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- Official Website:
Edda Moser sings Mozart
28 Sep 2018
Barcode: 0190295564490
Composer: Wolfgang Amadeus Mozart
Other participants: Hamari · Gedda · Fischer-Dieskau · Staatskapelle Dresden · Chor & Orchester der Bayerischen Staatsoper München · Jochum · Hager · Sawallisch
Mozart's queen of the stars: She was hailed as the ultimate Queen of the Night. But Edda Moser was the memorable embodiment of many other Mozart heroines. This CD portrays the versatile singer as a highly virtuosic and expressive Mozart interpreter.


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Paul Goble
Staunton, June 3 – The Russian government needs to adopt a nationalities policy for the country as a whole and to establish a special ministry to implement it, several Duma deputies say, pointing not only to the increasing number of ethnic conflicts around the country but also to the increasing and potentially dangerous tendency of the regions to go their own way in this area.
According to the Regions.ru portal, "local officials are hostages to a situation [in which ethnic conflicts are on the rise] and are forced to balance between the danger of accusations of xenophobia and support of nationalities on the one hand, and the danger of a new Kondopoga or Manezh, on the other (www.regions.ru/news/2357902/).
And their situation is becoming ever more problematic, the portal observes, because "the federal center as before is limiting itself to declarative language about the impermissibility of allowing the growth of xenophobic attitudes without offering any concrete decisions." As a result, "local officials are trying to independently find ways of resolving this problem."
As it often does on key issues, the portal has surveyed Russian parliamentarians concerning what should be done, and the ones with whom Regions.ru spoke, unanimously backed the idea of "creating in Russia a state organ which would occupy itself with the resolution of questions of nationality policy" rather than ceding power on this to the regions.
Vladimir Gusev, who represents Saratov oblast in the Federation Council, said that the time has come for the government to take up the question of inter-ethnic relations seriously and to create what does not now exist, a clearly defined nationality policy and a central bureaucracy to implement it.
In his view, "a multi-national country without a ministry for nationalities is nonsense." He said that it was not important what this "organ" should be called, "a ministry, a committee, or a commission." Rather, "the main thing, Gusev continued, "as is well known is not the form but its content."
Amir Gallyamov, who represents the Amur oblast in the Federation Council, agreed. "Russia simply needs such an organization." Without it, youth movements of a radical direction are growing stronger, some of which act against Muslims, others against Orthodox, a third against Russians, a fourth against Jews and so on."
Gadzhimet Safaraliyev, a United Russia Duma deputy, also supported the idea of creating "a special government organ for nationality policy." "Such a structure," he said, existed in Soviet times and was headed in the early years by Joseph Stalin. A new Narkomnats is needed, he said, because the regional development ministry isn't capable of resolving" all these issues.
Yury Afonin, a KPRF Duma deputy, added his support for such an agency, pointedly noting that "in questions of nationality policy, there is no place for independent activity at the regional level." These questions "must be dealt with by a corresponding agency in the system of state power" and at the direction of the chief of state.
And Viktor Shudegov, a Just Russia Duma deputy, seconded that view. He said that the time had come to decide on a Russia-wide nationality policy and to set up an institution to ensure it is carried out. "Such agencies already exist at the regional level in a number of Russian Federation subjects, including in Udmurtiya which [he] represents."
"Somehow or other," he continued, "certain representatives of our power consider that if there is no federal ministry on nationality questions, then this means that there is no problem in this sphere." But problems obviously do exist, Shudegov said, and they will continue until a policy is defined and an agency in Moscow set up.
Since Vladimir Putin disbanded the post-Soviet Russian ministry of nationalities a decade ago, there have been period calls for restoring it, but most of them have come now from politicians at the center worried about controlling the periphery but rather from non-Russians who believe such an institution would help them.
That makes this shift potentially significant, although there is a major hurtle to setting up such a ministry that none of these parliamentarians addressed: If such a body is given enough power to implement a nationalities policy, it will be a super-ministry and a threat to all others, but if it is not given such powers, it will simply become yet another bureaucratic structure.
Friday, June 3, 2011
Window on Eurasia: Russia Needs a Centralized Nationalities Policy and a Ministry to Carry It Out, Deputies Say
Posted by Paul Goble at 7:21 AM
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subset: commoncrawl


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Welcome to our Website
Soroptimist International of Doncaster was chartered in 1950. Since then we have worked in various ways to improve the lives of women and girls both locally and internationally, and that work continues today.
We are part of the Yorkshire Region of the Federation of Great Britain and Ireland and have members from a wide variety of professions and businesses. We welcome members from all walks of life and age groups.
We meet twice a month for a business meeting and a supper meeting, which take place on the second and fourth Tuesday of the month respectively. We give service, share friendship, and also have fun.
If you are interested in helping your community and being part of an organisation which has over 100,000 members in more than 100 countries, then maybe you would like to join our club. New members are always welcome. Please use the contact page to send us a message.


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The Effnet ROHC product portfolio consists of software products based on RObust Header Compression (ROHC) RFCs. ROHC is a header compression algorithm and protocol standardized by IETF. The Effnet ROHC product portfolio provides significant improvements in link efficiency for TCP traffic e.g. web, file transfers etc., RTP and UDP traffic e.g. real time, interactive and streaming applications and ESP traffic e.g. secure traffic over high BER, long RTT links.
ROHC is recommended by 3GPP for efficient use of radio resources since Release 4 onwards and even by 3GPP2 and WiMAX for similar reasons. It is an important component of the IP Multimedia Subsystem (IMS). ROHC is also used to improve efficiency in many other data networks such as satellite, WAN and ad-hoc (military applications) etc.
3GPP's Long Term Evolution (LTE) project focuses on enhancing the Universal Terrestrial Radio Access (UTRA) and optimizing radio access architecture. LTE has adopted packet-switch technology using end-to-end IP communication instead of traditional circuit-switching. One of the LTE specifications, Packet Data Convergence Protocol (TS 36.323) specifies use of ROHC. It supports the following ROHC framework and profiles implemented in the form of various Effnet products:
|Effnet ROHC™
|Uncompressed, RTP/UDP/IP, UDP/IP, ESP/IP
|Effnet ROHC-IP™
|Effnet ROHC-TCP™
|Effnet ROHCv2™
|Uncompressed, RTP/UDP/IP, UDP/IP, ESP/IP, IP
The Effnet ROHC product portfolio can be optionally complemented with a test environment, Effnet HC-Sim™, which can simulate IP traffic with configurable link conditions, e.g. bit errors, packet loss, reordering etc.
Packet classification and context management is essential to header compression. Effnet provides this additional module together with the Effnet ROHC product family.
The VoIP enabler on wireless networks! Effnet ROHC™ is an important component to efficiently run VoIP services over wireless networks. Most of the RTP applications use UDP for signaling purposes and there are also many stand-alone UDP applications, so the support for IP/UDP compression adds further to the efficiency. There is significant demand for secure exchange of information which leads to increased header overhead. The capability to compress IP/ESP, the header overhead in secure connections, makes it possible to run secure networks without additional bandwidth.
As more and more networks are moving to support IP based communications, the number of nodes that require an IP address are increasing rapidly. The introduction of IPv6 should address this concern but at least during transition time, a lot of traffic will be sent via tunnels across networks. Effnet ROHC-IP™ is capable of compressing layers of IP headers thus making it possible to run tunneled traffic without need for additional bandwidth.
Multiple Internet packet size studies* are in agreement that at least 40% of all IPv4 packets carry no or only a few bytes of payload i.e. packet sizes are at or very near to header size (IPv4+TCP). One study of IPv6 packets shows the same trend. Even more remarkable in that study is that for IPv6, 60-80% of the packets carry more header data than packet data. Effnet ROHC-TCP™ would be very beneficial in these cases.
Mobility is the cornerstone of the cellular networks but supporting it efficiently is a tricky business. As the cellular network architectures have evolved, the integration point of ROHC in system nodes has moved closer towards mobile terminals for various reasons but has lead to a problem of handling reordering of packets during mobility. Effnet ROHCv2™ addresses this concern very efficiently while providing high compression efficiency and robustness.
*Packet size studies at www.caida.org


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Jodie Foster Also Officially Off The Project
Having had to choose between two clashing projects she had hoped she could appear in both — John Hillcoat's adaptation of "The Wettest County in the World" and the fantastical family drama "Stoker," penned by Wentworth Miller under his Ted Foulke pseudonym — rising Australian actress Mia Wasikowska looks like she's made her choice.
And as we predicted, Wasikowska is now in talks to take the lead in "Stoker," a buzzed-about Black List script that boasts franchise potential — Miller has already penned a prequel titled "Uncle Charlie," which will continue to follow the story of the lead's family who "have a knack for burying secrets, as well as bodies." We guess, theoretically, the actress could still manage to find time to fit in a supporting role in Hillcoat's 'The Wettest County' but, with talks previously put on hold for both project, the fact there's only news of negotiations for "Stoker" presumably means Hillcoat and company will have to look elsewhere.
The project will also excitingly mark the English-language debut of South Korean auteur Park Chan-wook ("Oldboy," the Vengeance trilogy) who's now confirmed to be at the helm after a few months of discussions and quiet negotiations. Actress Jodie Foster was also attached to star in the project at one point (so was Carey Mulligan in the role Wasikowska will now likely own), but is now officially off, probably due to her burgeoning slate which includes Roman Polanski's "God of Carnage" and more pressingly, Neill Blomkamp's "Elysium" which will shoot later this year.
"Stoker" is described as a fantastical, fairy-tale like family drama that follows the story of an eccentric teen whose enigmatic and estranged uncle returns to the family after the death of the girl's father. People, however, start to go missing in her hometown at the same time and she soon discovers that her uncle may be the cause. The role of said uncle has even been linked to Johnny Depp, but as little has been heard on that front, we'd be completely surprised if those rumors came to fruition.
Ridley and Tony Scott are producing "Stoker" under their Scott Free banner in conjunction with Fox Searchlight. Lensing will likely to begin imminently and the same applies for 'The Wettest County.'
Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.


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Daniel Sturridge Official PFA facebook page launched!
Do you want to be kept up to date with all things Daniel Sturridge related?
Sturridge left Manchester City to join Chelsea after his contract expired, with a tribunal fee being set at around ?3.5 million with added payments.
He returned to Stamford Bridge after a successful loan spell at Bolton and has scored 11 Premier League goals this season and earning two England caps.
We are delighted that many of the pages will be supported by the players with unique content highlighting much of the work they do for good causes and charity as well as exclusive interviews.
Competitions and the ?Fans? Player award voting? will also be easily accessed via their PFA Facebook page.
Official PFA Facebook Page for:
Source: DSG


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Sponsored by:
Senator RAYMOND J. LESNIAK
District 20 (Union)
Senator LINDA R. GREENSTEIN
District 14 (Mercer and Middlesex)
Co-Sponsored by:
Senator Sarlo
Requires combined reporting of corporation business tax by certain members of unitary business groups.
Introduced Pending Technical Review by Legislative Counsel.
An Act requiring combined reporting of corporation business tax by certain members of unitary business groups, amending P.L.1945, c.162.
Be It Enacted by the Senate and General Assembly of the State of New Jersey:
1. Section 10 of P.L.1945, c.162 (C.54:10A-10) is amended to read as follows:
10. a. Whenever it shall appear to the director that any taxpayer fails to maintain its records in accordance with sound accounting principles or conducts its business or maintains its records in such manner as either directly or indirectly to distort its true entire net income or its true entire net worth under this act or the proportion thereof properly allocable to this State, or whenever any taxpayer maintains a place of business outside this State, or whenever any agreement, understanding or arrangement exists between a taxpayer and any other corporation or any person or firm, for the purpose of evading tax under this act, or whereby the activity, business, receipts, expenses, assets, liabilities, income or net worth of the taxpayer are improperly or inaccurately reflected, the director is authorized and empowered, in the director's discretion and in such manner as the director may determine, to adjust and redetermine such items, and to adjust items of gross receipts, tangible or intangible property and payrolls within and without the State and the allocation of entire net income or entire net worth or to make any other adjustments in any tax report or tax returns as may be necessary to make a fair and reasonable determination of the amount of tax payable under this act.
b. Where (1) any taxpayer conducts its activity or business under any agreement, arrangement or understanding in such manner as either directly or indirectly to benefit its members or stockholders, or any of them, or any person or persons directly or indirectly interested in such activity or business, by entering into any transaction at more or less than a fair price which, but for such agreement, arrangement or understanding, might have been paid or received therefor, or (2) any taxpayer, a substantial portion of whose capital stock is owned either directly or indirectly by or through another corporation, enters into any transaction with such other corporation on such terms as to create an improper loss or net income, the director may include in the entire net income of the taxpayer the fair profits which, but for such agreement, arrangement or understanding, the taxpayer might have derived from such transaction. The director may require any person or corporation to submit such information under oath or affirmation, or to permit such examination of its books, papers and documents, as may be necessary to enable the director to determine the existence, nature or extent of an agreement, understanding or arrangement to which this section relates, whether or not such person or corporation is subject to the tax imposed by this act.
c. (1)The entire net income of a taxpayer exercising its franchise in this State that is a member of [an affiliated group or a controlled group pursuant to section 1504 or 1563 of the federal Internal Revenue Code of 1986, 26 U.S.C. s.1504 or 1563,] a combined group shall be determined by totaling the net income or loss of each member of the group derived from a unitary business, eliminating all payments to, or charges by or among, other members of the [affiliated or controlled] combined group [in excess of fair compensation in all inter-group transactions of any kind. Notwithstanding the elimination of all inter-group transactions in excess of fair compensation, if the taxpayer cannot demonstrate by clear and convincing evidence that a report by a taxpayer discloses the true earnings of the taxpayer on its business carried on in this State, the director may, at the director's discretion, require the taxpayer to file a consolidated return of the entire operations of the affiliated group or controlled group, including its own operations and income to the extent permitted under the Constitution and statutes of the United States]. The director shall determine the true amount of entire net income earned by the taxpayer in this State. The [consolidated] entire net income of [the taxpayer] each taxable member of the combined [and of the other members of its affiliated group or controlled] group shall be allocated to this State by use of the applicable allocation formula that the director requires pursuant to P.L.1945, c.162 (C.54A:10A-1 et seq.) be used by the taxpayer; provided however, a taxable member shall use the combined group's denominator for each fraction and each taxable member shall add to the numerator of its sales fraction a share of the aggregate sales of the group's nontaxable members equal to the ratio of the taxable member's sales assigned to this State to the sales assigned to this State of all the taxable members of the combined group. [The return shall include in the allocation formula the property, payrolls, and sales of all corporations for which the return is made.] The director [may] shall require a [consolidated] combined group return under this section without regard to whether the other members of the [affiliated or controlled] combined group [, other than the taxpayer,] are or are not exercising their franchises in this State. Each member of a combined group shall be jointly and severally liable for the tax liability of each member of the combined group.
(2) For the purposes of this subsection:
"Combined group" means the group of all entities that have common ownership and are engaged in a unitary business, if at least one of those entities is subject to the tax imposed pursuant to section 5 of P.L.1945, c.162 (C.54:10A-5);
"Common ownership" means that not less than fifty per cent of the voting control of each member of a combined group is directly or indirectly owned by a common owner or owners, either corporate or noncorporate, whether or not the owner or owners are members of the combined group. Whether voting control is indirectly owned shall be determined pursuant to section 318 of the federal Internal Revenue Code (26 U.S.C. s.318)
"Pass-through entity" means a partnership or a New Jersey S corporation;
"Unitary business" means a single economic enterprise that is made up either of separate parts of a single business entity or of a group of business entities under common ownership, which enterprise is sufficiently interdependent, integrated, or interrelated through its activities so as to provide mutual benefit and produce a significant sharing or exchange of value among such entities, or a significant flow of value among the separate parts. For purposes of this section, a business conducted by a pass-through entity shall be treated as conducted by its members, whether directly held or indirectly held through a series of pass-through entities, to the extent of the member's distributive share of the pass-through entity's income, regardless of the percentage of the member's ownership interest or its distributive or any other share of pass-through entity income, and a business conducted directly or indirectly by one corporation is unitary with that portion of a business conducted by another corporation through its direct or indirect interest in a pass-through entity if there is a mutual benefit and a significant sharing of exchange or flow of value between the two parts of the business and the two corporations are members of the same group of business entities under common ownership;
[A consolidated return required by this section shall be filed within 60 days after it is demanded, subject to the penalties of the State Uniform Tax Procedure Law, R.S.54:48-1 et seq.
The member of an affiliated group or a controlled group shall incorporate in its return required under this section information needed to determine under this section its taxable entire net income, and shall furnish any additional information the director requires, subject to the penalties of the State Uniform Tax Procedure Law, R.S.54:48-1 et seq. A taxpayer shall furnish any additional information requested within 30 days after it is demanded, subject to the penalties of the State Uniform Tax Procedure Law, R.S.54:48-1 et seq.]
(cf: P.L.2002,c.40, s.10)
2. This act shall take
effect immediately and apply to privilege periods ending after its date of
This bill provides the corporation business tax with an enhanced compliance tool known as "combined reporting."
Most large businesses are structured as a family of corporations, commonly consisting of a "parent" corporation and its subsidiaries. Many corporate tax shelters depend on the relationship, or legal distance, among related corporations. Combined reporting, by effectively treating the parent and most or all of its subsidiaries as a single corporation for state income tax purposes. wipes out the intercorporate transactions that effectuate these shelters.
More than half of the states with corporate income taxes have adopted combined reporting. A major reason for states' growing interest is their recognition of how badly corporate tax shelters that exploit separate reporting are eroding state corporate income tax payments. Corporations have devised a wide variety of strategies to artificially shift profits to out-of-state subsidiaries to reduce their tax liabilities. Combined reporting largely squelches these strategies by enabling a state to tax a fair share of the profit that would otherwise be shifted into a related, out-of-state corporation.
New Jersey has been a leader in combating avoidance techniques by "traditional" means: case-by-case litigation of particular transactions and the development of anti-shelter legislation targeting classes of abusive inter-corporate arrangements. These traditional means are time consuming and labor intensive. Combined reporting, which eliminates most profit-shifting strategies, can be an important component of maintaining a fair and effective state corporate income tax.


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Snapchat's Update Means You Don't Need Friends To Face-Swap
April 22, 2016
Snapchat now lets you trade faces using photos from your phone's camera roll.
Previously you could only Face Swap with someone sitting next to you, but now you can switch faces with anyone at anytime.
We tested the new feature, and the results are equally terrifying and entertaining.
What do you think? Snap us your favorite Face Swaps. And please avoid those awkward Bob Marley swaps.


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ListenToUs is an initiative of the Australian Environment Foundation. It's designed to be a megaphone to give a voice to the mainstream on environmental issues. Using the Internet we are going to make our politicians sit-up and listen.
How will ListenToUs make them listen?
Only one thing counts in politics – votes at the ballot box. We'll make them listen by showing just how many of us there are and how strongly we feel.
Using the power of the Internet to reach out to everyone, everywhere at every hour of the day we will be running campaigns which will allow Australians like us to send targeted and effective messages to our local representatives and the leaders of the political parties.
Our first campaign is a petition against the flawed Carbon Trading Scheme which won't reduce carbon dioxide emissions, but which will destroy Australian industries and send Australian jobs overseas.


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The Sports Xchange
By Cliff Brunt, The Sports Xchange
Pacers take 2-0 series lead
INDIANAPOLIS -- Whether it was Roy Hibbert dunking all over Ivan Johnson or Gerald Green hammering one down on Josh Smith, the Indiana Pacers made it clear they wouldn't settle for just beating the Atlanta Hawks.
Only domination would do.
Paul George scored 27 points to help the Indiana Pacers defeat the Atlanta Hawks 113-98 on Wednesday night and take a 2-0 lead in their first-round Eastern Conference playoff series.
George, a former Slam Dunk Contest participant, was especially impressed with Hibbert's dunk. It gave Indiana a 22-17 lead late in the first quarter and set the tone for the rest of the game.
"Was a huge play," George said. "I thought the ref was going to call a charge."
George, who had been named the NBA's Most Improved Player on Tuesday, was coming off a triple-double with 23 points, 12 assists and 11 rebounds in Game 1 on Sunday. The 6-foot-9 forward struggled with his shot in Game 1, but he made 11 of 21 in Game 2.
"When Paul has his shot going, he's a matchup nightmare for any team," Pacers coach Frank Vogel said.
George had plenty of help in Game 2. George Hill scored 22 points, Hibbert had 15 points and nine rebounds, and Green, a reserve, added 15 points for the Pacers.
Devin Harris scored 17 points and Jeff Teague added 16 for the Hawks. Josh Smith scored 16 points, but he only played 20 minutes because of foul trouble.
Smith's absence was felt even more on defense. Smith is one of the league's top shot blockers.
"Defensively, we're not the same team when he's out of the game," Harris said. "He erases a lot of our mistakes."
The Pacers have won all 10 NBA playoff series in which they have taken a 2-0 lead, including five sweeps. Game 3 will be played Saturday in Atlanta.
The game followed a similar script to Game 1: Atlanta shot well but was outrebounded and outscored by a large margin at the free-throw line. The Hawks have been outscored 51-18 at the line in the series, including 21-11 on Wednesday.
"You have to give them credit," Atlanta center Al Horford said. "They are being the more physical team, they are being more aggressive. I think this game, we really got caught up with the referees and we let that bother us too much."
Pacers guard Lance Stephenson bruised his right hip in the first quarter and went to the locker room. He returned in the third quarter, and his basket early in the period gave Indiana a 71-57 lead.
Atlanta gained some momentum and cut Indiana's lead to eight midway through the quarter, but Jeff Pendergraph made a jumper as the shot clock expired, then George made a layup to put the Pacers up 12 with 4:10 left in the third quarter.
The Pacers closed the quarter in style. With 1.2 seconds left, David West launched a full-court pass that Green caught and dunked before the buzzer to give Indiana an 88-76 lead at the end of the period. Indiana maintained control from there.
"We're finding out the importance of sustaining for 48 minutes," Hawks coach Larry Drew said. "We haven't done that. We've made too many mistakes, not as far as turnovers, but in execution. As I told our guys after the game, the margin for error against this team is too small."
The Pacers led 25-19 at the end of the first quarter. Green hit a 3-pointer to give the Pacers a 43-34 lead with about seven minutes left in the first half, but Atlanta hung tough. A 3-pointer by Kyle Korver cut the Hawks' deficit to 45-40.
Indiana's D.J. Augustin hit back-to-back 3-pointers to extend Indiana's lead to 57-46 late in the second quarter, and the Pacers led 59-50 at halftime.
Atlanta couldn't get it together in the second half, and now the Hawks have been backed into a corner.
"We're not going to fragment," Drew said. "We've been resilient all year long. Indiana defended their home court. Now we have to defend ours."
NOTES: George finished eighth and Hibbert came in 10th in Defensive Player of the Year balloting. George had eight first-place votes and 57 total points. Hibbert had three first-place votes and 36 total points. ... George was the fourth Pacers player since the start of the 1999-2000 season to win the Most Improved Player award. The others were Jalen Rose in 2000, Jermaine O'Neal in 2002 and Danny Granger in 2009. Granger presented the award to George before Wednesday's game, and George received a standing ovation. ... Atlanta's Teague got one vote in the Most Improved balloting. ... Granger, who is out for the season with a left knee injury, had a brace over the knee and walked with the help of a cane. ... Hibbert, a 7-foot-2 center, made a 3-pointer from the corner at the end of the first quarter, but it came just after the buzzer and did not count.


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Last May the Cannes International Film Festival unveiled Steven Soderbergh's ''Schizopolis'' as a special mystery selection. The audience had no idea beforehand what it would be seeing and, unfortunately, hardly any better idea when the film was over. Shown under ideal circumstances to an eager group of international cineastes, ''Schizopolis'' still managed to excite jaw-dropping indifference. Mr. Soderbergh had evolved from the much-admired director of ''Sex, Lies and Videotape'' into the perpetrator of a goofy, ineffectual prank.
''Schizopolis'' is his dithering midnight movie, a linguistic experiment filled with exacting gibberish and feeble musings about failed communication. It winds up illustrating the very emptiness it mocks. Mr. Soderbergh's cleverness here is opaque and self-referential in ways that hold dim academic interest without otherwise engaging attention. The film's sardonic coda, in which Mr. Soderbergh enters an empty auditorium and answers imagined questions from a nonexistent audience, is really no laughing matter. It's too dead-on.
In this scrappy, low-budget trifle, the film maker appears in dual acting roles. First he turns up as a timid bureaucrat named Fletcher Munson who leads a life so dull that he converses with his wife (Betsy Brantley) in shorthand. (''Generic greeting.'' ''Generic greeting returned.'') Fletcher, like his namesake played by Jim Carrey in ''Liar Liar,'' somehow finds himself in a topsy-turvy world filled with unexpected bursts of honesty. Sometimes characters blurt out exactly what they mean, as when a clergyman tells mourners there's no point to a funeral service. Fletcher himself vents the real passions behind his milquetoast demeanor by sneaking away to masturbate and by making wild, comical faces at himself in the bathroom mirror.
Liberation eventually arrives in the form of a doppelganger for Fletcher, a would-be swinger of a dentist whom Mr. Soderbergh also plays. And after he spots his double, Fletcher discovers that the dentist is having an affair with Fletcher's wife, who enthusiastically speaks normal English in the dentist's presence. Meanwhile, also flitting through the film and seducing bored housewives is an exterminator named Elmo Oxygen (David Jensen) whose scenes have their own dialect. For instance: ''Teahouse grain structure. Mellow rhubarb turbine.''
There is much more going on in ''Schizopolis'' than this: a sinister self-help guru (Mike Malone) who spouts useless solipsisms that Fletcher must study so he can ghostwrite the guru's speech; an office colleague named Nameless Numberheadman (Eddie Jemison); a lunatic wearing nothing but a T-shirt with the movie's title. And Mr. Soderbergh, who has a wryly deadpan screen presence, occasionally uses them to makes amusing connections, as when he recycles or dubs certain scenes late in the movie with typically fragile, idiosyncratic wit. (One character eventually makes himself much more palatable by appearing to speak French.)Continue reading the main story
On the other hand, there is the moment when Elmo blows a fuse, berates the camera crew and shouts, ''No more of this mayonnaise!'' By this point Elmo speaks for us all.
Exasperating as it is, ''Schizopolis'' has a deliberateness almost interesting enough to offset its sophomoric streak. Mr. Soderbergh's offbeat intelligence is tantalizingly evident even as he sinks the film with shallow tricks. And he tries so many gambits here, using ''Schizopolis'' as a blank canvas for gleeful whimsy, that the effect ought to be more exhilarating than it proves to be. But in the end, this is an experiment more likely to be admired in the abstract than appreciated at close range.
This film year may make history not only for the huge summer behemoths on the horizon but for inventive, taboo-breaking film makers doing such peculiarly hollow work. It's only April, and already Mr. Soderbergh, David Lynch (''Lost Highway'') and David Cronenberg (''Crash'') are making 1997 look like the year of the meltdown.
Written and directed by Steven Soderbergh; director of photography, Mr. Soderbergh; edited by Sarah Flack; music by Cliff Martinez, Joseph Wilkins, Mark Mangini and Harry Garfield; produced by John Hardy; released by Northern Arts Entertainment. Running time: 96 minutes. This film is not rated.
WITH: Steven Soderbergh (Fletcher Munson), Betsy Brantley (Mrs. Munson/Attractive Woman No. 2), David Jensen (Elmo Oxygen), Eddie Jemison (Nameless Numberheadman), Scott Allen (Right-Hand Man), Mike Malone (T. Azimuth Schwitters) and Katherine LaNasa (Attractive Woman No. 1).Continue reading the main story


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DSC for Individual
1. Submission of documents for processing of DSC.
2. Processing of DSC.
3. Tele-Verification from registered mobile number.
4. Downloading of DSC.
List of Documents required
Mail us the following documents at email@example.com for initiating the processing of DSC (Hard copy of documents has to be given afterwards):
1. DSC form dully filed with following mandatory info mobile no., Email ID &
Photo crossed signed;
2. Self attested copy of ID proof (PAN mandatory for Indian Nationals);
3. Self attested copy of address proof. (See "Annexure A" for list of acceptable as address proof)
Processing of DSC Application
After the requisite documents are received by us, we would process the application on the online portal, time required by us to process the application is approx 15 minutes.
After DSC application has been processed from our side a mail & SMS would be received by the client on his given mail ID and mobile no.
Client has to verify the details like Email ID & Date of birth by calling from registered mobile no at customer care no 18004192929
Downloading of DSC
After successful verification, DSC is ready to be downloaded; this is to be done from our side, time required to finish the downloading work takes 15-20 minutes.
DSC for Organization
Steps for organization DSC would remain the same, following documents are further required which shall contain the stamp of the company:
1. Copy of PAN Card of the Company;
2. Copy of Certificate of Incorporation of the Company;
3. Copy of MOA & AOA;
4. Copy of Bank Statement not older than one month;
5. Copy of PAN of Authorized person;
6. Copy of ID proof the Authorized person.
"Annexure A"
Following documents can be given as address proof:
1. Aadhaar Card
2. Passport
3. Voter ID card
4. Driving License
5. Telephone bill (not older than two month)
6. Electricity bill (not older than two month)
7. Bank Statement (Not Older than two months)


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|Sighting Report
|Occurred : 8/22/2003 22:00 (Entered as : 08/22/03 22:00)
Reported: 8/28/2003 12:43:24 AM 00:43
Posted: 8/28/2003
Location: Kamloops (Canada), BC
Shape: Unknown
|A squared off kind of craft with four lights.
A lady called and reported something she could not explain flying over southern Kamloops. She said it looked like a squared off kind of craft with four lights, nothing like an airplane or helicopter. She telephoned the Kamloops airport to see if they had any other sightings of this kind come into them, but after leaving a message at the airport on an answering machine, they never did get back to her. Also she called the RCMP and they told her they had no other reports come in on this and mentioned to her that she must have been blurred by the smoke in the area and thought she saw something. The witness swears what she saw was something not of this world in nature.
Thank you to the witness for this report. Also HBCC UFO is also gathering more information on this report.
Brian Vike, Director HBCC UFO Research Canadian Toll Free UFO Hotline 1 866 262 1989 - Free call.
Phone/Fax 1 250 845 2189 Editor: Canadian Communicator - Paranormal Magazine email: email@example.com Website: http://www3.telus.net/public/wilbur8/hbcc_ufo_research.htm


text:
1. In Loving Memory Of My Son
Of all the special gifts in life
however great or small
To have you as my son
was the greatest gift of all.
A special time
A special face
A special Son
I can't replace.
With aching heart
I whisper low
I miss you Son
and love you so.
2. An Eternal Memory Of A Much Loved Son
THIS is for someone wonderful
as loved as one could be
for you were everything in life
you meant the world, you see
And sometimes life can be unkind
when hearts are torn in two
but nothing ever could compare
to the pain of losing you
But all the love you left behind,
forever will live on
and so until we meet again
rest peacefully, dear Son
3. I Miss My Son
I pretend to be strong as I'm dying within myself
The daily struggle is stressing my mind and my health
On the outside I smile for you to see I'm okay
Because I know you want me to be over it today
But it's killing me altogether, every inch of my being
I miss my son and it's hard holding in my feelings
I have come to terms I will no longer hide
"I love him so much and I carry him inside"
4. In Loving Memory Of My Wonderful Son
Missing you isn't the problem
it's knowing that you're never
coming back that's killing me.
5. Missing You SON
There is no day goes past without
memories of you
In all that I dream, in all that I do
I wake each new morning with a
heavy heart
With that sadness and aching
Now we are apart
I know you're with the angels in
heaven above
I ask them to bless you and send
you my love
And comfort me and guide me
through sorrow and pain
Help me remember your smiles till
we meet again
6. A Prayer For My Son
Dear Lord, your gifts are many.
I'm grateful for every one.
One of the greatest gifts you've
given is the gift of my dear son.
Thank you for his life dear Lord.
Watch over him each day.
May he be safe and free from
harm, as he goes about each day.
Bless him through life's trials.
Help him choose right from
wrong. An example be,
for all to see, standing tall,
and proud and strong.


text:
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Zilpha Husk petition to reside in Texas. Courtesy of the Texas State Library and Archives Commission. Image available on the Internet and included in accordance with Title 17 U.S.C. Section 107.
HUSK, ZILPHA (?–?). Zilpha (Zelia, Zylphia) Husk, a free black woman who resided in Houston during the period of the Republic of Texas, was born in Richmond County, Georgia. Her freedom was certified by the circuit court of Autauga County, Alabama, in November 1837. That same month her daughter Emily was apprenticed to George B. McLeskey in Montgomery, Alabama. By 1838 Husk was living in Houston, where in 1839 she received the revocation of Emily's apprenticeship from McLeskey, who then resided in Washington County.
Letter of Support for Zilpha Husk from citizens of Houston, writing that she is a good worker, dated December 16, 1841. Image available on the Internet and included in accordance with Title 17 U.S.C. Section 107.
Her residence in Texas was jeopardized by a bill approved on February 5, 1840, requiring all free blacks to leave Texas by January 1, 1842. When Congress reconvened in November 1840 it was deluged by petitions from free blacks seeking permission to remain. Among these petitions was one from Husk, endorsed by forty-one Houstonians. She stated that she had arrived in Texas in 1835 and that she worked as a washerwoman. Her plea was approved in consequence of a new law, enacted on December 12, 1840, granting the right of residency to "all free persons of color together with their families" who resided in Texas before the Texas Declaration of Independence (March 2, 1836). Husk subsequently learned, however, that she had actually arrived in Texas after March 2 and therefore was not exempted from the expulsion law of February 5, 1840. She consequently petitioned Congress again in December 1841, offering the signatures of fifty endorsers. This petition, along with those of four other free blacks, was apparently tabled after a House committee recommended their indefinite postponement. Altogether, she submitted three petitions to Congress; the third is undated.
Under the terms of two presidential proclamations later issued by Sam Houston, African Americans in Husk's position were allowed to remain three years beyond the 1842 deadline, provided they petition the chief justice of their county court and post a $500 bond. Although Husk apparently did not meet these requirements, she seems not to have been prosecuted. Indeed, the Harris County chief justice, Isaac N. Moreland, had previously signed her petitions to Congress. Husk was still residing in Houston in 1849, when the Harris County grand jury indicted her and Edmund Mitchell, a white man, for fornication. A petit jury found Mitchell not guilty, and the case against Zilpha Husk was subsequently dropped.
Andrew Forest Muir, "The Free Negro in Harris County, Texas," Southwestern Historical Quarterly 46 (January 1943). Harold Schoen, "The Free Negro in the Republic of Texas," Southwestern Historical Quarterly 39–41 (April 1936-July 1937).
Image Use Disclaimer
All copyrighted materials included within the Handbook of Texas Online are in accordance with Title 17 U.S.C. Section 107 related to Copyright and "Fair Use" for Non-Profit educational institutions, which permits the Texas State Historical Association (TSHA), to utilize copyrighted materials to further scholarship, education, and inform the public. The TSHA makes every effort to conform to the principles of fair use and to comply with copyright law.
For more information go to: http://www.law.cornell.edu/uscode/17/107.shtml
If you wish to use copyrighted material from this site for purposes of your own that go beyond fair use, you must obtain permission from the copyright owner.
The following, adapted from the Chicago Manual of Style, 15th edition, is the preferred citation for this article.Handbook of Texas Online, Mary M. Standifer, "HUSK, ZILPHA," accessed May 25, 2019, http://www.tshaonline.org/handbook/online/articles/fhuhs.
Uploaded on June 15, 2010. Modified on April 6, 2017. Published by the Texas State Historical Association.
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text:
A UN Envoy to Syria Lakhda Brahimi has arrived in Damascus to push a peace plan that would end conflict between the Syrian government and rebel fighters.
Brahimi is hoping to "achieve a breakthrough" that the organization has failed to reach since fighting broke out in March of 2011. The UN envoy will attempt to broker a peace agreement that would lead to a transitional government with full authority in the country.
Al Jazeera notes that the latest trip is Brahimi's third since he took over as the Syrian peace envoy in August. Brahimi was unable to fly in to Damascus as he has done during previous visits because of fighting near the capital's airport.
Instead, the UN envoy landed in Beirut and traveled to Damascus by land. The Geneva communique, according to diplomats, is "the basis of [Brahimi's] work." The document would allow both sides to agree to terms for a transitional government that would oversee the end of the conflict in the war-torn country. It was put together with the help of Russia and China, two of President Bashar al-Assad's greatest allies.
Fox News notes that Brahimi did not publicly speak when he arrived in Beirut on Sunday. He also did not make a public statement on his arrival in Damascus. The UN peace envoy has achieved little progress in his goal to end the violence in Syria, which has killed more than 40,000 people, according to anti-regime activists.
Russia and China initially denied that the UN should have any involvement in the conflict between the Assad regime and the rebel Free Syrian Army. A diplomat stated, however, that the UN, US, and Russia met for talks in December that "have signaled that the position of one party [Russia] has evolved." The diplomat added, "US and Russia's positions are now closer to each other, closer than it was six months ago."
Despite the support from Russia and China for negotiations to end the violence in Syria, it is not clear if UN envoy Lakhdar Brahimi will make any progress during his most recent visit to the country.


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Philadelphia Weekly: PREVIEW: About a Life
Philadelphia Weekly: PREVIEW: About a Life
Jim Boggia
January 19, 2000
No Comments
"Bernadette Peters had me up to her place in New York," says Jim Boggia, his eyes aglow. "We sat on the coach and played songs together. She's like, 'Do you know 'Faithless Love' [as sung by Linda Ronstadt]?' And I'm like, 'I don't think I know that.' And she sings it, and it was one of the most beautiful things I ever heard. Man, that girl can sing." Just another improbable chapter in a life of odd convergences and screwy twists of fate. It's a life that's seen the Philadelphia-area singer/songwriter/multi-instrumentalist go from cover-band purgatory in his hometown of Flint, Michigan, to a sort of 9-to-5-matrimonial stupor in Chester County, to playing backup gigs with casino madame Peters, quirky songstress Jill Sobule and Canadian rock diva Amanda Marshall. Looking at him now – with his light-brown, shoulder-length hair half-hidden beneath a oversize winter hat and an overall fashion sense that implies some post-grunge casualty – it's hard to imagine Boggia hamming it up with Bernadette at Tropworld. Apparently, though, he cleans up quite nicely – something he learned to do while playing wedding gigs around the area. "I had a whole other life," he says. It's also a life that has seen its share of tragedy. In the last few months, Boggia has had to absorb the deaths of his father and grandmother – both which occurred soon after the musician left Marshall's touring band last August to devote more time to his own music. And while Boggia won't reveal his age, his ties to the '70s give him away. Also obvious is the fact that this, his first true solo venture, has arrived later than sooner. And it's about time. Because while Boggia has already demonstrated what he can do for others ('Glory,' which he co-wrote for Christian artist Jaci Velasquez, went gold back in '98), the stuff he writes for himself is also worthy of note. It's a well-founded fusion of cleverly familiar retro-pop flourishes, world-weary sensitivity and a million tiny pinpricks of regret – the product, perhaps, of once enjoying a comfortable suburban lifestyle and suddenly having to scrape together change for the R5. But Boggia isn't about whining over what was. Rather, his best work celebrates the past in giddy, rose-colored splashes of detail. 'Bubblegum 45s,' one of five tracks on a spare, self-produced demo Boggia is currently shopping to labels, says it all: "Take out the Fisher Price! I got memories trapped in vinyl and they come to life," Boggia sings. "All that I have to do is set the needle down/And I'll have to smile because I know." Just then, precise backup harmonies kick the tune's slight, piano-only melody up a notch for a chorus too worn-in and catchy to carry a '90s born-on date: "… that I'm gonna be right back in my room when I was four/Bubblegum 45s scattered on the floor." In fact, Boggia has been scouring eBay's online auction site for one of those old Fisher Price classics. But no luck as yet. (Alas, all that I could offer Boggia was a line on a long-broken Close 'n' Play.) 'Bubblegum 45s,' like the rest of stunning, bare-bones demo, is awash in the familiar references. Varying traces of the Beatles, the Raspberries, Big Star, Elvis Costello, Simon & Garfunkel, even Stevie Wonder (in the form of Boggia's scratchy white-soul vocals) find their way into Boggia's songwriting recipe, one that is firmly anchored in the then and now. Never mind that the hooks seem to drip from Boggia's fingertips like so much fluorescent finger paint. "My music is for hard-core pop music geeks who sit in their room and listen to records all day," Boggia says. "Basically, I am my own audience." And as if there was ever any doubt about his obsession with the Fab Four, Boggia was the guy behind the early-'99 reenactment of the Beatles' final, rooftop gig – which, unlike the original performance, went off without a hitch atop HMV on Walnut Street. Given his obvious talent, you have to wonder why Boggia wasted so much time on the sidelines. But he doesn't see it that way. "I like playing in other situations," he says. "Because when I play my music, I'm always choosing from what I know and what is comfortable. So when I go out with other people, invariably they're going to ask me to play things that I wouldn't necessarily think of. So it helps to fill the well." Since moving to Philadelphia 13 years ago, Boggia's well has been anything but dry. During his married phase (he divorced in 1995), he held down a solid job at Ensoniq (maker of keyboards, processors and the like) in Malvern. Aside from his ties to the aforementioned acts, he has worked with Juliana Hatfield, Carly Simon and any number of lesser-known artists. He co-wrote a song with producer David Hentschel for the soundtrack to the Oliver Stone football opus
Any Given Sunday
which didn't make the final cut. Boggia also plays frequently with his friend and roommate, local singer/songwriter institution Ben Arnold. When asked to explain how he compiled such a funky resume, Boggia is at a loss. "All these stories are so complicated," he groans. These days, though, Boggia is taking pains to assure that the focus doesn't wander too far from himself. Late in '98, he assembled an impressive backup outfit that includes longtime Philadelphia friend Mike Frank (keyboards), Huffamoose's Kevin Hanson (guitar) and Erik Johnson (drums), and former Ray Charles sideman Steve Beskrone (bass). The group has been playing on and off around Philly, and in label showcases in New York, where a number of music-industry folks have taken to Boggia's demo. And if a record deal does come along, Boggia's goal is simple. "Ultimately, I'd like to do something that I'm happy with," he says. "Something that doesn't make me wanna flee the room when people start to play it."
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text:
Sydney's finest experimental jazz trio The Necks take improvisation to previously unexplored heights with their gripping and hypnotic pieces often lasting over an hour in length. The band's transcendental sound has lead some to refer to their music as 'trance jazz' and even landed them invitations to perform with Brian Eno as well as a much sought after support slot on Swans' recent reunion tour. M3 decided to find out what bass player Lloyd Swanton thought about filesharing and the industry, and discovered why social media sites might not be such a benefit after all…
M3 – First of all, could you tell us a bit about yourself, and what it is that you do?
Lloyd Swanton – I'm a professional musician of some 30 years standing. Mainly acoustic bass, also electric. I'm a bandleader, producer, and composer. I have presented a radio show on a community station in Sydney for 14 years and lately have presented some shows on the ABC. I live in the beautiful Blue Mountains, 100 kms west of Sydney but have toured extensively in Australia and to about 40 countries overseas, and at fifty one-years of age and as the father of two young children, I am constantly juggling the demands of a musical life with the responsibilities of late-onset parenting.
I've always been a freelance musician and technically still am, but most of my musical time these days is taken up by The Necks, which is the only project I'm involved in which has an international reach. Other than The Necks I have my own long-running band, The Catholics, which blends jazz with worldbeat dance rhythms.
What inspired you to form the Necks? What are your own musical backgrounds?
In 1987, after reading Christopher Small's thought-provoking book "Music Society Education" I called pianist Chris Abrahams to discuss putting a band together to explore, behind closed doors, some of the ideas it had given me. We discussed the possible configurations of the ensemble and decided a trio with Tony Buck (drums) was the way to go. We called him and he said what we were describing was exactly the sort of lines he'd been recently thinking along.
One big motivating factor for me, derived from Small's book, was the desire to put myself in a musical situation where the entire focus was on the process of making music, with no concern for the actual product. (Ironically, while holding true to that ideal, I think it's fair to say we've ended up with a very recognisable product anyway!)
With this goal in mind, we were quite adamant that we would only ever perform in private, but after about six months of intensive workshopping, we felt we had developed a pretty failsafe method of generating music spontaneously and decided that the presence of an audience was not going to stifle us, so we "went public". We've been performing in public ever since, but I do believe the key to our unique approach was the fact that the band was originally formed with the intention of never performing in front of an audience.
As for musical background, I was taught classical piano as a child but it never really took. My first musical love was the pop music of the 60s and 70s. Eventually I started playing bass and drifted towards jazz. All three of us met through the jazz scene, but have certainly moved through jazz to something else since.
What would be your preferred medium to listen to music (e.g.. Vinyl, CD, tape, MP3 etc.), and why?
It's not very fashionable to say it, but I'm a big fan of the CD. I think it sounds great, and is just portable enough to give it an edge over vinyl, without totally losing tangibility and physicality, as digital does. I simply cannot get my head around digital. I have never bought a tune digitally and doubt I ever will.
And vinyl, I have a great affection for it. When The Necks recently released our first-ever LP, getting that big piece of art in my hands for the first time was a feeling I hadn't had since the 1980s. But let's be honest, LPs are fragile and cumbersome, and contrary to what many believe, I find the sound quality a little overrated, though I do like the crackles and pops and surface noise.
Do you feel the idea of an album, as a piece of art that people will listen to from start to finish, has been undermined or forgotten about in the digital age?
I think its hold on the collective imagination is weakening, and I personally would be sorry to see it disappear, but it won't be the end of civilisation. Something good will always be there. And let's face it, the idea of an album as a stand-alone entity, rather than a collection of tunes, only really took hold in the mid-60s, so it's not like it's one of the ancient traditions of human culture.
Much has been made of the supposed death of the record store in recent years. Do you believe the digital age has killed the record store, and if so, do you think that this is a necessary part of progression, or a tragic loss?
My feelings on this are much the same as for the album. I hope that some record stores survive, as I find it a very civilised and social way to discover new music, but realistically, there's not going to be many around soon. If we want to do something about that, we may need to call into question the entire economic structure of much of the world, and maybe here is not the place to start that.
Many people have claimed that there is no longer any money in record sales, and that touring is the most efficient way to earn an income as a band. How much truth do you think there is in this sentiment?
Well that hasn't been our experience. We still see good sales for our albums, through shops, online, and at gigs. Every title in our catalogue is still available (well, a couple have slipped out of print at time of writing but will be reissued soon) because they continue to tick over year in, year out. The question is how much those sales have been eroded by illegal downloading and CD burning. For all we know, our sales ought to be far higher than they are.
Your question is very much the argument put forward by people for illegal downloads of music. I don't know if that's what you were getting at. They say that downloading represents valuable promotion for the artist, which will result in bigger crowds at gigs. This hasn't been my experience, nor that of anyone I know in the music scene, and plus I would have thought it's a little presumptuous to tell the artist what they can and can't expect payment for without asking them.
People will say tough, it's too big to stop, but they never explain where independent artists like us are going to find the thousands of dollars we need every time we want to record an album, if people stop paying for recorded music altogether.
Do you think traditional copyright laws are still enforceable in the digital age, or do you think we will have to rethink the concept of copyright itself?
As I said above, if enough people flaunt traditional copyright laws, it's probably unstoppable. But is that a good thing? I don't think so.
Would you say new technologies like the internet have affected how you operate as a band (not only in terms of distribution, but organising tours, reaching out to fans etc), and if so, how?
Yes, indubitably. Here I am typing these responses to you as I sit on a train in Australia. We use digital technology in myriad ways every day. I'm a very slow adopter of new technology because I think once you sign up for it, it tends to take over your life, and all it does is speed up the whole world anyway, so in the end what have we achieved? But certain things just have to be done a certain way these days. (Heck, I may even buy a smart phone one day.)
We're not interested in social media like Facebook or Twitter. People say we're missing out on enormous potential audiences, but frankly, we don't want enormous audiences. We don't want the whole world liking our music, and realistically, they never would anyway. We don't want people to encounter our music because their friends' friends "liked" it on some site. We want people to fall for our music because they somehow heard it and it spoke to them in a different way to any other music they heard. As to what that "somehow" is, I can't answer that, but we seem to have plenty of new fans coming along all the time, and plenty of old fans who still follow us after two and half decades. Hell, we have people coming up to us at gigs nowadays who tell us they were conceived to our first album.
It's not as if it's hard to find us. I just checked, and if you type "The Necks" into a search engine, our website still comes up at the top of the list, and we don't pay anyone to push it up there.
What would you say are the main challenges facing an up-and-coming musician/band in today's cultural climate?
The sheer lack of live performance opportunities compared to when I was starting out 30 years ago, and following from that, the sheer lack of avenues for making a living wage out of playing music while you begin to construct your career. I've always made a (modest) living out of music, as have the other Necks, and in fact it's only because we had other income-generating activities as musicians 25 years ago that we were able to slowly translate that one great idea we had into an ongoing ensemble with a global reputation. But it's taken 25 years and we're hardly rich from it. How a young musician is going to even get to that point, when there's so little possibility of supporting themselves through those long years, let alone take it beyond where we've gotten to, I honestly don't know. But hopefully we've made the path a little easier for someone, simply by example.
Finally, what does the future hold for the Necks?
We're in a really good niche right now. We've always kept the whole thing on the level of a cottage industry and we still do the bulk of the admin ourselves, but as our reputation has spread, technology and air travel have made it possible for us to tour all over the globe and sell our albums everywhere, despite the small size of our operation. We just know that if we take on staff, or sign up for too many overambitious projects, we'll crack at the seams. So after 25 years, we're still talking to each other, still great friends, still getting a huge buzz out of making this unique music, and getting better and better offers and more and more press coverage. (They're even writing chapters on us in books now.) So we're just going to keep doing that. Performing, releasing albums… not much more to it than that. So long as we keep everything small scale to keep the costs down we're making a bit of money. So long as we keep healthy so that we're capable of playing this physically demanding music, I can see us going on for a long time yet.
For more information about The Necks, you can visit their official website.


text: i wish. all we've seen these past few days was heavy rain, wind, floods, streets turning into rivers. so you see, no chance for chasing rainbows. the temperatures also dropped drastically, so this is actually what i wish i was wearing today. instead, i had to swap the shorts for long jeans and put on a cardigan. but since this is way much more fun i decided to share with you my dream outfit. but as soon as the temperatures rise i'm going back to skirts and dresses. my goal was to avoid pants this summer, but seems like the weather has other plans. and let me tell you mister, i'm not wearing tights. not till fall. and that's final. on another note, i'm not very sure about this socks with sandals and wedges thing, but i'm digging the way these two look together. sure, i like the way they look on other gals, but i think i'm gonna stop here.


text:
8:30am PT by Philiana Ng
Disney Channel Spotlights Internet Safety in 'Dog With a Blog' Episode (Exclusive Video)
Disney Channel is putting the spotlight on an issue that weighs heavily on parents with teens: the dangers of social networking.
The kids cable network is teaming up with Common Sense Media for an episode of live-action comedy Dog With a Blog that documents the pitfalls of utilizing social media and putting information on the Internet without thinking.
In the episode titled "My Parents Posted What?!" that airs Aug. 11 at 8 p.m., Avery's parents (Beth Littleford and Regan Burns) discover that the 14-year-old (G. Hannelius) has secretly created a Buddy Bop account after they have forbidden her from joining the popular social media site. To teach her a lesson, they post silly photos of themselves on her page but soon realize the error of their ways when they accidentally add videos that are widely seen at Avery's school. The Hollywood Reporter exclusively debuts the scene depicting the humiliation that Avery feels after discovering her parents' videos.
The idea for the episode came straight from the writers and producers of Dog With a Blog, a series that centers on a family whose dog can talk. They "wanted to tell a story that, honestly, has never been told on Disney Channel before, which is ironic because the topic is so relevant to kids and parents," Adam Bonnett, executive vp original programming at Disney Channel, tells THR. The next step was to reach out to Common Sense Media, an advocacy group that focuses on child and family issues as well as the effect media and technology have on young users.
From Disney Channel's perspective, the episode is "ultimately about parenting," Bonnett says, "and an unconventional way of parenting. Putting the social media storyline aside, the parents make the choice to teach their daughter a lesson by doing an unconventional thing: embarrassing her."
Following the broadcast, a PSA with the Dog With a Blog cast will feature Common Sense Media's "5 Tips for Teens" and "10 Tips for Parents" for the best ways to safely navigate the online world. Some of the tips include thinking before texting or posting information online and guarding someone's privacy.
"Sometimes when you're on a social network it can feel very intimate and almost very private, because it's you in a room with a computer. The nature of social network is very public. This episode demonstrated that," Sierra Filucci, senior editor at Common Sense Media tells THR. "What we're trying to do is [have the kids] self-reflect before they reveal things about themselves."
Adds Bonnett: "The episode has some very clear messages … but it's not done in a didactic way. It's through story and character as opposed to giving our audience a list of guidelines."
The team behind Dog With a Blog consulted with Common Sense Media's parenting editor Caroline Knorr, who has "done a lot of work" on creating Internet safety tips for parents and kids. "She was able to review their script and make adjustments and suggestions on how to best present this idea," Filucci says.
The Dog With a Blog/Common Sense Media team-up is the latest in a long-standing relationship between the two parties. Disney Channel previously consulted with Common Sense Media on an anti-cyber bullying campaign in 2012 featuring network stars and a co-branded Phineas and Ferb PSA centered on Internet safety.
Filucci praised the series for showing the parents and kids discussing "what had happened" and "process their feelings" about the situation in the end. The episode "did a nice job teaching a touchy subject with humor," Filucci says.
Bonnett understands the importance of infusing lessons into the network's programming, as the bulk of its viewers are in transformative stages of their life. For example, an episode of A.N.T. Farm that aired last year had star China Anne McClain portraying iconic women like Ella Fitzgerald, Janet Jackson and Aretha Franklin for Black History Month.
"All of our series, in one way or another, are helping kids grow up and navigate life, whether it's dealing with a best friend or dealing with their first relationship or dealing with the digital space. We're proud of the fact that our shows help kids out," he says.
On a lighter note, while the main story of the upcoming Dog With a Blog episode is the prime focus for Disney Channel, the secondary arc adds more levity to the half-hour broadcast. Acrobatic dog troupe Olate Dogs, an America's Got Talent winner, makes an appearance.
E-mail: firstname.lastname@example.com
Twitter: @insidethetube
Philiana email@example.com insidethetube


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Illustrator Gallery - Marnie Riches
Marnie Riches
I am a 43 year old mother of two noisy children, living in the North West of England – the place where rain clouds come to die. I spend most of the year in anoraks.
Under the pseudonym, Chris Blake, I authored of the first six books in the 7+ historical fiction series, "Timehunters", which were published in July 2013 and January 2014 by HarperCollins Children's. This book packager series was developed in conjunction with Hothouse Fiction.
My debut international crime thriller, which started life as a New Adult novel, is called "The Girl Who Wouldn't Die". Published by Avon/HarperCollins, The Girl was riding high in the Amazon paid top 100 only two months after publication in April 2015 and continues to sell well and receive rave reviews. It won a coveted Dead Good Reader Award, namely the Patricia Highsmith Award for Most Exotic Location in a crime novel.
The second installment of these George McKenzie thrillers – named after the criminologist heroine – "The Girl Who Broke the Rules", is due out August 2015, and the third, "The Girl Who Walked in the Shadows" will publish in November 2015. Although my work in progress is "The Girl Who Walked in the Shadows", I also have a contemporary women's novel, "Gardening Leave" on submission to editors. Watch this space for news…
My literary agent is Caspian Dennis of Abner Stein.
In those fleeting moments where I'm not writing or renovating houses – another passion of mine – I mainly like to drink gin.
Check out my website at www.marnieriches.com and the Time-Hunters website, www.time-hunters.com .