, if any, arising from the use of this article.


If I told you could win a Big Green Egg outdoor convection cooker/smoker or one of two Honeywell Generators just by answering 13 questions, would you do it? Of course you would.
Tailgater Monthly Magazine wants your opinion on all thing tailgating and is offering up prizes as an incentive to take their survey. Now it is not a phone survey where someone will call you nor will it take up more than 5 minutes. You will have to submit a valid email address if you would like to be entered in the contest to win the Big Green Egg or the generators. If you would rather take the survey anonymously, you can do that too. Some of the questions include things like: "How many times per year do you tailgate?" and "What type of vehicle do you tailgate with?". Pretty simple and there are only a handful of questions to answer.
The information gathered will be used to provide a better understanding of who tailgaters are and what they want. Not only will this be information that can help companies design and market products that make tailgating better but also can serve as a voice of tailgating nation when it comes to issues like shortened tailgating times and alcohol restrictions.
If you have five minutes (and who doesn't have five minutes they can spare on the computer?) take the survey and you can potentially win a sweet prize. Make sure to complete the survey once you start it. In order to prevent those from stuffing the ballot box and gaining an unfair advantage at winning prizes, only one entry per person is allowed. To take the Tailgater Monthly Survey, click the link below.


The information here is intended to provide a basic understanding of how legal information is structured. There are many links to further sources of information, and links to organisations that offer legal help. Members of the legal profession seeking legal information or resources should login and visit the Digital Library.
The Law Library of Victoria provides a broad range of services to legal professionals who were admitted to practice in Victoria, or who have a current practising certificate in Victoria. If you are a Victorian legal professional and have not yet registered for access, please contact us.
Learn about the Victorian justice system and how it relates to the federal courts.
Where to find the written judgments that are published by many Australian courts and tribunals.
What is legislation and where to find it.
The Law Library of Victoria produces a fortnightly bulletin containing legal updates as well as Library news and events. All are welcome to subscribe or view the bulletin archive.
Information on finding legal help and resources, as well as resources for legal history buffs.
Links to daily hearing list of all matters scheduled in selected courts to be heard each day.
Information about other Victorian libraries.


/UCW/ HOLLYWOOD, CA – The American Film Awards ® (The AFAS) releases the winners of the AMERICAN FILM AWARDS which features brand new categories never seen in Hollywood until now. Created in 2004, the media brand has formed a strategic alliance with the Entertainment Union™ and American Film Awards Previews™ Festival & Showcase, to position itself as the first film award show in Hollywood to integrate all major film genres and a fully inclusive and culturally diverse awards lineup. The announcement was made by Franq Ezenekwe, MBA, the creator and Chairman of The AFAS. The American Film Awards® is sometimes compared to the American Music Awards® as it relates to theGrammys® but we see our lane parallel to the Oscars®. We provide a valid alternative that serves at the heart of what reflects the reality of the America beyond the film industry. We are in talks with several networks to air next year epic show that will features musical performances by headline acts.
"This is the right time for us to bring the American Film Awards brand to light because Hollywood is suffering from a lack of diversity and opportunity which plagued the last Academy Awards® ceremony with the #oscarsowhite controversy" said Franq Ezenekwe.
The American Film Awards® is looking for like minded strategic partners who are focused on widening the pipeline of films made and distributed in Hollywood, to ensure that more opportunities are created for writers, directors, actors and production companies moving forward. The Sundance Film Festival, Samsung, Revolt TV, OWN, NBC, Translation, OverbrookEntertainment, TPS and Good Music are being tapped for future ventures starting with this summer's AFA'S PREVIEWS film event at the Microsoft Square, Los Angeles this summer. For a full list of this nominees and winners please visit theafas.com.


The Institute of Biomedical Engineering (IBME) at UNB will be adding new space for the Centre for Adaptive Rehabilitation Engineering thanks to the generosity of alumnus Bob Pickett (BSc CE '61, MSc CE '63) and his wife, Barbara.
The Picketts' leadership gift of $400,000 has leveraged $4.5 million from the Province of New Brunswick and the Canada Foundation for Innovation. This funding will be used to construct a new wing at R.N. Scott Hall and to purchase the technology that will support world-class research.
Acting Director of IBME Dr. Jon Sensinger says that the new research facility will allow UNB researchers to take neurological rehabilitation to the next level, helping to better understand how the human brain repairs itself and adapts in order to restore function to the body following traumatic injury or disease.
"This will be a state-of-the-art facility equipped with a virtual reality lab, a mobility lab, and a fully-instrumented daily living lab, which is a mock home with kitchen, bathroom, bedroom and other common spaces," said Dr. Sensinger. "These lab spaces will be supported by robotic equipment, such as an overhead-mounted zero gravity system, to provide support for patients who cannot fully stand under their own power. And because the zero gravity system is highly adjustable, it will enable rehabilitation programs to be tailored to the needs of individual patients."
Bob and Barbara Pickett were first inspired to support IBME when they attended a research symposium during UNB's Homecoming a few years ago. Bob's aunt lost an arm and a leg due to an accident in her youth, and the Institute's work on prostheses and physical rehabilitation made him think of what would have been possible if she had had access to today's technology and rehabilitation services. When the Picketts learned that IBME was planning an expansion project contingent upon government funds being bolstered by gifts from private donors, they knew that this was the right place to invest.
"Rehabilitation is something that means a great deal to both of us, and we are pleased to support a world-class initiative right here in our province," said Bob Pickett.
UNB President and Vice-Chancellor Eddy Campbell applauded the Pickett's gift and the centre that it will support. "This facility will serve as a research centre where therapists and biomedical engineers can study ways of optimizing recovery programs for people with brain injuries," said Dr. Campbell. "These innovations will help transform how rehabilitation is delivered in New Brunswick and lower the health-care costs associated with the province's aging population. We are grateful for Bob and Barbara Pickett's support for this project."
Bob Pickett holds both bachelor's and master's degrees in civil engineering from UNB and Barbara is a graduate of the New Brunswick Teacher's College (now part of UNB) and taught school in Fredericton in her early years. Mr. and Mrs. Pickett have supported a number of initiatives at UNB in the past, including scholarships. In recognition of the pivotal role that the Picketts have played in the creation of the Centre for Adaptive Rehabilitation Engineering, the new wing that will house the centre will be named after them.
About IBME The Institute of Biomedical Engineering (IBME) is a world renowned, multi-disciplinary research unit that was founded at UNB in 1965. It houses a celebrated research clinic focused exclusively on upper-limb prosthetics, where faculty members have developed bionic arms and hands that respond to leading-edge human-machine interfaces. It is also a global leader in the development of technologies that help people with brain injuries overcome challenges to mobility, strength and dexterity.
Photo: Dr. Kevin Englehart, Acting Associate Dean of Graduate Studies; Dr. David MaGee, Vice-President (Research); Barbara Pickett; Bob Pickett (BSc CE '61, MSc CE '63); Dr. Jon Sensinger, Acting Director of the Institute of Biomedical Engineering; Bob Skillen, Vice-President (Advancement).


text:
Town and Country Planning
10 February 2005, 1:00
Notice ID:
L-57556-110
Notice code:
About Town and Country Planning notices
TOWN AND COUNTRY PLANNING ACT 19902004-10-282005-02-10NG15GGThe City of Nottingham-1.15525352.956820NG1 5GGTSO (The Stationery Office), St Crispins, Duke Street, Norwich, NR3 1PD, 01603 622211, customer.services@tso.co.uk57556110110
Government Office for the East Midlands
TOWN AND COUNTRY PLANNING ACT 1990
The Secretary of State for Transport hereby gives notice that he proposes to make an Order under section 247 of the above Act, which will authorise the stopping-up of a length of unnamed highway adjacent to Moss Cottage, Manor Farm, Elkington, Northamptonshire, measuring a maximum length of 10 metres. If the Order is made, the stopping-up will be authorised only in order to enable the development described in the Schedule to this notice to be carried out in accordance with the planning permission granted to Mr S Higgott by the Daventry District Council on 28 October 2004, under Ref DA/2004/1214. Copies of the draft Order and relevant plan may be inspected at all reasonable hours during the 28 days commencing on 10 February 2005, at the Daventry Library, North Street, Daventry, and may be obtained, free of charge, from the Government Office for the East Midlands (quoting Ref EMCM 506735/1/146) at the address below. Any person may object to the making of the proposed Order within the period of 28 days commencing on 10 February 2005, by notice to the Secretary of State quoting the above reference, at the Government Office for the East Midlands, Planning and Transport, The Belgrave Centre, Stanley Place, Talbot Street, Nottingham NG1 5GG. In preparing an objection it should be borne in mind that the substance of it may be imparted to other persons who may be affected by it and that those persons may wish to communicate with the objector about it. For enquiries into this matter please contact Tom Wood on 0115 971 2645. M Woodcock, Higher Executive Officer, Government Office for the East Midlands, Planning and Transport. Schedule Change of use from highway to garden land associated with residential use.
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You are here: Home / Member churches / Ethiopian Orthodox Tewahedo Church
Ethiopian Orthodox Tewahedo Church
Church Family :
Orthodox churches (Oriental)
Based in :
Present in :
Sudan (Republic of Sudan), Guyana, Trinidad and Tobago, Germany, Sweden, Switzerland, United Kingdom, Israel and Palestine, Canada, United States of America
Pastors :
Congregations :
CCTT
Associate Member Of :
WCC Member Since :
http://www.ethiopianorthodox.org
Ethiopia was introduced to the Christian faith by the Ethiopian eunuch who was baptized by the apostle Philip (Acts 8). The Ethiopian Orthodox Church was founded on a synodal level in 328 AD. The first bishop of the church was Frumentius, a Syrian by birth brought up in Ethiopia in the palace of Axum. He went to Alexandria and returned after being consecrated as bishop by Saint Athanasius. The faithful in Ethiopia call him Abba Salama Kassate Berhan (Father of Peace and Revealer of Light). Nine saints from the Middle East and Asia Minor migrated to Ethiopia 150 years later. They introduced monastic life, translated many religious books from Aramaic and Hebrew into the Geez language, and expounded the One-person, One-nature doctrine of St Cyril. Since the schism of 451, the Ethiopian Orthodox Tewahedo Church shares the same faith with the Coptic, Syrian and Armenian Orthodox Churches and the Syrian Orthodox Church of India (Tewahedo is a word that reflects the Ethiopian understanding of one nature).
The church has suffered greatly from various religious persecutions down the centuries. The reign of Queen Yodit in the 9th century lasted for forty years and caused great damage to the life of the church. The invasion of Mohammed the Left-Handed in the 16th century was even more destructive. Again during the 17th century, the church suffered persecution at the hands of the Jesuit Alphonzo Mendez and his followers. During the fierce five-year struggle against the invasion of Mussolini from 1935 to 1940, several bishops, many priests and thousands of faithful lost their lives. More than 2,000 churches were destroyed and numerous church manuscripts taken away.
Since 1950 the Ethiopian Orthodox Church has been autocephalous. The church has 81 canonical books and 14 anaphoras. The language of the divine service is Geez, the ancient language of Ethiopia. Today, however, portions of the liturgy are also rendered in Amharic. There are seven official fasting periods: (1) all Wednesdays and Fridays (except during the 50 days after Easter); (2) the Lenten fast; (3) the Nenveh fast; (4) the vigils or Gahad of Christmas and Epiphany; (5) the fast of the apostles; (6) the fast of the prophets; (7) the fast of the Assumption.
The supreme authority in matters of church administration and justice - legislative, administrative and judicial - belongs to the holy synod which meets twice a year, under the chairmanship of His Holiness the Patriarch. The diocesan archbishop is the chairman of the diocesan parish council. The national parish council meets once a year in the patriarchate, also under the chairmanship of the patriarch. The church has two kinds of clergy: the regular priests, who administer the sacraments, and the learned lay clerks, who are entrusted with the chant of the church offices and teaching in the schools. There are six clergy training centres and one theological seminary. The current administrative structure has been most conducive for both the clergy and the laity to meet the vital needs of the whole human being and to work together for the development of the church, both spiritually and socially, through the respective parish councils. The Sunday school programme unit is very active.
The Ethiopian Orthodox Church exists in the Sudan and Djibouti, in Jerusalem, Europe and North and South America. Eight of its bishops serve the church outside Ethiopia.
The WCC regions


Water Street Auto Ltd. provides Engine Tune-Up services to Cambridge, ON, Kitchener, ON, Guelph, ON, and other surrounding areas.
The Basics Behind Engine Tune-Up Services at Water Street Auto Ltd.
Why Should You Have Engine Tune-Up Services Performed at Water Street Auto Ltd.?
We proudly service the Engine Tune-Up needs of customers in Cambridge, ON, Kitchener, ON, Guelph, ON, and surrounding areas.


text:
Příjmení Abels nosí více různých významných osobností:

příjmení
 Björn-Uwe Abels (* 1941) – prehistorický archeolog
 Kurt Abels (1928–2014) – německý germanista
 Richard Abels (* 1951) – americký historik

redpajama_set_name: RedPajamaWikipedia


Robert Ellis is a Nashville singer songwriter. He cites Paul Simon and George Jones as two of his biggest influences.
Robert Ellis recently toured Australia with Justin Townes Earle and will start 2014 with the release of his new record in Australia.
The album was recorded in Nashville and was produced by Jacquire King (Tom Waits, Kings of Leon). It is Ellis' first time with a producer after working on his first two albums himself. "I want this record to be more about the Paul Simons and the Randy Newmans and the other half of my upbringing, which is very much rooted in pop," Ellis says.
Out On The Weekend, one of Australia's most unique music festivals, will return in October with Marlon Williams and Robert Ellis leading a full day of pure entertainment.
Out On The Weekend, Australia's slice of Americana music festival, will return in 2015 with Dawes and Robert Ellis set to perform in Melbourne and thus time Sydney.


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I was skeptical at first and scared of how it would turn out. But I'm so glad I decided to order. The process was smooth and easy. The quality is perfect and MyPetPrints captured our fur baby perfectly!
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I bought a case for my friend who had just recently lost her dog. When she opened the case, she immediately cried! MyPetPrints did a perfect job. Definitely worth the money!


text:
Kinemalogue
More of a Flash Gordon fansite than anything else
Joe Dante, part I: If it's a good picture, it's a Miracle
Most directors' first films aren't great ones. Maybe most directors' first films aren't even particularly good ones. But somehow, when that filmmaker is Joe Dante, you'd expect more than this. Hell, you'd expect more if the filmmaker were Roger Corman—but even by that standard, Hollywood Boulevard remains a piece of questionably moral trash.
Directed by Allan Arkush and Joe Dante
Written by Danny Opatoshu
With Candice Rialson (Candy Wednesday), Rita George (Bobbi), Tara Strohmeier (Jill), Dick Miller (Walter Paisley), Pat Hobby (Jeffrey Cramer), Paul Bartel (Eric von Leppe), Roger Doran (P.G.), and Mary Woronov (Mary McQueen)
Spoiler alert: moderate
Joe Dante is a figure that deserves the kind of journalistic scrutiny that, I'll be the first to admit, I can't really provide; but maybe somewhere along the line we'll be able to answer the great question, "What happened?" After all, forty years ago, Dante clawed his way out of the minor leagues and into the bigtime. When he got there, he spent a whole decade authoring a startlingly impressive run of superhits and sleeper classics. (Gremlins! The Burbs! Explorers, maybe, if you're me!) But then he spent the next decade burrowing his way right back into obscurity, chasing his own predelictions and a vanishing audience, who weren't at all sure what to expect from him anymore, even when they could remember his name. And so, now, a decade after that, Joe Dante's films premier on VOD, where they are met with the collective disinterest of the whole wide world.
For the moment, then, let's concern ourselves only with the beginning. Cast your mind back to 1976: Dante's life in pictures had actually begun almost ten years before that, with his campus clipshow, Movie Orgy. This had been a collage of follies from the Z-cinema of previous years, all put together without the permission or knowledge of the various rightsholders, which Dante had circulated around colleges with the financial backing of Shlitz malt liquor. Nevertheless, this achievement (or whatever) soon led to a real job for Dante—in the cigarette-stained editing room at Roger Corman's house. However, once he had established himself within the primal soup of Corman's New World Pictures, young Dante grew and grew. Eventually, cutting together trailers and the occasional feature was no longer enough for the hungry wannabe. In '76, he asked Corman for a film to call his own. And Corman, who'd spent the 1960s and 1970s nurturing new talent, from Coppola to Cameron, said "sure, fine," and paired him with his colleague Allan Arkush—for DGA rules, you know, are for people who give a hoot. Unfortunately, the film Corman offered Dante was Hollywood Boulevard—a movie that had come into being as the result of a bet between Corman and one of New World's executives, Jon Davison. Corman had dared Davison to make the cheapest, fastest film in New World's history. And, while you think about that, consider this: Davison succeeded.
With only $60,000 and ten days to bring their picture in, Davison, Dante, Arkush, and their screenwriter, Danny Opatoshu, elected to cheat instead. And thus did Boulevard become a metafictional parody of life at New World Pictures itself, deploying a copious amount of stock footage from other New World movies as stand-ins for the product generated by the fictional B-movie house of Opatashu's imagination, "Miracle Pictures." "If it's a good picture, it's a Miracle," the tagline goes, and it's one of the better jokes in the whole movie—possibly because both that particular line, and the name of the studio, were lifted entirely from the 1941 musical comedy, Hellzapoppin'.
Boulevard centers upon the ballad of Candy Wednesday, a young woman who arrives in Hollywood from the heartland with a head full of dreams. Before that, though, we meet Miracle's filmmakers—a director, a producer, and a writer—in the midst of shooting the last stunt for one of their terrible movies, ending with the plummeting death of the stuntwoman involved (though, to their credit, they did get the shot). This ties in quickly enough with Candy's struggles, who gets a gig as Miracle's new stuntwoman thanks to her sterling performance in her first "job" in Hollywood—as a getaway driver for a pair of bank robbers who'd told her they were shooting a movie. No, Candy isn't terrifically bright.
Candy is soon shipped off, alongside her fellow actresses and the Miracle film crew, to the Philippines. There, stock footage and upsetting sensuality ensue; then they return to the States, where (once again) stock footage and upsetting sensuality ensue. But, eventually, it becomes clear that even though neither the screenplay nor the pair of directors has the remotest interest in such a thing, what we're actually walking our way slowly through is a murder mystery: for every time Miracle tries to make a film, one of our stalwart thespians always happens to die. (And not to spoil a 38 year old movie too badly, but it takes no special genius to predict the reveal. Naturally, it turns out Boulevard is only Opatoshu's long-winded, 83-minute way of saying, "Bitches—amirite?")
It does take one awful long time to get around to the murder mystery, though, and maybe that's the absolute worst thing about Boulevard. At the least, it's the most facepalming senseless: it squanders a perfectly good premise—a retrograde one, sure, but a perfectly good one—on a whole lot of late-70s-style, zany-as-shit farce, which is (of course) just about the least amusing kind of farce there is. The chief pleasure, I suppose, is the way Dante and Arkush fill out the film with reference jokes—though, mainly, it all just makes you wish you were watching Death Race 2000 again instead.
Where's your outrage over this all-female remake, idiots?
(There is one very good reference joke beyond New World, however: this is a post-apocalyptic "mutant," who is so clearly a man in a gorilla mask that even these crappy filmmakers feel the need to do something about it; and so they plop a space helmet on him. Obviously, in our post-MST3K world, the joke's a lot less obscure: it's a nod to 1953's infamously-bad Robot Monster. But hey, nerds, if you do manage to make it to the end of this goofy piece of garbage, Robby the fucking Robot is waiting for you there, like a prize at the bottom of a box of stale cereal. And can't you just feel the warm pleasure of recognition pooling in your seat when you see him?)
Genuine laughs do come occasionally in Boulevard—though mainly in the first third, before the film crosses a line it can't recover from. Only one sequence, the first that really digs into the possibilities of all that New World stock footage, pays off with something within spitting distance of actual comedic exhilaration. It's still quite basic, Dante and Arkush using their trailer-honed editing skills to humorously pair the actresses standing around and blasting machineguns at a horde of evil Vietnamese who defiantly refuse to enter the same frame, or even the same general landscape, as our screen heroines. All the while, the "1812 Overture" roars over this corny pseudo-action, and the whole thing plays as a legitimate laugh-out-loud moment: an embarrassed, self-deprecating admission that this truly is all that this film is capable of doing.
"It's a delightful scene. You four girls massacre 300 Asiatic soldiers. Now, your motivation—very important—is to massacre 300 Asiatic soldiers."
For this half hour or so, it's just genial enough, just wacky enough, and just good-natured enough to be low-impact fun. The jokes are camp and deliberately bad; the performances are camp and deliberately bad; the filmmaking, yes, is camp and deliberately bad. But, for this half hour, you do get the distinct sense, at the very least, that somebody was getting a kick out of making this movie—even if they weren't all that good at it yet.
As for those performances, they really range across the spectrum of bad, going from the dully mediocre (which is to say, most of them), all the way to the bad-and-inspired. And so, pretty much every line from Death Race's Calamity Jane, Mary Woronov, playing the haughtiest of Miracle's boob delivery devices, is shiny enough to trick you into believing it's gold, even if it's actually only pyrite, and she comes the closest of anybody to delivering a performance anyone in their right mind would call "good." Next, as Candy's lousy drunken agent, we've got none other than Dick Miller himself. A veteran B-actor going all the way back to the 50s, Miller soon became Dante's good luck charm—he has, as far as I can tell, appeared in every one of his theatrical features. In their first collaboration together, you can sort of see why: he clowns his way through the whole thing. I can't say he's the worst clown.
And, finally, we must have Paul Bartel, as Candy's director. Naturally, Bartel's doing what Bartel may well have done in a hundred damned movies—in any event, it's exactly what he's done in every movie I've ever seen him in. This would be granting a physical and human shape to the very concept of "outrageous pomposity." And, frankly, it is abjectly terrible acting. But I'll happily give him this much: he's extraordinarily good at it. And casting him here, as Miracle's pretentious exploitation director, is so spot-on that it qualifies, more-or-less, as "perfect"—at least, it does if you also arrive armed with the foreknowledge that the pretentious-and-exploitative Death Race is in fact the real-life Bartel's own claim to directorial fame.
And then it all goes crashing through the window when we slam right into that (apparently obligatory) rape scene. I shall paint you the picture: it's a scene of gang rape from inside one of the films-within-a-film, namely the Phillipine-set action picture that's being played by footage from Corman's Savage! While they're shooting, this fictional gang rape devolves into a "real" attempted gang rape, which was clearly hilarious to all sorts of assholes back in 1976. Of course, we get to see it again when Candy attends the premier, and although it sickens her, it ultimately leads to—guess what!—another attempted gang rape at the drive-in.
It would be naive bordering on silly to not expect this kind of thing from a Corman production—though I am, for the record, a naive and silly person. It is also not unclever: the drive-in scene is staged with sufficient nonsensicality that it can't be read as anything else but an active, angry swipe at the notion that exploitation movies breed real-life violence. (Plus, given that one of the attackers has spent several minutes moaning about how "disgusting" the scene was—"worse than television!"—it's taking direct aim at the moral scolds of its day, too, implying that while they're banning violence and pornography with one hand, they're the ones who're actually jerking off to it, with the other.)
So: it's crass, unfunny, and offensive. But the real, fundamental problem is this: I've never seen a better example of what people actually mean when they say "parody" and "satire" aren't the same thing. Because what we'd been watching was a gentle parody. It was a parody that threw itself badly off the track by a tasteless rape joke, not long before blowing itself to total smithereens with another, extended rape joke. But it was the kind of rape joke that could only play—if it could ever play—in the kind of nasty, mean-spirited satire that this movie never wanted to be. After all, this movie never wanted to be much of anything at all in the first place—and that's a condemnation that I've never been able to lay at the feet of any Corman film until this moment, even as cheap and exploitative as all of them always are. Anyway, it certainly doesn't help matters one bit that, as usual, you are supposed to file the images away and masturbate to them later. What a wonderful time it must have been to be alive.
And that's pretty much it for this dubious "Miracle." It's not funny enough to redeem its disastrous tonal divergences; it's not insightful enough to forgive its content; and it's never exciting or thrilling enough when it comes to its lousy little giallo, either. For it bears repeating: the plot of Boulevard is left to starve in the corner, right up until the climax. And there, it emerges from the shadows with one last burst of strength (and, I'll happily concede, a surprisingly inventive, non-terrible setpiece)—but only right before it keels over and dies from a feature-length campaign of malnourishment. It's a shocking waste, this film, and if I didn't know that things got a lot better soon, I'd quit right now.
Score: 2/10
Posted by Hunter Allen at 11:08 PM
Labels: 1976, 2/10, Allan Arkush, comedy, Joe Dante, metacinema, Roger Corman, sex is terrifying
Brennan September 24, 2016 at 12:03 PM
How the hell do you have time for all these director's retrospectives? I envy your perseverance. Although I guess you don't have TOO many features films when you're dealing with Dante. Can't wait till you get to Gremlins!
Hunter Allen September 25, 2016 at 7:29 AM
Well, in truth, I don't plan on finishing the Coen Bros. one before the end of the year. Especially since either Crimwave just got straight-up lost in the mail, or Netflix is being super-slow.
Probably helps that there's nothing I'm jazzed about going to see in theaters right now. (Though I'll get around to The Magnificent Seven at some point. And Dr. Strange is gonna be, like, the best. I'm sure of it, and nobody can dissuade me.)
Filmmaker's Retrospective: Aronofsky
Filmmaker's Retrospective: Carpenter
Filmmaker's Retrospective: Dante
Filmmaker's Retrospective: Fincher
Filmmaker's Retrospective: Nolan
Filmmaker's Retrospective: Spielberg
Filmmaker's Retrospective: Zemeckis
Other Filmmakers: Selected Works
PODCAST PREVIEW Sundance 2021 Preview - The Alternate Ending gang is going to the Sundance Film Festival! Or, anyway, the Sundance Film Festival is coming to us: due to the ongoing public healt...
Popcorn Culture
2020 Flashback - So.... yeah. How's everybody doing? 2020 was over almost as soon as it started, and we all know why, so let's try not to dwell on that for the moment. Wh...
When Jaws dies, nobody cry
Joe Dante, part II: Lost river
Joe Dante, part I: If it's a good picture, it's a ...
Reviews from gulag: Komedy round-up!
There is a place where dreams survive
The Coens, part I: What I know about is Texas, and...
I'm not even ovulating, you idiot
"[His] reviews are always worth reading, but they're like a Legion of Decency for the lumpen proletariat." Well, I think it's nice.


The names eft and newt both arose from the Old English name for the animal – efte. It became "an eft" or "an ewte" then an ewet was shortened to newt. Both names eft and newt survived and came to note the two primary life stages of the animal – with eft referring to the juvenile (terrestrial stage) and newt, the adult, aquatic stage.
There are four regional varieties or races of N. viridescens. The most common (and the one in our neck of the woods is) is N. viridescens viridescens. It ranges from northeastern Canada to the eastern Great Lakes and down the Appalachians and on into Mississippi, Alabama and Georgia. N. viridescens dorsalis, the broken-striped newt is found in the coastal plains of the Carolinas. N. viridescens louisianensis, the central newt is found from the western Great Lakes all the way to the Gulf Coast. And there is a Florida specialty, N. viridescens piaropicola, the peninsula newt, known only from peninsular Florida.
It is in the eft stage that our red-spotted newt is most often encountered. This small – 3 to 5 inch salamander – is generally bright reddish-orange with darker red "eye spots" outlined in black. They like the moist forest floor of the Southern Appalachians and may be encountered actively foraging during early morning hours and on rainy, misty days. Last Friday on Locust Creek I encountered at least a dozen of these critters along the half-mile of old roadbed I have to traverse to get to my points. I had to keep an eye to the ground to keep from stepping on them.
viridescens viridescens often remains in this eft stage for three to four years (sometimes up to eight years) before metamorphosing into a sexually mature, aquatic adult. Some efts begin to assume the olive green coloration of the adult during the terrestrial stage. Once they become sexually mature they remain aquatic for the rest of their life, which can be around 15 years.
The entire order Caudata (basically any tailed amphibian) are known commonly as salamanders. However, today when most people think of salamanders they think of the slimy lizard-like streamside critters like the dusky salamanders and/or the red-cheeked salamanders of the family Plethodontidae. But eastern newts, of the family Salamandridae don't fit that mold. The red eft has a dry rough skin and the skin of the adult newt is slightly moist but still rough to the touch. So, kind of in the sense of frogs and toads – all newts are definitely salamanders but not all salamanders are newts. And that bright color of the red eft, that's to warn predators that it is toxic.
They are not so toxic that you can't handle them gently, but you wouldn't want to rub your eyes afterwards without washing your hands first. And you wouldn't want to injure one by inadvertently stepping on it along the trail – that's why it's important to remember to look down.


During your retreat, you will learn the art of meditation that will help you to quiet the mind and allow your inner peace to come to the surface.
You will learn and experience different types of meditation and will be able to develop a mindfulness practice for everyday life which is really fitting for you.
We offer an exclusive deluxe meditation, walking, and wellness retreat, set amid astonishing landscapes, relaxing sounds and the flavor of the mountains of Southern Germany, which will completely reboot your body and mind.
We aim to provide you with an unforgettable stay. We have chosen an extraordinary 5-star hotel on a sunny southern slope with a panoramic view of the Bavarian alpine range.
Our goal is to combine meditation sessions with other activities designed to maximize your time for relaxation and go back home feeling completely rejuvenated.
My name is Alexandre Goulet and I am the founder of Walk and meditate. I was living in Paris for many years, working as a social worker specialized in conflict mediation and active listening.
We are starting the day with a yoga salutation of the sun to energize the day following with half an hour of practice of the lesson of the day before.
Every morning we are learning a new meditation practice to allow you to choose the one that is really fitting for you.
You will have free time in the afternoon to relax at the swimming pool, read, have a massage or whatever you like.
MORNING MEDITATION SESSION We are starting with a yoga salutation of the sun to energize the day followed by half an hour of meditation.
MEDITATION SESSION Every morning we are learning a new meditation practice to allow you to choose the one that is really fitting to you.
FREE TIME This is the time to relax at the swimmingpool, read, have a massage or whatever you like.
EVENING MEDITATION SESSION We will practice what we had learned during the morning session.
One of the finest luxury 5* hotels in the south of Germany.


text:
Zadie Smith Event
WORD Events : Zadie Smith Event
Autograph Man
Alex-Li Tandem sells autographs. A small blip in a huge worldwide network of desire, it is his business to hunt for names on paper, collect them, sell them,occasionally fake them, and all to give the people what they want- a little piece of Fame.
The Autograph Man is a deeply funny, existential tour around the hollow things of modernity - celebrity, cinema, and the ugly triumph of symbol over experience. Pushing against the tide of his generation, Alex-Li is on his way to finding enlightenment, otherwise known as some part of himself that cannot be signed, celebrated or sold.
'The novel is a pleasure from the first page to the last.' David Sexton, Evening Standard
Author: Smith, Zadie
Changing My Mind: Occasional Essays
How did George Eliot's love life affect her prose? Why did Kafka write at three in the morning? In what ways is Barack Obama like Eliza Doolittle? Can you be over-dressed for the Oscars? What is Italian Feminism? If Roland Barthes killed the Author, can Nabokov revive him? What does 'soulful' mean? Is Date Movie the worst film ever made?
A collection of essays that brims over with personality and warmth, Changing My Mind is journalism at its most expansive, intelligent and funny - a gift to readers and writers both. Within its covers an essay is more than a column of opinions- it's a space in which to think freely.
No subject is too fringe or too mainstream for Zadie Smith's insatiable curiosity. From social media to the environment, Tarantino to Jay-Z to Knausgaard, she has endless fascination and the boundless wit, insight and wisdom to match. In Feel Free, pop culture, high culture, social change and political debate all get the Zadie Smith treatment- dissected with razor-sharp intellect, set brilliantly against the context of the utterly contemporary, and considered with a deep humanity and compassion.
This electrifying new collection showcases its author as a true literary powerhouse, demonstrating once again her credentials as an essential voice of her generation.
In the summer of 1959, an Antiguan immigrant in north west London lives the last day of his life.
A mother looks back on her early forays into matters of the human heart, considering the ways in which desire is always an act of negotiation, destruction, and self-invention.
A disgraced cop stands amid the broken shards of his life, unable to move forward into a future that holds no place for him.
A teenage scion of the technocratic elite chases spectres through a premium virtual reality, trailed by a little girl with a runny nose and no surviving family.
We all take a much-needed break from this mess, on a package holiday where the pool's electric blue is ceaselessly replenished, while political and environmental collapse happen far away, to someone else.
Interleaving ten completely new and unpublished stories with some of her best-loved pieces from the New Yorker and elsewhere, Zadie Smith presents a sharply alert and slyly prescient collection about time and place, identity and rebirth, the persistent legacies that haunt our present selves and the uncanny futures that rush up to meet us.
"NW" is Zadie Smith's masterful novel about London life. Zadie Smith's brilliant tragi-comic "NW" follows four Londoners - Leah, Natalie, Felix and Nathan - after they've left their childhood council estate, grown up and moved on to different lives. From private houses to public parks, at work and at play, their city is brutal, beautiful and complicated. Yet after a chance encounter they each find that the choices they've made, the people they once were and are now, can suddenly, rapidly unravel. A portrait of modern urban life, "NW" is funny, sad and urgent - as brimming with vitality as the city itself. Praise for "NW": "Her dialogue sings and soars; terse, packed and sassy. Smith is simply wonderful: Dickens' legitimate daughter". (Boyd Tonkin, "Independent"). "Astonishing, dazzling. Really - without exaggeration - not since Dickens has there been a better observer of London scenes. Zadie Smith is a genius. It's hard to imagine a better novel this year - or this decade". (A.N. Wilson). "Intensely funny, richly varied, always unexpected. A joyous, optimistic, angry masterpiece. No better English novel will be published this year". (Philip Hensher, "Daily Telegraph").
"Absolutely brilliant. So electrically authentic". ("Time"). "Captivating. Funny, sexy, weird, full of acute social comedy, like London. She's up there with the best around". ("Evening Standard"). "Marvellous ...crackles with reflections on race, music and migration. A lyrical fiction for our times". ("Spectator"). "Undeniably brilliant ...rush out and buy this book". ("Observer"). Zadie Smith was born in north-west London in 1975. She is the author of the novels "White Teeth", "The Autograph Man" and "On Beauty", and of a collection of essays, "Changing My Mind". She is also the editor of "The Book of Other People".
On Beauty
Zadie Smith's "On Beauty" is a funny, powerful and moving story about love and family. Why do we fall in love with the people we do? Why do we visit our mistakes on our children? What makes life truly beautiful? Set in New England mainly and London partly, "On Beauty" concerns a pair of feuding families - the Belseys and the Kipps - and a clutch of doomed affairs. It puts low morals among high ideals and asks some searching questions about what life does to love. For the Belseys and the Kipps, the confusions - both personal and political - of our uncertain age are about to be brought close to home: right to the heart of family. "The novel I didn't want to finish, I was enjoying it so much". (John Sutherland, "Evening Standard"). "Thrums with intellectual sass and know-how". ("Literary Review"). "Delightfully entertaining ...filled with humour, generosity and contemporary sparkle". (Alex Clark, "Daily Telegraph"). "My novel of the year ...Delicious". (Liz Jones, "Evening Standard"). "Satirical, wise and sexy". ("Washington Post"). "Heartstopping". ("The Times Literary Supplement"). "A triumph, Smith's comedy shines". ("Daily Mail").
"Ambitious, hugely impressive, beautifully observed". ("Guardian"). Zadie Smith was born in north-west London in 1975. Her debut novel, "White Teeth", won the Whitbread First Novel Award, the Guardian First Book Award, the James Tait Black Memorial Prize for Fiction, and the Commonwealth Writers' First Book Prize, and was included in TIME 100 Best English-language Novels from 1923 to 2005. Her second novel, "On Beauty", was shortlisted for the Man Booker Prize and won the Orange Prize for Fiction. She has written two further novels, "The Autograph Man" and "NW", a collection of essays, "Changing My Mind", and also edited a short-story anthology, "The Book of Other People".
'Smith's finest. Extraordinary, truly marvellous' Observer 'Superb' Financial Times 'Breathtaking' TLS 'Pitch-perfect' Daily Telegraph 'A tale of two girls who meet in a West London dance class...A page-turner that's also beautifully written ' Glamour 'There is still no better chronicler of the modern British family than Zadie Smith' Telegraph SHORTLISTED FOR THE NATIONAL BOOK CRITICS CIRCLE AWARDS 2017
A dazzlingly exuberant new novel moving from north west London to West Africa, from the multi-award-winning author of White Teeth and On Beauty Two brown girls dream of being dancers - but only one, Tracey, has talent. The other has ideas: about rhythm and time, black bodies and black music, what it means to belong, what it means to be free. It's a close but complicated childhood friendship that ends abruptly in their early twenties, never to be revisited, but never quite forgotten either. Bursting with energy, rhythm and movement, Swing Time is Zadie Smith's most ambitious novel yet. It is a story about music and identity, race and class, those who follow the dance and those who lead it...
Zadie Smith's White Teeth is a classic international bestseller and an unforgettable portrait of London, available as a Penguin Essential for the first time One of the most talked about fictional debuts ever, White Teeth is a funny, generous, big-hearted novel, adored by critics and readers alike. Dealing - among many other things - with friendship, love, war, three cultures and three families over three generations, one brown mouse, and the tricky way the past has of coming back and biting you on the ankle, it is a life-affirming, riotous must-read of a book. 'Funny, clever ...and a rollicking good read' Independent 'An astonishingly assured debut, funny and serious ...I was delighted' Salman Rushdie 'The almost preposterous talent was clear from the first pages' Julian Barnes, Guardian 'Quirky, sassy and wise ...a big, splashy, populous production reminiscent of books by Dickens and Salman Rushdie ...demonstrates both an instinctive storytelling talent and a fully fashioned voice that's street-smart and learned, sassy and philosophical all at the same time' New York Times 'Smith writes like an old hand, and, sometimes, like a dream' New Yorker 'Outstanding ...A strikingly clever and funny book with a passion for ideas, for language and for the rich tragic-comedy of life' Sunday Telegraph 'Do believe the hype' The Times 'Relentlessly funny .
..idiosyncratic, and deeply felt' Guardian Zadie Smith was born in north-west London in 1975. Her debut novel, White Teeth, won the Whitbread First Novel Award, the Guardian First Book Award, the James Tait Black Memorial Prize for Fiction, and the Commonwealth Writers' First Book Prize, and was included in TIME 100 Best English-language Novels from 1923 to 2005. Her second novel, On Beauty, was shortlisted for the Man Booker Prize and won the Orange Prize for Fiction. She has written two further novels, The Autograph Man and NW, a collection of essays, Changing My Mind, and also edited a short-story anthology, The Book of Other People.


Richmond Hill, Georgia is a quiet family community, located just minutes south of metropolitan Savannah. The city of more than 10,000 residents retains a small town charm and has a great deal to offer its residents. A diminished crime rate, outstanding educational opportunities, community services, recreational facilities, and beautiful scenery are but a few reasons to live here. This family-oriented city is a community where everyone can feel safe.
Visitors are impressed by its southern charm, rich history, variety of outdoor adventures, fishing and great local seafood. This peaceful community has a variety of opportunities; shopping, recreational, and business.
Whether you are attracted to antique hunting or you appreciate our unique heritage and architecture, Richmond Hill offers relief from the congestion of the big city. Richmond Hill also offers a variety of hometown restaurants for an assortment of appetites and safe lodging for those desiring an extended stay.
With its distinctive history and scenic beauty, Richmond Hill is coastal Georgia living at its finest.
Charlotte, N.C. (July 13, 2015) - HomeownersInsurance.com, a consumer-centric insurance marketplace, recently facilitated a study to discover which Georgia cities are the safest from certain types of severe weather. Richmond Hill made the list at No. 12.
To find the safest cities, analysts at HomeownersInsurance.com used a variety of storm data points to create total scores for 50 Georgia cities with populations greater than 10,000. Analysts used the National Oceanic and Atmospheric Administration storm events database to factor in occurrences of tornadoes, hail and lightning in each area. Some data sources were only available at the county level. Cities were assigned points based on the information for the county in which the city is predominately located.
Richmond Hill landed the #12 position because the city had the second lowest lightning score on the list as well as low hail and tornado scores.


The need for survival, curiosity about what exists in the world and the desire to conquer moved humanity through the sea, lands and forests. Since the exit of homo sapiens from Africa more than 100,000 years ago, humanity migrates, creating thus a geography of multiple faces and destinations.¹ Thus the Old World fused to the New World and the Americas.
The Amazon went that route of conquest from the great voyages, when Vicente Yáñez Pinzón discovered the Amazon River and the lands of the northern coast of Brazil, which he named Nuestra Señora de la Tierras y del Consolación Rostro Hermozo and Rio Grande de La Mar Dulce.² Since then, many lusted after these rich and exotic lands. Spanish, Portuguese, Dutch, French tried to extend their dominions.
And so, in Brazil's recent history, men and women, moved by the military government promises to find abundant land, gold and opportunities, created a new front of conquest in this place, from major roads that cross the vast Amazon rainforest: the Belem-Brasilia and Transamazônica. These roads began to be built from the 50s, in order to colonize and occupy the Amazon. From north to south, east to west, totaling more than 6000 kilometers, forming a rugged and inaccurate mapping. And it is in this realm of waters where rivers have always been the real roads that thousands Brazilians live and work.
In this project, which has been developed since 1990, these men and women tell their stories materialized in pictures, written and oral memories, intertwined over this immense territory where dreams of luck pulse, in Northern Brazil.
¹ FLORENTINO, Manolo; MACHADO, Cacilda 9Org.). Ensaios sobre a escravidão I. Belo Horizonte: Editora UFMG, 2003.
² TOCANTINS. Manaus, AM: Editora Valer: Edições Governo do Estado, 2000.
Where: Transamazônica and Belém-Brasília Roads in the States of Pará / Piauí / Maranhão / Acre / Tocantins / Amazonas / Paraíba / Pernambuco and Federal District. Time: 1990 -2010 (ongoing).


text:
package server

import (
	"strconv"
	"time"

	"github.com/siddontang/go/hack"
	"github.com/siddontang/ledisdb/ledis"
)

func lpushCommand(c *client) error {
	args := c.args
	if len(args) < 2 {
		return ErrCmdParams
	}

	if n, err := c.db.LPush(args[0], args[1:]...); err != nil {
		return err
	} else {
		c.resp.writeInteger(n)
	}

	return nil
}

func rpushCommand(c *client) error {
	args := c.args
	if len(args) < 2 {
		return ErrCmdParams
	}

	if n, err := c.db.RPush(args[0], args[1:]...); err != nil {
		return err
	} else {
		c.resp.writeInteger(n)
	}

	return nil
}

func lpopCommand(c *client) error {
	args := c.args
	if len(args) != 1 {
		return ErrCmdParams
	}

	if v, err := c.db.LPop(args[0]); err != nil {
		return err
	} else {
		c.resp.writeBulk(v)
	}

	return nil
}

func rpopCommand(c *client) error {
	args := c.args
	if len(args) != 1 {
		return ErrCmdParams
	}

	if v, err := c.db.RPop(args[0]); err != nil {
		return err
	} else {
		c.resp.writeBulk(v)
	}

	return nil
}

func llenCommand(c *client) error {
	args := c.args
	if len(args) != 1 {
		return ErrCmdParams
	}

	if n, err := c.db.LLen(args[0]); err != nil {
		return err
	} else {
		c.resp.writeInteger(n)
	}

	return nil
}

func lindexCommand(c *client) error {
	args := c.args
	if len(args) != 2 {
		return ErrCmdParams
	}

	index, err := ledis.StrInt64(args[1], nil)
	if err != nil {
		return ErrValue
	}

	if v, err := c.db.LIndex(args[0], int32(index)); err != nil {
		return err
	} else {
		c.resp.writeBulk(v)
	}

	return nil
}

func lrangeCommand(c *client) error {
	args := c.args
	if len(args) != 3 {
		return ErrCmdParams
	}

	var start int64
	var stop int64
	var err error

	start, err = ledis.StrInt64(args[1], nil)
	if err != nil {
		return ErrValue
	}

	stop, err = ledis.StrInt64(args[2], nil)
	if err != nil {
		return ErrValue
	}

	if v, err := c.db.LRange(args[0], int32(start), int32(stop)); err != nil {
		return err
	} else {
		c.resp.writeSliceArray(v)
	}

	return nil
}

func lclearCommand(c *client) error {
	args := c.args
	if len(args) != 1 {
		return ErrCmdParams
	}

	if n, err := c.db.LClear(args[0]); err != nil {
		return err
	} else {
		c.resp.writeInteger(n)
	}

	return nil
}

func lmclearCommand(c *client) error {
	args := c.args
	if len(args) < 1 {
		return ErrCmdParams
	}

	if n, err := c.db.LMclear(args...); err != nil {
		return err
	} else {
		c.resp.writeInteger(n)
	}

	return nil
}

func lexpireCommand(c *client) error {
	args := c.args
	if len(args) != 2 {
		return ErrCmdParams
	}

	duration, err := ledis.StrInt64(args[1], nil)
	if err != nil {
		return ErrValue
	}

	if v, err := c.db.LExpire(args[0], duration); err != nil {
		return err
	} else {
		c.resp.writeInteger(v)
	}

	return nil
}

func lexpireAtCommand(c *client) error {
	args := c.args
	if len(args) != 2 {
		return ErrCmdParams
	}

	when, err := ledis.StrInt64(args[1], nil)
	if err != nil {
		return ErrValue
	}

	if v, err := c.db.LExpireAt(args[0], when); err != nil {
		return err
	} else {
		c.resp.writeInteger(v)
	}

	return nil
}

func lttlCommand(c *client) error {
	args := c.args
	if len(args) != 1 {
		return ErrCmdParams
	}

	if v, err := c.db.LTTL(args[0]); err != nil {
		return err
	} else {
		c.resp.writeInteger(v)
	}

	return nil
}

func lpersistCommand(c *client) error {
	args := c.args
	if len(args) != 1 {
		return ErrCmdParams
	}

	if n, err := c.db.LPersist(args[0]); err != nil {
		return err
	} else {
		c.resp.writeInteger(n)
	}

	return nil
}

func blpopCommand(c *client) error {
	keys, timeout, err := lParseBPopArgs(c)
	if err != nil {
		return err
	}

	if ay, err := c.db.BLPop(keys, timeout); err != nil {
		return err
	} else {
		c.resp.writeArray(ay)
	}
	return nil
}

func brpopCommand(c *client) error {
	keys, timeout, err := lParseBPopArgs(c)
	if err != nil {
		return err
	}

	if ay, err := c.db.BRPop(keys, timeout); err != nil {
		return err
	} else {
		c.resp.writeArray(ay)
	}
	return nil

}

func lParseBPopArgs(c *client) (keys [][]byte, timeout time.Duration, err error) {
	args := c.args
	if len(args) < 2 {
		err = ErrCmdParams
		return
	}

	var t float64
	if t, err = strconv.ParseFloat(hack.String(args[len(args)-1]), 64); err != nil {
		return
	}

	timeout = time.Duration(t * float64(time.Second))

	keys = args[0 : len(args)-1]
	return
}

func lkeyexistsCommand(c *client) error {
	args := c.args
	if len(args) != 1 {
		return ErrCmdParams
	}
	if n, err := c.db.LKeyExists(args[0]); err != nil {
		return err
	} else {
		c.resp.writeInteger(n)
	}
	return nil
}

func init() {
	register("blpop", blpopCommand)
	register("brpop", brpopCommand)
	register("lindex", lindexCommand)
	register("llen", llenCommand)
	register("lpop", lpopCommand)
	register("lrange", lrangeCommand)
	register("lpush", lpushCommand)
	register("rpop", rpopCommand)
	register("rpush", rpushCommand)

	//ledisdb special command

	register("lclear", lclearCommand)
	register("lmclear", lmclearCommand)
	register("lexpire", lexpireCommand)
	register("lexpireat", lexpireAtCommand)
	register("lttl", lttlCommand)
	register("lpersist", lpersistCommand)
	register("lkeyexists", lkeyexistsCommand)
}

redpajama_set_name: RedPajamaGithub


Can I file a second writ of habeas corpus?
I have already filed a writ in either state or federal court. Can I file a second writ?
There are a few exceptions to the general prohibition against filing a second writ. One of those exceptions is, "new evidence" that could not have been found through due diligence, either at the time of trial or at the time the second writ of habeas corpus was filed. A second exception is that if the United States Supreme Court has issued an opinion that changes the law dramatically, such as that could not have been reasonably anticipated, then the question becomes whether or not the new law will be applied retroactively or not. The rules regarding retroactivity are complex, but this is one of the second exceptions. There are other legal exceptions.
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Abstract: A large number of engineering systems operate under multiaxial stress conditions and at the same time under special environment conditions. Because of the fact that optimal procedure design, based on the design specifications will dictate the design life under such mentioned conditions, it is of transcending importance to make an analysis of the time-dependent effects such as creep and relaxation. The paper deals with the numerical modelling of creep behaviour of the building energetic structure members which operate under special environment conditions. Mechanical sublayer method using finite element procedure is used. Using viscoplastic models two applications are presented.


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Click on the Setup section from the menu on the left.
For a student whose parent/guardian information you want to edit, click ⋮ to the right of their name.
Enter the parent's first name, last name, email address and phone number.
Select a username for your parent.
If you want to add a second parent, click + Add Parent.
To immediately edit parent/guardian information for the next student on the list, click next to the current student's name in the upper right. Otherwise, click Close to return to your list of students.
Parents can update their emails and phone numbers themselves, following these instructions.
You can add the same parent/guardian for more than one student. To do so, click + Add Parent and then add their first name, last name, and email address. You'll have to make sure to enter the same exact email address for the parent/guardian.


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text:
Halfway South
Creative musings about music, culture, food and festivals
Distiller's battle with monopolistic ABC system turns toward online sales
Posted on April 20, 2021 by halfwaysouth
By John Trump
Jonathan Blitz makes and sells whiskey.
He and his team make the whiskey in Durham, at Mystic Farm & Distillery.
They sell the whiskey from the distillery, and in state-controlled Alcoholic Beverage Control stores.
But they can't sell it online, per Chapter 18B of the N.C. General Statutes.
Blitz, like most N.C. distillers, wants to change that.
And Blitz, also a lawyer, is determined to do so.
Blitz last month petitioned the ABC Commission for a declaratory ruling that would allow him to sell his products to consumers in states that permit online sales: Florida, Hawaii, Kentucky, New Hampshire, Rhode Island, and Washington, D.C.
The ABC Commission on Wednesday, April 14, declined to issue the ruling and, Blitz said, cut him off when he tried to plead his case. Hiding behind the statute, he says.
"I just think [the board] didn't want me to make a record."
Jeff Strickland, ABC spokesman, said Blitz was given an opportunity to address the commission, and that he was heard.
He said in an email: "The Commission declined to issue a declaratory ruling pursuant to 14B NCAC 15A .0602(c)(8), which states that the Commission shall deny a request when 'the subject matter of the request is involved in pending litigation, legislation, or rulemaking.'"
Blitz can sell his products outside the state on a wholesale level, but he can't sell to individual buyers, according to state ABC laws that date to the late 1930s.
Blitz says that's unconstitutional, in violation of the interstate commerce clause — "an impermissible direct burden on commerce," says the petition, citing the 1824 U.S. Supreme Court ruling in Gibbons v. Ogden.
North Carolina, the petition says, "is violating the right of the receiving state to exclusively control the transportation and importation of intoxicating liquors … in violation of the 21st Amendment. …"
The petition also cites the Fifth and 14th Amendments, including the distillery's right to due process and to enjoy the fruits of its labor.
"Why should North Carolina have any say in what I do, vis a vis, with a consumer in Kentucky?" Blitz told Carolina Journal.
Blitz says he'll exhaust the administrative process before filing a lawsuit in Durham County to overturn the direct-sales provision, possibly within a month.
Liquor is pouring into North Carolina despite the law, he says. As much as a quarter-million dollars worth.
"There is so much liquor coming from out of state."
Blitz prevailed recently in another case against the state, winning a court injunction after alcohol law officers cited him, pulled his permit, and fined him because they found products from other distilleries at Mystic. The officers confiscated 16 bottles, which have since been returned.
Blitz used the other products as points of comparison to his own, a common practice of distillers throughout the country and throughout North Carolina.
"This entire case is over what I see as one agency's attempts to just make up and then enforce their own unwritten laws against members of the distilling industry," Blitz told the North State Journal.
The lawsuit could prove moot, however, if the General Assembly passes and the governor signs House Bill 366, Regulatory Reform Act of 2021. A provision deep within the bill would allow N.C. distillers to ship their products to consumers in other states, albeit with rules involving reciprocity laws in certain states. The bill, as of Monday, April 19, was in a House committee.
Distillers and lawmakers have tried this before. In summer 2017, the House stripped a provision in Senate Bill 155 that would have allowed N.C. distilleries to sell directly to consumers, via the internet.
Rep. Pat Hurley, R-Randolph, proposed the amendment to remove that part of the bill. S.B. 155, among other things, at the time cleared the way for N.C. craft distillers to sell five bottles to customers each year, instead of the current one, and, contingent on local approval, allowed restaurants and retail stores to begin selling alcohol Sunday at 10 a.m., as opposed to noon.
Senate Bill 290, passed about two years ago, opened things up for distillers even more, allowing them to sell an unlimited number of bottles directly to customers and freeing them from the onerous process of tracking and policing every bottle sold to customers. The law also allowed distilleries to sell mixed drinks, as well as beer and wine with appropriate permits.
State ABC stores are doing record business, at least part of which can be attributed to pandemic-related lockdowns. Yet distillers, forced to close tasting rooms last year, still must contract with online merchants in other states to sell their products. So the state loses thousands in excise taxes, and consumers are left wanting.
"Alcohol is alcohol," one distiller told CJ last year. "You've got to treat it all the same."
This story originally appeared in Carolina Journal.
Music, whiskey, and more
©2022 Halfway South	| Built using WordPress and Responsive Blogily theme by Superb


Outgoing packets are sent roughly every 400ms.
The network delay is (relatively) constant and varies in an unpredictable manner.
The server will decide when your shot ends(and subsequently, the time the next shot can be fired assuming the current shot is allowed to resolve) when it queues up your shot.
Thus, the time between shots when using a plugin of this nature is never more than 400ms greater than the time the server allows, as the server never goes 400ms without receiving a packet telling it to queue up a shot. It's also never greater than the minimum you can sustain using any method of input we have available to us.
While you are right that there may be delays in the server sending packets, they would again be constant over a large enough amount of shots and all evidence indicates that if they exist they are infinitesimal. By measuring the amount of time between shots, you're getting the only number that matters: How many shots per unit of time can I get in using this weapon? Anything else is an argument of semantics and unlikely to be adequately resolved without SE outright answering it.
and so on. It doesn't matter what you change that (+150) to, the server is still going to receive a packet to start the next shot less than 400ms after it allows it.
As far as WSing, my plugin uses packets for that too. But that's an argument of implementation, as far as testing the actual delay this is the best you're going to get. It removes far more variables than your tests.
Ok, that's all good thanks.
My standing question then is, for the sake of the dps spreadsheet, do we all concur that adding a static average value is the best model?
If so, can we agree on what to put that static average value as? I proposed .562 seconds but wondering what you guys think.
Spreadsheet is complicated, because it's going to depend on your plugin heavily. A static wait plugin that's potentially too high will lose 1-2 packet windows(400-800ms). One that's too low might fail to shoot and lose a full second. I would say modeling it against the best case scenario is probably most practical for me, but that might not be most practical for everyone.
Definitely make it easily viewable and changable, imo. Maybe some example values or a few options(manually shooting, delay based plugin, packet based plugin).
Anyway, point is that 1.8s is about one packet cycle higher than I'd have expected and the line's slope is low.
m = (1/114) * (1 - ss/100)*(1 - vs/100)*(1 - rsm*rs/100) = (1/114)*(.3)*(.66)*(.8425) = 0.0014632894736842103.
So it is lower, but again we don't actually know how Rapid Shot works or what RSI/RS2 values are. If you assume the JP wiki model and 100% RS activation rate, you get a slope of 0.0012483552631578948 (less than 1% of what was observed.) Either way the linear fit with respect to weapon delay is very good so I don't think there is some static component of the weapon delay at play.
Also in regards to your comment about not wanting to have the ranged attack start/finish in the same packet - How would this affect things? The slope is very smooth with changes in delta that lower than .4s.
I have some more comments I'll add later (getting nagged atm) I think the best next step is to perform the same test using Ashita and see if the results are different.
I just understood what Byrth meant by a static component of ranged delay. I'll run my tests again and measure the time between ranged attack start and ranged attack finish packets. If the static delay component is larger than .4 seconds than we should expect to see a linear fit with an intercept equal to the static component. That said, for modeling purposes, there should be no difference between a .4 static delay component/1.4 cooldown or a 0 static delay component/1.8 cooldown.
Do you think you could try running the tests on a job without RS? It seems like adding a random effect to over 50% of all shots just seems like a good way to get fudged results. And I don't think ~200 shots would be enough to even out the randomness of it.
You'd have to live without VS but I imagine you should be able to use most of the snapshot gear on say thief.
Going to do the test using my plugin through ashita. Got THF with 50% in taeon, can throw a few saps at a cape for 60 and keep flurry1 up for what should be cap.
Using pirate's gun and bronze bullet, 10% snapshot taeonx4, 10% snapshot toutatis's cape, and adhemar legs+1(path C, so no rapid shot). Flurry cast before test start and never allowed to drop.
Getting late here, but I already have all my logging set up so I will run additional tests tomorrow or wednesday, if any specific requests let me know.
Alright, I have more data, but first some follow up.
The times below are the mean deltas between ranged attack start and ranged attack finish packets for the same bows.
So still very linear and implies a static delay of around .2 seconds. This odd part is the slope is different than before. This might be to weird artifacting from Atalanta or Rapid Shot functioning in an unexpected way. Suppose I should get some cleaner data. I also assumed that a ranged attack start chunk would always come before a ranged attack finish chunk even if they were in the same UDP packet but that may be a false assumption.
That's a pretty smooth result all things considered.
It's really interesting to me that the Fastest and Slowest shot are almost exactly .4 seconds apart looking forward to more!
So still very linear and implies a static delay of around .2 seconds.
I would actually expect the slope to be different for total ranged shot to ranged shot time and only aiming delay if for no other reason than reload is a static 1 second but there very well may be more going on too. I think the danger in setting delay=0 to get what's left as delay added to every shot is if the slope is off even a bit, then you can get exaggerated numbers and be off by quite a bit. Also, that wait 1 after getting the ranged_end packet to start the next shot doesn't always work bothers me a bit so extra delay there too.
Finished my test. Results in next post.
10% Snapshot augment on cape, all 4 taeon. Kecks Path C rank 15.
Used packet based plugin to inject a ranged start packet on every outgoing UDP transmission. Used seperate plugin to log all ranged attack start packets(incoming id 0x28 where bytes 5-8 match character id and unpacking bits 82 to 85 has a value of 12). Used approximately 220 ammo(or 15 minute sample in aureole's case) before flushing data to file. Variations in amount of shots are due to lack of precision in stopping at 220 ammo used and recycle from kecks. First shot ignored and not represented in data file as no base delay is available to compare to it. While the more detailed log says 'shot fired', it is actually the time when the previously described packet was received, initiating the shot animation.
The .log files have weapon specified at the start of them. The .raw file with matching name is the millisecond delays between each shot start seperated by \r\n.
I will leave it to people more familiar with the currently known data to draw conclusions, but one thing is pretty obvious: throwing weapon delays are calculated differently.
So we have the same 1.8s offset. This time, without Velocity Shot or Rapid Shot, we see a slope that's approximately what we'd expect.
This time we saw 2.53, which is easily within the wiggle room of that 120 Delay/s number.
No velocity shot, THF/WHM with 60% gear snapshot and flurry.
I can think of a few reasons why the slope would be different but in any case I need more data to remark on it. Also Comeatmebro's initial data is in the ballpark with the data I collected before. A 1.8 cooldown (or 1.6 cooldown + .2 static delay) would result in the following expected delay between shots with capped Snapshot.
Anyway, it's interesting to me that the slope changes when fitting the lower and upper bounds. I would have expected the line to just be translated up a packet interval or two.
I'd assume lower bound is a small lag spike on the previous shot and upper bound is a small lag spike on the current shot. I'm not really positive, the variation isn't much higher than a packet interval.
Self Bow is particularly interesting. I'd be unsurprised if it was the same number of packet intervals between those shots every time, because the difference between the slowest and fastest shot is only 273ms.
Indeed, 171 of the 243 shots fired come in between 2855 and 2858 ms.
It might be something that goes away with higher sample sizes (seems unlikely) or perhaps some strange chronotropic effect caused by client/server UDP packet exchange.
Is it possible to cap rapid shot on RNG without any snapshot? Think that's the next test I'd like to do.
With merits that should be 80% using only blatantly specified items. Only char I have gloves on doesn't have RNG though(usually toss them because obviously carmine+1 are better, one slipped through the cracks). Guess I can burn it up and make some AF today. Relatively confident that will hit 100 with trait, since the assumed value is 30%. Probably easier on COR, but every COR i have that's remotely close to that gear already has 100+ JP.
Oh, that makes life easier. Same char already has everything there besides body and head(will just use pursuer's). Just need to throw an arcadian body onto the NPC while I burn rng to 99 and change my pursuer's paths.
Your set with pursuer's head should still be 85 + traits/merits and no real hassle to get.
It would probably be good to test the effects at least two other levels of Rapid Shot to examine whether or not there is a cap on it.
I figured on using relic gun and doing a baseline 200 shots with no rapid shot or snap. As long as it always provides some benefit, should be pretty obvious whether I'm getting 100% or not.
Well I mean, we don't actually have data indicating how it actually works. Also I think you should probably stick with a 600 delay weapon since we have good data for that delay already.


text:
JAY Z SLAPS ASPIRO, ET AL, WITH $15M SUIT
Jay Z has begun his second year at the helm of Tidal by filing a $15m lawsuit against the previous owners, claiming they gave him inflated subscriber numbers.
Named in the suit, first reported in the Norwegian press, are Scandinavian company Aspiro, major shareholder Schibsted Media Group and Stockholm-based private equity fund Verdane Capital.
"It became clear after taking control of Tidal and conducting our own audit that the total number of subscribers was actually well below the 540,000 reported to us by the prior owners," the company said in a statement sent to USA Today. "As a result, we have now served legal notice to parties involved in the sale. While we cannot share further comment during active legal proceedings, we're proud of our success and remain focused on delivering the best experience for artists and fans."
In response to the news of the suit, Schibsted's Anders Rikter told Norway's BreakIt news agency that "we want to point out that it was a publicly traded company that was acquired, with what it means by the transparency of financial reporting. Otherwise, we have no comments."


text:
Olivia Lawrence-Weilmann
Data and Communications Manager
https://olivialw.github.io
https://twitter.com/olivialw_
o.lawrenceweilmann@politicalresearch.org
Olivia Lawrence-Weilmann is a data nerd, mapping enthusiast, grassroots organizer, researcher, and writer committed to supporting movement organizations addressing the root causes of social injustice and inequities. She has a background in research, writing, and organizing around reproductive, LGBTQ+, immigrant, and environmental justice issues. She is a former member of the Civil Liberties and Public Policy student group, was a research assistant for Dr. Serin Houston on a project about immigrant sanctuary policies, and received an honorable mention from the Association for Feminist Anthropology for her writing on abortion in Mexico. She holds a BA from Mount Holyoke College in Anthropology and Latin American Studies.
The Fight Ahead
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Mapping The Electoral Far Right in the 2022 Elections
The purpose of this resource is to help understand and visualize how ideas, policies, and factions that have long been associated with the Far Right in the United States have become an ordinary part of U.S. politics. PRA has identified 274 far-right…
Blue Lives Matter and the U.S. Counter-Subversive Tradition
A Q&A with authors Jarrod Shanahan and Tyler Wall
On the anniversary of the January 6, 2021 insurrection at the U.S. Capitol, PRA is taking a moment to examine the history of law enforcement's relationship with the Far Right. In 2021, academic activists Jarrod Shanahan and Tyler Wall published a…
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Open Map Introduction to Right-Wing Sheriffs County sheriffs have featured heavily in the right-wing imagination for…
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After graduating in clarinet at the "Gaetano Donizetti Institute" and after a work experience in the "I Pomeriggi di Milano Orchestra" and several collaborations with some Italian wind orchestras (Mousikè Gazzaniga, Samassi and Rovereto) he began studying the alto saxophone with Daniele Cavallanti. Through his leadership he became the first saxophonist of the workshop "Creative Jazz Orchestra", founded and directed by Cavallanti himself.
He attended several workshop and meetings of jazz music, including the international ones of Sant'Anna Arresi (where he won a scholarship as best saxophonist and as best music project) and those of Siena Jazz – 40th edition (for which he won a scholarship as a saxophonist).
He took part at several Italian Jazz Festivals as that of Sant'Anna Arresi, Ah-Um Jazz Festival, Jazz Novara, Trentino Jazz Festival, Clusone Jazz, Ambria, San Severo and Mantova Jazz.
Born in Bari in 1978, he lives in Milan and he has several projects as leader: NoPair, NidoWorkshop, InSight, Extemporary Vision Ensemble, Marcos Quartet, Electric! Electric ! and others. He is a member of the "ATJO – Angiolo Tarot Jazz Orchestra" and he collaborates and plays with other musicians like Antonio Fusco (in the "Suite for Motian" project), Daniele Cavallanti (in the "Milano Contemporary Art Ensemble", "Nexus" and "A World of Sound"), Beppe Caruso ("Ars Octet") and other ones.
He played with: Daniele Cavallanti, Tiziano Tononi, Silvia Bolognesi, Pasquale Mirra, Cristiano Calcagnile, Filippo Monico, Riccardo Luppi, Massimo Falascone, Paolo Botti, Emanuele Parrini, Tito Mangialajo Rantzer, Tim Berne, Beppe Caruso, Fabrizio Puglisi, Luca Calabrese, Alberto Tacchini, Toni Boselli, Gianluca Alberti, Marcello Noia, Alberto Turra, Rob Mazurek, Simone Massaron, Toni Cattano, Bernardo Guerra, Lorenzo Gasperoni and others.