text:
Higgins interview October 2010
Twentieth century
and vintage expert Katherine Higgins appears regularly on The
Antiques Roadshow, enthusing about twentieth century design and
wearing and discussing vintage clothing. She has also appeared on or
presented a number of other programmes on these topics, as well as
having authored various guides and books on twentieth century and
vintage collectables and antiques.
Katherine is a
champion of good twentieth century design and has a passion which
she shares with Digger - The Prisoner TV series.
Here, Digger talks
to Katherine.
The Antiques Roadshow
Can you tell us about your background Katherine?
I studied art and architectural history at university – I went to
UEA at Norwich and I specialised in eighteenth and twentieth century
there with a sort of close look at historic fashion and so forth.
While at university, I worked at Christies in my summer holidays.
That was rather nice because for three years I worked there and got
to know the insides and how an auction house really works. I covered
a lot of ground, from the pictures dept. at King Street to the clock
dept. where I was attached for two years. So that was a really good
insight into the world or auctioneering.
Do you bump into any of your old colleagues on the Antiques Roadshow
Oh yes. Mark Poltimore, who I was attached to in the picture
dept. at one point – Lord Poltimore, he is now one of the picture
specialists. So it's quite funny that our paths have overlapped
again really. Then I went to work for a London-based magazine,
because I've always been interested in journalism. I'd done a
postgraduate study in journalism and I decided that was an avenue
I'd like to go into. After a year there I found there was a job in
the press team at Christies, so I went back there on a permanent
position and ended up running the press team there, which was great.
And then I decided, lured by the fast pace of The City, I almost
went to work at The Stock Exchange. Just before signing the contract
to join their press team I found that a letter that I'd written to
the editor of The Express had caused a bit of excitement when I said
"You need a columnist and I should be that girl." So I joined
The Express for five years, being their antiques and collectables
A shame it wasn't still in Fleet Street in that lovely deco
building at that stage.
No, but it was lovely. It was at Blackfriars and glorious. At
Ludgate House. A wonderful location with beautiful views.
And another lovely deco building – the Unilever one there too.
Yes, on the other side. It was wonderful and then I did various
bits of work in television – The Antiques Show on BBC2, an ITV
series called Schofield's Quest with Philip Schofield which went
to three series. So various different programmes. And then, while I
was at Christies, I wrote my first book which was called "Are You
Rich?" which is a sort of history of the collectability of
household design. So I track from the fifties right up to the
nineties – to the start of the twenty-first century, looking at
the rooms in the house and going through them decade by decade and
looking at things that people will have an instant memory for.
Were you involved in that TV series recently where they lived
through the sixties, seventies and eighties with a modern family
trying to cope and survive with the technologies that were available
at the time?
Yes, I've been working with that team on another series which
is going to air in the autumn about the high street, so you'll see
me in that. We've taken a number of families back to a starting
point of the 1870s and then 1900 and then 1930. You'll see me in
Hamleys talking to the children of the families about vintage toys
then and how they fit into our lives now. Watch out for that coming
out. So, that's my background really. Then I wrote the Millers
book on seventies collectables and edited the Millers collectables
price guides for several years. And I also obviously do the
Retro is such a big thing – when I started on the web my passion
was sixties British popular culture, so I was covering film, TV and
music. Then I thought people must be interested in the other decades
in the same way as me so when I got fed up with a 'proper job' I
expanded it. And all decades seem to have big followings and
What was your proper job?
I was in IT. For about 25 years.
Ah! So when I get a computer breakdown I can just email you for
I've actually been in IT since 1974 for heaven's sake when it
was huge machines behind closed doors.
Well, then you'll absolutely love my suggestion for icons of
design of the twentieth century.
Is it an IBM 370? A removable disc? A tape servo?
(Laughs) Almost, you'd love that wouldn't you? No, Sir Clive
Sinclair, you can't really not have him.
Yes, he needs to be there.
You'd appreciate that more than most people.
Sir Clive Sinclair
Vintage clothes are a great investment as well as being
environmentally-friendly and unique. Would you say there are still
bargains to be had?
I think that they've never really gone out of being, rather
than calling them bargains, I'd say really good value. When you
consider the prices that couture items cost originally and what you
can buy them for now that represents really good value. You can buy
nice department store dresses for a very affordable figure. I bought
(Laughs) – well I'm always buying - various bits of English
clothing, but I buy to wear.
Do you ever buy to sell?
Not really, I don't sell. I might do a bit more and look into
So at the moment you're just a custodian for these pieces?
Yes, I buy to lecture with. So I bought some wonderful twenties
and thirties dresses and I've got a very nice Norman Hartnell
evening gown which is a lovely piece which people really appreciate
when I unveil it at the talk. And, equally, I'm a big fan of
buying to wear the sixties and seventies – nice lightweight Gucci
pieces and I bought some great sixties suits. One's a suede suit
that I bought for the grand sum of Ł35.
It's amazing, because this stuff scores on every level. It's
well made, it makes you different from the crowd, it's
eco-friendly and hard-wearing.
Yes, all of those things. Obviously you've got to know your
measurements. If you can't get to a vintage fair, and they're
not always near your location, then if you want to buy from The
Internet, on which as you know there are many purveyors, then
you've really got to know your measurements. Make sure you're
happy with that. You can have things adjusted if you're buying
them to wear but obviously that will effect their resale value if
they're made for you. But you do get tremendous quality and it's
great value on that basis. I think it's a market that's set to
change and we'll see prices climbing – they already are.
There's huge interest in the auctions where vintage costume
appears and equally you've got Lily Allen who has just opened her
new shop which will hopefully roll out to bigger things abroad if it
goes well in the UK - Lucy In Disguise. Top Shop are also interested
in vintage fashions and you can see lots of ways that the prices
will creep upwards as a result.
There's two levels of vintage – the authentic stuff going around
and then the mock vintage.
Hmm. I appreciate both sides. I've got a great pseudo-Victorian
suit by a top designer and they've interpreted Victorian style
with a modern twist and I love that. I'm not a great fan of modern
design copying a vintage design absolutely. I think it's rather
nice to buy vintage and better value actually.
Yes a lot of the time it gets diluted so it's neither one thing or
the other.
Have you been to these V&A vintage Friday events?
Yes. I haven't been up to one for a long time.
It's mostly young girls and it's quite a mix and match thing and
you think "That's sort of sixties and that's sort of
seventies, but they don't quite get the whole look right."
Yes, well you do get that at Goodwood Revival. The interpretation
which makes it a 21st Century interpretation of vintage – that
will be a hallmark of our decade.
I wonder if people in forty or fifty years' time will be looking
back nostalgically at the nineties and the noughties because the
forties, fifties, sixties, seventies and eighties had very clear and
definite looks and feels, didn't they? But I can't see that with
recent years.
They all borrowed though from other decades in a way. Nothing is new
in fashion and everything has a route to the past. That's why it
was exciting for me at university to study both eighteenth century
and twenty-first century because when you look at twentieth century
you see that there is quite a lot of borrowing from the eighteenth.
What should people look for in vintage clothes and twentieth century
Number one on the list, and this has absolutely got to happen, is
that it's got to be something that you like. And, for me, I think
for everybody, it should be something that has got scope for
research or, as we call it in the trade - provenance. It enhances
its value and the more research and provenance and background you
can add to an item then it becomes far more exciting for a collector
and far more exciting too for you as an owner. So you can look at
potteries like Hornsey or Portmeirion which were humble tableware
– I grew up with Cathy Winkle pottery on my parent's table. But
it's only by research and by going back through the archives and
experts looking at the original production brochures and so forth
that we have been able to get a real picture of how we arrived at
those designs. It puts them in a different light and you appreciate
the complexity of the patterns and what was achieved on a humble
plate. It just brings it alive. So I suppose anything you can
research from the zip upwards really.
I lost a sale on the site because I had some Marilyn Monroe
memorabilia, a bra from her wardrobe of costumes, and an American
was interested but I couldn't provide enough provenance for him. It
was quite a few thousand pounds.
I know somebody who'd want that.
You do?
Oh gosh, absolutely. Marilyn dresses and accessories are always
popular and seldom come up for sale.
This guy wanted a photo of her wearing it or some solid proof and
all I had was the good name of the seller. And it was a good name.
Yes, you have to have the track – the hearsay from people close
to her through to the disposal of the item at the local sale. Or a
ticket, say, when Lady Churchill disposed of Winston's clothes
when they were all sold off at the local Chartwell jumble sale.
There has to be a track. But I think anything, however humble and
however seemingly unexciting it is, comes alive if you can put it in
a sort of context. And that can be how it was made, who made it, who
was the patron and what kind of life did she lead? What was her
average output a day and how did the designer come to create this?
And also I'd say a couple of other things – it should be easy to
display and that's something you should consider. My tip for
vintage or any collectables is to go for things you can use or have
around you rather than tucked away. I'm passionate about vintage
Kitchenalia and I use it and I get great value out of reviving
fifties and sixties recipes which I do with great passion.
Does that mean your place has a very retro look inside?
Remember I am a bit eighties too, so I do pay homage to Malmaison
and Portobello and to a bit of Whitefriars so I'm a bit mixed
actually – eclectic would be the word.
You're not like some of these people where their whole house is
kitted out in a certain style?
No, I'm not devoted to an era. I'm a multifarious collector.
When would you like to have lived if you weren't in this
particular time?
I think I would like to have lived in the fifties. I would like to
have been a 1950s fairly affluent hostess with my husband working at
a bank. And he left me fairly early in the morning when I had my
jobs started and I could have handled that. I think I've got the
right outline and I think I would have loved the fashions and the
new gadgets that were beginning to come into the home and the fact
that I could afford them. I might have had a bit of hire purchase
but it's unlikely. I think I would have been able to buy them
outright actually and been one of the 2% of people who were able to
own a refrigerator. How exciting would that have been?
A fifties refrigerator
The first ever colour TV rented
by Radio Rentals in the UK
I can remember being one of the first houses in the street to have a
telly - and the first colour telly as well.
Gosh, that was even more special.
'68 that was and I think I nagged my mum so much when I was young.
You were from a very affluent household.
Either that or my mum had different priorities.
What did your dad do?
He worked for Gilbarco and spent most of his time abroad at various
oil refineries.
There you are you see, the JR of the sixties.
Yes, and now I'm called Digger Barnes. My mum was a copy typist...
So why is vintage and retro so popular and such a big business?
I think it's our own nostalgia and we treasure our own memories of
the past - it triggers our memories of our parents' pasts and our
grandparents' pasts. Things we've grown up with that they've
grown up with we hold a great value in them. I think also that
vintage is so popular now because it just hits a moment in our time,
thinking about the values that it was originally designed to solve.
The sense of thrift – a lot of the items that we class as vintage,
and vintage is a very loose word. Essentially it's not really as
far back as the Edwardian era or even perhaps the twenties – it
picks up really post-deco I'd say and in the approach to war and
the inter-war era and the wartime era itself.
Nobody really seems to know what these terms mean. When I talk to
people about retro to some people it has a feeling of pop culture
and they wouldn't see Victoriana as retro, but then the
definitions for vintage and veteran cars, for example, seem to
slide. Even on the Antiques Roadshow it wasn't that long ago that
purists used to complain if it included post-war or items that were
in our living memory.
Well, antique has got a sort of definition but I think vintage has a
looser definition and it's open to personal interpretation and
that's quite acceptable - why not? But the values that were
surrounding vintage, like thrift, when it was first around in the
forties, are very important key values today. I mean thrift is
probably the buzz word for our current lifestyles.
Good point.
And quality, we want quality and vintage pieces convey quality.
Generally they're made with fabrics that are well stitched, well
cut and that's something that we yearn for in an era where we've
got Primark. I love Primark but I'm not sure it would last fifty
years. I was in there yesterday and I was trying to find where they
were made and a lot of their products don't say where they were
Do people see you in there and say "What are you doing in here?"
Do you know what? No-one's ever come up to me and said anything like
that. It's because I don't have my sprayed on television make-up
Is that what it is?
I like the way they interpret top-end style – that was a great
bonus about the great department stores of the fifties and sixties
fashion when it became accessible at street level.
Fifties style
That was another shame when we lost all those big department stores.
My family are over in Ireland and Cork used to have one of the
original Grace Brothers-type stores that was frozen in time. But
they've all gone now. What was the one on Piccadilly Circus?
Not sure, I thought it was 'something and something'. I'm also
sorry we lost the corner houses. I loved those as a child.
My parents met in one so that was rather lovely.
You're too young to remember the corner house first-hand.
In The Museum of London they've had a big revamp at great expense
and they've got a reproduction Lyon's corner house.
More fifties style
What is it about the British that makes them such avid collectors
and hoarders?
I think that we can look back a very long way into these things
being built into the British national psyche. The idea that, in the
eighteenth century, the wealthiest of us trotted off on the grand
tour of Europe and brought back all sorts of souvenirs. And that was
the basis for the collections and collecting and I think that has
filtered down. The larger houses that we go and see are filled with
collections, whether it's glass or sculpture or whatever it might
be. At Chatsworth, where we've recently filmed, we had a wonderful
tour of the new culture galleries there. But all of these pieces
didn't come from the UK, they were all brought from abroad and
they formed the collection. And I think we value our past and
we've got a great sense of heritage built into being a British
Yes it seems to be classless and built into us all.
Well it is. I think it's tied up with our fondness and nostalgia
for our childhood and we are kind of a hoarding nation really. We
find it very hard to let go of pieces and we invest a lot of
personal associations in our items perhaps more so than other
countries. I think other countries like to sweep clean when it comes
to updating their living environment. And that's why Ikea settled
very well overseas and does very well here but at the same time I
can imagine that in the average British household you'll get Ikea
mixing with what's been handed down rather than the entire house
being Ikea.
A lot of countries have to reinvent and start again because of the
geography and the climate.
There's a lot of that going on.
Yes, we're very lucky there are not many earthquakes in Britain.
Or forest fires or droughts or floods or tornadoes.
But I think the sort of sense that things were sold in sets and you
were encouraged to get a set if you were a homemaker in the fifties
– you could buy a starter set of the Midwinter set for newly weds
and we would collect and complete the sets. And this also happened
with cigarette cards and stamps which encouraged us to complete the
sets. Advertising has encouraged us and we like collecting and
completing sets.
What is your Holy Grail of collecting?
I suppose if it had to be something then it would be an example of a
Christian Dior design from 1947 for his new look collection, the
first collection he produced post-war. Simply because it showed it
broke with the past in such a dramatic way. Suddenly, the
restrictions of wartime were swept away, although in reality that
didn't happen because obviously we still had utility and rationing
here. But the idea was that this was to come. And how mesmerising
and mind-blowing must that have been at the time. And women suddenly
had the chance to become gloriously and extravagantly feminine
Have you seen Value MyStuff Now.com that was on Dragon's Den?
Yes, well I watched the Dragons and it was interesting actually.
I'm amazed, and I'm not sure if people know, and it seems that
they don't know actually. You can go to any auction house and you
get free valuations. You can take a suitcase of items to any auction
house, or their outlying agents - and there are many all over the
It's strange that people don't know that.
Of course I used to work for Christies...
It's one of the best kept secrets and they should push it a bit
Yes, you can get free valuations and if you're going to pay Ł3.95
per item that stacks up.
I've got loads of posters here and I'd like to get them valued.
Any auction house will do that for free and you can send them a
description and a picture so I don't know why people can't send
directly to Christies or Sotheby's.
I think people are a little bit intimidated still and they still see
it as an elitist thing.
The thing is, you've got top level specialists and a lot of them
will have minimum lot values of Ł500 or maybe even Ł1000. And even
at Ł500 that's cutting off a lot of the marketplace and the entry
level items. So they're not necessarily going to be in touch with
the Internet auction houses and I'm not sure their prices will
reflect what you will really get. They'll be auction estimates for
their particular auction house where they have expertise – if you
come to value vintage fashion that stuff doesn't appear at the
highbrow auction houses and that stuff tends to appear at the more
specialist auction houses. And there's a lot of stuff going for Ł20
or Ł30. It's a nice idea but for me it fills a gap that doesn't
I suppose it's also the perceived convenience where everyone has a
digital camera and a computer and you can just send it through via
email, pay by Paypal and it's done.
You can do that with an auction house. Maybe not the next day.
Yes, that's true, maybe it's the 48 hours that's Patrick's
main selling point.
The Dragons
Then you're stuck with their valuation and you go off to take it
to your local auction house and you say "Look, it's been
suggested that I can get so much for this." And they say "Do
you know what? That's kind of a high price." Because they're
used to selling at Sotheby's and they say that it's below their
minimum lot price. And then where do you stand? Nice idea and I'm
pleased with the fact that we got some antiques onto Dragon's Den.
I MUST think of an idea to go on there because I think it's really
good to get some antiques and vintage on there.
Getting them represented? Yes, with my retro angle I'm always
thinking of that and I can't remember many retro and vintage
things on there. I've had two clients on there, Patrick of course
with ValueMyStuffNow.com and also Guy Portelli who got Ł100,000 for
his pop icon sculptures.
Oh yes, I remember that.
He's about my age and it was effectively his last chance. He was
very brave because if they hadn't backed him none of the galleries
would have then ever again touched him with a bargepole. But he got
the backing of Theo and Peter and James.
So he's on his way to being a millionaire, I hope.
(Laughs) Maybe he'll get a small chunk of it - maybe 40% of it
Any tips for people who are thinking of making a career in antiques
and collectables?
I think immerse yourself in social history - that's a must. The more
you learn about the context - I don't see any vintage items or
antiques or collectables stand on their own and I think they are
part of a bigger picture. If you know that bigger picture and you
know about the designs of the deco era and how, from the moment you
open the front gate of a suburban house, it's almost like a micro
version of what was going on in Paris in 1925 and you can have a
sense of it all. It all fits in really.
Have you been to the Rennie Macintosh house in Northampton?
No, I haven't actually.
You need to go because Eric Knowles did a series on the restoration
of it for a satellite channel.
Oh did he?!
Yes, and I was living a couple of doors down at The Derngate then
and people would sometimes knock on my door thinking it was the
house I was in.
Oh, how interesting.
It's the only place that Rennie Macintosh actually designed outside
of Scotland.
Very rare, yes. Who was the client?
Tom Lowke, a local businessman. There's pictures of him and his wife
looking very proud outside their new home in 1919 or whenever it
was. It fell into disrepair a bit and then a trust got hold if it
and painstakingly restored it to its former glory.
I must come and have a look.
It is amazing. I couldn't live in it though.
It would drive me mad with the very extreme decor, but it's a
wonderful statement and a snapshot of the style and elegance of the
Yes. The other thing I would say is go and handle as much as you can
so go to any auction house and do the pre-sale viewing. It's also
free of charge and you wander in and say "I want to view lot
74" and the porters will give it to you and you can handle it,
turn it over (don't drop it!)
You'll get free advice and talk to the experts.
Yes, and just learn yourself almost. The more you get to handle
items the more you get to find out about them.
I'm guessing that you've got several jobs, as it were?
I am a Jill of all trades - is that the saying?
That must be enjoyable.
I enjoy diversity and working on different projects and they range
from writing and broadcasting to presenting. We filmed Put Your
Money Where Your Mouth Is and I was in the presenter role. It all
seems to balance out quite well and there never seems to be a point
where I'm saying "Gosh, what am I going to do next?" It's
more like "How can I prioritise these things?" It's good.
What are the best and worst things about being on The Antiques
Best, without a doubt, are the locations. It's always so nice to
sneak around these locations and to go behind the scenes. Ranging
from the dramatic Chatsworth and being able to look at that after
hours to the really interesting living history environments that I
adore like Beamish and Ironbridge.
Chatsworth House
How many have you done now?
I don't know how many I've done but the first time I was on the
programme was 1999.
Is it that long ago? I watch it every week but I didn't realise it
was late nineties.
I've had breaks in between - I've had children so I didn't do 2000
and some of them I am actually pregnant in the programme.
Not like Sarah Beeney who seems to be the continuity person's
nightmare - she's pregnant, she's not, she's very pregnant, she's a
little bit pregnant! (Both laugh)
Yes, that is one of the issues actually. And I do between four and
five each year. I was doing one at Stratford Upon Avon the other
Just down the road from here.
In fact we had people from Northampton coming along. So that's the
best thing. And the worst thing is the weather.
Good old Britain.
So many of our shows are out of doors and if it's going to rain, it
is, for us the specialists, very hard. Because somehow the diameter
of the umbrella - there's a small 2 inches broader than the table
and then you have your head sticking under it and because it's at a
strange angle the water drips off the umbrella straight down your
neck! That's a horrible feeling and that, for me, is definitely the
worst thing.
There's a great camaraderie between all the presenters?
Oh yes, it's like a grown-up boarding school.
I like the idea that as we get older we turn more childish because I
am definitely getting more child-like as I get older.
I think there's a great teamwork on the show and that's not just the
people you seen on the screen but a lot of people off the screen
too. All the amazing rigging and lighting guys who are there days
before. The cameramen and great and the behind the scenes guys are
way more important than us guys who are on camera. They make it
happen. I mean, where would we be without the lovely make-up girls?
It's just such a great team and I think everyone has a part to play
in it. We get the glory but actually they are the ones that make it
happen and almost they are the ones that should have the camera
turned on them - This is the team!
There must be hundreds in total?
No, I think it's around 70 or so but it is a sizeable amount and I
haven't met a nasty one yet, they're all really nice.
That's good. I think you can tell when there's a good vibe on a
show. One of my favourite programmes, apart from The Prisoner and
obviously you guys have been there to Portmeirion, but I also love
Catweazle. You can get an idea of how much they were enjoying making
the series - it comes out through the programme.
What number are you then?
Well, I certainly wouldn't get away with being Number Six these days
with the way I look. I don't know what number I'd be but I have
dressed up as Number Six for a fancy dress a long time ago when I
was a bit slimmer.
I've had the head of the American Prisoner Society staying with me.
Oooh! So you're obviously a Prisoner fan as well.
Yes, yes, yes, yes, yes.
Digger: I'll just stop the tape for a break and
call you back so please get yourself a drink and I'll call you
back in five minutes.....:
Hello Katherine.
Digger: I've
still got this old-fashioned technology here where the
interviews go to tape and I type them up. I've not found any way
to get more than one voice recognised in a conversation and
translated into text. I've done a lot of research but can't find
any. What happens, of course, is that I have to type it up in
chunks. Not a problem but I'd like some software to do it as
it's quite labour-intensive. You'd think in this day and age -
there is software that starts to recognise your voice after a
while. I was talking to Mary Hopkin and her daughter in a studio
the other day where the acoustics weren't great for the phone
and software would have found it impossible to identify what
they were saying.
Somewhere in my archive of tapes I've got the lovely Lulu de
Havilland, I've got Betty Maxwell. Interesting tapes.
Hang on to them.
I know.
Digger: I
don't tend to keep my tapes.
You won't be coming to see me on the Roadshow on that
A lot of the tapes the sound quality isn't great so I
don't know how valuable they'd be anyway.
This will be one you'll be keeping.
Of course. So you're into The Prisoner, like me?
Is it the imagery?
The imagery. The furniture for me is great. Eero Arnio ball
Digger: The
telephones that you can't get because they only existed as props
Well exactly. But that's why I love it.
Digger: I've
got two Prisoner-related interviews on Retrosellers. Annette Andre
who appeared in one episode and hated it.
Oh really?
Digger: Yes,
she said McGoohan was really difficult to work with. And the other
side of the coin, I spoke to Jane Merrow and she said he was
Digger: So two
different actresses who had very different experiences.
Andre and Jane
Merrow who appeared in The Prisoner
(click on the images or the links for our interviews with
Patrick McGoohan
Katherine: Did
they like each other?
Digger: Well, you
know the way it works and because they had different stars in each
episode I don't think they every worked together. They never went to
Portmeirion - they filmed all their bits at Elstree. Annette Andre
was then in Randall & Hopkirk and her role developed into a main
starring role as the series went on.
Katherine: Did
they like each other?
Digger: Well, you
know the way it works and because they had different stars in each
episode I don't think they every worked together. They never went to
Portmeirion - they filmed all their bits at Elstree. Annette Andre
was then in Randall & Hopkirk and her role developed into a main
starring role as the series went on.
Was she in that?
Digger: Yes,
starting with a smaller part which was improved as the
series went on so she was equal with the two male leads.
You're too young to remember that!
I remember it but didn't watch it.
Digger: I
had a lovely weekend up at Portmeirion for a birthday
courtesy of my girlfriend. We stayed in an individual
Oh really?
It's one of the few places I've been that look better
in real life than on film.
Imagery from The
The Roadshow captured it pretty well - you don't see
it all on that and it was such a lovely day I think
that came across on the recording.
Where do you see vintage and 20th century collectables
going in the future?
I think we're probably going to have more revival
events and more living history.
Like Mr Hemingway's latest venture?
Katherine: Well, I
think that's one thing and there are so many different ways where
the past can be brought to life. I think all our museums are going
through a rethink about how they're presenting history to us and I
think the trend is that we need to have more interaction. Even if
you go to the London Transport it's wonderful because they've got
conductors from the forties and women's war moments - you get
actors playing those parts to bring that history alive.
Like Viv The Spiv.
Katherine: Yes,
in character. So the Beamish and Ironbridge and all that kind of
stuff. From very early childhood, our children, who will be the
future connoisseurs of vintage really, they're really learning
about it first hand. And I love that and I think we'll have
access to more revival type events. And I think that as more
research is done more is uncovered by anyone, I mean you or I
could do it. I do it, but anyone can go to their local public
library and home in on their local pottery which is unknown. And
do more research about that or the local electronics firm or
whatever it might be. It can be anything. As more research comes
to light I think it will perpetuate our interest in vintage
Digger: What do the
think of The Internet as a research tool?
Katherine: It's
fantastic and I think it's great that when I was researching my
grandfather's forays in World War One, first of all in the Royal
Naval Flying Corps and then when it became the RAF in 1918 his
exploits there and I became quite good friend with the followers
of the squadron he was in and getting to know all about the DH9s
that he was flying in and you meet interesting people. And I
think it's a great source or research material and there's lot
of original documents online. You don't have to take that trek
up to The National Archives or The British Library. Quite a lot
of parish records are online and there's quite a lot you can
access actually that can lead you from one thing to another. I
love The Internet and I think it's just opened a hole new world
for us.
Digger: I couldn't
be doing what I do without The Internet.
Trading now - the marketplace is much more transparent which
I think is a great thing.
Digger: I'm not
sure about eBay. That's been a disappointment overall for
It changed its character - it mutated in a way, perhaps,
that the original owners didn't necessarily know that it
was going to go in that direction.
Digger: It's
not an auction now, is it?
I think there's an awful lot of contemporary and modern
items on there.
Digger: And
junk as well.
I think there's a sense that - it's not really the
place that's worth looking first whereas it used to be
the first port of call. There was so much that was
period or vintage on there. I wanted a particular shoe
of Tupperware sparks and I found it. For me that's
just a wonderful thing to own and I couldn't have had
access to it in the UK and so I'm thankful for eBay in
many ways. You just have to use it with expertise and
caution, I think.
One chap I know was selling Dr Who items to Americans
who seemingly couldn't get the items over there and he
was making 1000% profit on them for a while. I think
it had its moment but it has changed. Extra fees and
costs and so on have put a lot of traders off.
That's what I need to go on The Dragon's Den for, isn't it? That's
why I need to be there. I need to be there with my next version of
eBay. (Laughs) That's what I'll work on.
Digger: That's
the general idea, now you just have to come up with a bit more
detail. The thing I find with The Dragons is that they seem lovely
- I'm even starting to warm to Duncan and before I thought he was
surly and brusque and so on.
There's a musical coming out about him.
Digger: (Laughs)
They're all good in their way but they're often inconsistent. I
know a lot of editing goes on and things take two hours and you
only see ten minutes. But, for some reason, sometimes they'll
lay into somebody because they've said the wrong thing or not
done the right thing and at other times they seem to let that go
and almost go with their gut instincts with somebody who might
appear unbusinesslike and unprepared. It doesn't seem to be very
Katherine: I
suppose they know what their own portfolio is and where there
gaps are and they might have had somebody who has grown and
effectively flown the nest and they've cashed in on that. And
they may have a gap suddenly.
Digger: Theo and
Debra seemingly always doing the 50/50 together.
They work very well together.
Digger: Peter
Jones keeping quite until the last minute and taking them by
surprise at the last minute. Again!
Absolutely. I think it's a great series and it's given
people hope and I think hope is a great thing.
Digger: And an
insight into not only how ideas and invention come about
but also how a business should be formulated.
You get interesting tips and advice. My husband started
a business a year and a half ago and he's been voted
Global Entrepreneur Of The Year 2010 and it's a very
good sounding block for those who want to take the next
step. And who are just slightly nervous about leaving
the corporate setting behind them and starting out on
their own, I think. By looking at other people's
experiences and taking their advice you can go quite a
long way actually, I think. But you've got to remember -
these guys are there for a reason and they want a return
on their money and they want a big chunk of the cake. I
really do like negotiation skills and that's what 'Put
Your Money Where Your Mouth Is' is all about. All about
haggling, and if you've been in the antiques and art
world and you're successful then you are a good haggler.
I consider myself a good haggler and I would love that
moment where you negotiate the Dragons down to that
never heard of before 2% of my business for Ł100,000.
Digger: I
think you'd be walking down the stairs, to be honest.
Do you think so?
Digger: Yes,
it depends on how much they wanted it, of course, but I
think they have a percentage below which it's just not
worth their while or interesting enough for them to
become involved.
The other thing which I find interesting and which quite
clearly comes across is that they invest in ideas and
good products but they have to like the people.
That's true.
One of the people - the chap that started Value My Stuff
Yes, Patrick. He's a very nice chap and he's a good
friend of various friends and he's a very nice chap. And
I think he will be worthwhile to work with and a
pleasure and he's got a business head and a creative
one. They can be safe with him. And equally Levi Roots -
he was a great charismatic character and he obviously
has been a great bet to work with. I mean, Peter
supported him and he's done very well from that. I think
we've gone slightly off track.
Digger: Not
for the first time with me, I can assure you. What names
stand out for you in terms of twentieth century
fashion, architecture, style and design?
Katherine: Corbusier
is one because I think his concepts and realisations
were where we should have been going if we'd done it
properly in Britain. But we didn't really do it to plan
over here when we interpreted his ideas. But I am a
great fan. Slightly on that basis, and someone who tried
to make it work over here - Wells Coates, and obviously
he was an architect as well as a designer and he worked
for EK Cole and designed the famous round radio.
Ekco radio
Bush TV
Bush radio
of Clarice Cliff
Digger: Ekco?
Yes, that's right.
Digger: I've
got a Bush radio here from 1950 and it still takes a
minute or so to warm up before it comes on. I only use
it occasionally because I don't want the valves to go.
Digger: And
I've also got the classic Bush TV - the one they always
show on ads and so on. I'm hoping I can get the innards
working at some point. They look great.
These were fantastic pieces of good British design.
Digger: And
they're still so cheap - they're going for Ł75 or
Well, they weren't when they were originally new. You
needed a month's salary and hire purchase was the thing
that made it possible.
Digger: What
about Conran?
No, I wouldn't put Conran there because I've just bought
a Conran sofa and it's been such a nightmare. When I
spoke to them about how awful my sofa has been I told
them if I was ever talking about pinnacle designers - I
have a sixties Conran table here, I would like to have
put him on my last of pinnacle designers but after the
experience I've had with this sofa. And the really
appalling upholstery job that they've done on it I
really can't say that I'd put them on the top of my
Digger: Who
did you talk to there?
I said it to Conran and I'm still in negotiation with
them - that's my next job this morning actually.
Whenever I have a complaint I always go to the press
office rather than customer service which I find usually
is anything but. It may be the wrong route strictly
speaking but they are always there to help or at least
to get your issue heard.
Unfortunately, and unusual for Conran, it was
re-upholstered in Poland very badly and then it came
over here with a great fanfare about it being presented
to me and it arrived so badly upholstered. Not only did
it destroy the velvet I had chosen but it looks like an
awful, cheap, second-hand sofa and not a great piece of
Conran design.
Digger: So
they've got a lot to do to get back in your good books.
I'd like to think we can resolve it. I'd like something
to sit on soon. (Laughs) But Conran is off the list for
those reasons. I'd put Clarice Cliff up there - I think
she was a designer and suburban goddess that brought
colour to suburbia really.
Digger: And
on the clothes front?
I'd put Hartnell and Barbara Hulanicki on the clothes
side as well.
Digger: I've
been trying to find her.
She spends a lot of time in Barbados and she's just
launched the Biba range, which is lovely.
Digger: I
can remember being quite young in late sixties and early
seventies and being in the West End and my sister used
to take me to visit Biba. I didn't know what it was all
about but I loved the imagery and we would have tea on
the rooftop gardens pretending to be something out of a
Bryan Ferry song.
I remember mother opening Biba baked beans. I first went
when I was five and you'd go up to London every week.
Digger: I
don't remember Biba baked beans.
Black and gold label. They were delicious as far as I
can remember. But the new collection is fantastic and
I'm a great fan and I like the way they've styled the
new look. I don't think Hulanicki has an interest in it
anymore, in fact I'm pretty sure she doesn't but it's
great to see that brand having a second chance really.
Another name I would put on my list just because I think
he is fantastic - I interviewed him while he was in the
hairdresser having his hair coloured - Kevin Grange. He
designed the 125 train, the Kenwood Chef, the parking
meter, Parker pens - what else has he done? The
instamatic camera - a fantastic designer and he's up
there with Clive Sinclair. I'm a bit of a secret lover
of anything mechanical or electronic actually.
Sinclair's design was polished and slick and prefect
Digger: I
get cross with bad design... I've got The Prisoner on
video way back from 1982 when it was first shown on the
new Channel 4 and there's some adverts in the break and
one of them is for an IBM Personal Computer. It's just a
box that allows you to do word processing and sums and
it costs Ł3,500 in 1982 money.
Amazing. I wonder who could have afforded it. The
average Channel 4's viewer at that time their disposable
income wouldn't have been that high.
Digger: I'm
not sure who their target market was.
So finally Lucienne Day would be up there for his
textiles - I'm a great fan of the Festival Hall and next
year will be such an important year being sixty years
since the Festival of Britain. I think it's a wonderful
place - my husband proposed to me in the Festival Hall
and I got back to Skylon the restaurant there a lot just
to sample the views and pretend I'm in the 1950s.
Digger: What
would you be if you weren't what you are?
I think I'd be an architect if I had a choice. I always
wanted to do architecture and I've studied it a lot and
I think if you know about architecture then it really
informs your knowledge about objects. Because if you
know decorative acanthus leaves on Victorian mantels or
around the doorway of terraced housing then you already
know what's going to be inside. You know the look will
carry through and the exterior will inform the interior.
That for me is key.
Digger: You
would find that with deco because everything was deco.
Yes and every new build suburban house, if it was for
purchase and not a council house, had a bay window and a
sun-trap window. That curve was followed in the flower
borders and then you'd find everything inside was
curvaceous and modern style had entered humble suburbia.
And I think that's lovely and if you look at Victorian
terraced housing and look up above the doorways you'll
see the scrolling acanthus leaf decoration and then
you'll go inside and see Doultonware or other
contemporary pottery using the same decorations in their
pottery. It all perpetuates itself. I love looking at
buildings and I spend a lot of my time looking up, up,
up. I don't look down at my clothes or the pavement.
(Both laugh) I'm surprised I don't rip more often. If I
have one ambition left I'd love to have a show that
explores the way we live in houses now and the way they
were originally designed to be - there will be a
mismatch and people living in houses today that won't
realise the wonder and glory of the house when it was
Sixties fashions
Digger: The
Beatles did that in A Hard Day's Night.
Did they? They were there first?
Digger: In a
way. They each walk up to four separate terraced houses
and put their keys in and wave to each other. Two
housewives, including Dandy Nicholls, watch them and
comment on how fame hasn't changed them. But when you
see them entering it's just one huge expansive room with
state-of-the-art gadgets.
Ah! I'll ask Pattie Boyd about that.
Digger: Say
hello to her because we interviewed her about three
years ago. She was lovely. She worked with Penny Junor
on her book.
She's lovely. Who hasn't she met? But she's so grounded.
Digger: Yes,
having been married to two of the greatest rock icons.
Is there one last question?
Digger: Yes,
do you think the British are scruffier than their
European partners?
I think you've got to get on trend.
Digger: I
see a lot of scruffy people about - people wearing the
same thing whether they are at home or out to dinner.
Tailoring is inherently British and we are passionate
about our tailoring and style, but I think the current
look is overtly casual. But that's because that matches
what we've become.
Can't that casual also mean to a lot of people just
Westwood was a pioneer of using zips in clothing and the
interior becoming the exterior. The flash cut is a nice
creative look. I think we're very eighties revival in
our look at the moment which does mean that you've got
less outline and more bagginess. But I don't think we
are scruffy - I think we have no reason to be scruffy
because clothes are more affordable than they've ever
Digger: So
when I was on my Med cruise and we were being dropped
off at various places, including the south of France -
places like Villefranche, I just noticed that all the
British were wearing scruffy clothes and the French and
Italians who were there just looked so smart. I know we
were all on holiday so you can allow for that, but there
were some Scandinavians on our boat which was 99%
British passengers and the Scandinavians even looked
smarter than we did. So I wondered if we were a scruffy
Well, maybe these people don't want to reflect their
higher income in their dress. Maybe they don't want to
exude that. We're not in the eighties era where we were
quite flash and wanted to show our money off. In a way,
dress down is almost the order of the day and we want to
be slightly classless and to have money, at the moment,
is not the sort of thing you want to brandish around.
When people are struggling to make ends meet. If you do
that on holiday you're likely to be pick pocketed or
have your bag snatched - if you look underdressed and
casual you're more likely to come away with your wallet
Digger: We
went into The Ritz last year and we were underdressed
and not very smart and we were politely asked to leave.
(Laughs) I thought it was quite funny.
There are hotels that still have a dress code, even the
dearest ones. I remember we went into the restaurant for
afternoon tea and my husband was in his shorts and we
were told shorts were not appropriate.
Digger: Yes,
that was our experience.
And I said "Do you know what? I think we're quite
respectable and we'd love to have that table there and I
think we should be allowed to stay for tea." So the
agreement was, because we had been customers in the
past, we could have a tablecloth for my husband. So he
was allowed to wrap it around to cover his shorts and we
sneaked in so he couldn't be seen.
Digger: That
was a good compromise. I thought they might have some
spare trousers like they often have spare ties!
So the next time you go to The Ritz, take a tablecloth
with you.
Digger: I
will. What about hats? In previous generations, hats
were a very important item of clothing and also served
to tell other people about your status and so on. Do you
think they'll ever be as popular as they once were
again? If you look at a photo from the twenties and
thirties you could tell what a person was from their hat
and they were all wearing one.
Yes, that was part of our social etiquette and we're
unlikely to go back to that for the mainstream because
our society has changed. We don't demand that anymore.
It was an essential part of work and of society and a
lot of barriers have been broken down. I mean, goodness
me, women wearing trousers?! How did that happen? And I
can't imagine us ever going back to an era where women
no longer can wear trousers. And equally I think that
hat wearing will remain for formal occasions and is
increasingly on the return for vintage dressing and is
very acceptable. And that's sort of spilling out onto
everyday wear. I think if you really like dressing in
vintage I think you can look great wearing a hat as
Without it you don't look complete.
Chanel revived their berets at one point and they are
something that could be revived - I can imagine a trend
like that happening just as it did in the sixties in an
era of feminine independence. When Mary Quant was hot
and every girl had to have a beret. Actually, she was
getting girls to wear a hat which harked back to the
rigours of social etiquette that she was trying to break
away from. But the V&A have some wonderful hat
making courses and you can go and make your own
fascinator or get involved in hats from that perspective
and I think it's quite acceptable to have some sort of
wintery hat to wear. And a lot of people do, skiing hats
and all that kind of stuff - it's just not going to be
the sorts of hats you wear on formal occasions.
Well, Katherine. It's been great talking to you and
thanks for giving us an insight in the vintage and
twentieth century world! See you on The Antiques
Roadshow and on The Dragon's Den! Thanks for your help
and time and that's been super.
A pleasure. Thank you David. Bye.
Vintage shops today
We hope you enjoy our website, and if you see us at a
show, please do say hi!
Becky & Glynis
Retro Bazaar
68 Alston Drive
Bradwell Abbey
Milton Keynes
E: firstname.lastname@example.com
Many thanks to Katherine
for her help and kindness. Katherine Higgins interview November 2010.
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Sports Union
The Sports Union is a student focussed organisation responsible for Heriot-Watt's sporting needs.
We offer Heriot-Watt students the perfect opportunity to join a club, receive coaching and compete in your chosen sport at higher education level.
Try your first session for free!
You can take advantage of our 'First Session Free' initiative by attending an appropriate Club session for free as long as it is your first time and within the first two weeks of a new semester. Please note that in the event of a club having more than one team training you can only attend the session of the lowest team for free. For information on club training times see the individual sports club pages.
How to join the Sports Union
In order to join one of our clubs you must first become a member of the Centre for Sport & Exercise. After joining the CSE you can then join any of our sports clubs by paying the appropriate club fee.
In order to join one of our Recreational Sports Clubs, you need to pay the respective joining fee (normally £10) which you can do either online or at our front desk. You then have the option of taking out a facility membership or using the 'Pay As you Play' option.
Sports Union social events
The SU can also improve your social life by creating opportunities for you to meet with your team mates before, during and after training and games or through one of our organised events.
Highlights of the SU social calendar are the annual ceilidh, SU Ball, and the Blues & Volunteer Awards Ceremony.
Structure of the Sports Union
The SU is headed by a Sabbatical President and an elected student Executive Committee. It is based on a foundation of volunteers, from club officials to SU Executive Officers. This creates a perfect opportunity to get involved, make a difference and have fun!
The Sports Union Charter explains the SU's responsibilities in providing its members with the opportunity of a worthwhile sporting experience at Heriot-Watt University.
Sports Union partners
Our Charitable partner is Penumbra, who offer a range of services to support people that are effected by mental health issues. Heriot-Watt Sports Union feel that raising money and giving something back to society is important. Our partnership with Penumbra looks to deliver the following three key aims:
- Fundraising
- Enhance the profile of Penumbra
- Volunteer opportunities for students
Wild Packs are the Sports Union's event sponsor, and their support helps us deliver a great experience at our an annual ceilidh and ball. Wild Packs, are a Scottish-based Summer Camp America provider. If you would like any more information on what Wild Packs can offer then please e-mail email@example.com.
Sports Union clothing
Our clothing partner is Kukri, who provide a range of leisure items through the Squirrel Sports website.
Kukri is an International Sportswear Company supplying teamwear - that's playing, training, leisurewear and accessories - for over 76 different sports.
They partner thousands of schools, universities, grass-roots and elite teams all over the world, including Scottish Athletics, London Wasps, England Netball, Lancashire County Cricket Clubs and Wycombe Wanderers FC to name a few.
They are all about teams – they love being part of a great team, and are proud to be the Official Kit Supplier to Heriot-Watt University Sports Union.
Team Kukri would like to wish Heriot-Watt Sports Union teams the very best of luck for this season. They would love to hear from the teams so let them know how you progress by liking them on Facebook and following them on Twitter. Don't forget to upload your team photos so Kukri can support you along the way!

subset: commoncrawl


text:
Welcome to our Spa at Woodlands Centre for Conscious Living, where our mantra is Let Go. Relax. Heal.
Located just 5 min from Cradlestone Mall and Silverstar Casino, and the signature Spa for Avianto wedding and function venue, Woodlands Spa offers bespoke treatments which are designed to transport you into deep relaxation. Nestled on the banks of the Crocodile River our approach is holistic, offering a unique blend of traditional spa therapies and energy healing experiences.


text:
External Web sites
- African American Registry - Biography of Booker T. Washington
- BlackHistoryNow - Biography of Booker T. Washington
- BlackPast.org - Biography of Booker T. Washington
- Encyclopedia Virginia - Biography of Booker T. Washington
- Encyclopedia of Alabama - Biography of Booker T. Washington
- National Park Service - Booker T. Washington National Monument
- Spartacus Educational - Biography of Booker T. Washington
- Up From Slavery: An Autobiography by Booker Taliaferro Washington Autobiography of Booker Taliaferro Washington, the educator, reformer, and principal developer of Tuskegee Normal and Industrial Institute.
Britannica Web sites
Articles from Britannica encyclopedias for elementary and high school students.
- Booker T. Washington - Children's Encyclopedia (Ages 8-11)
Booker T. Washington was an educator who spoke for many African Americans during the late 1800s and early 1900s. Washington taught that hard work and patience were the best ways for them to improve their lives.
- Booker T. Washington - Student Encyclopedia (Ages 11 and up)
(1856-1915). The first African American whose face appeared on a United States postage stamp was Booker T. Washington, who was thus honored a quarter century after his death. (In 1946 he also became the first black with his image on a coin, a 50-cent piece.) His ten-cent stamp went on sale in 1940 at Tuskegee Institute, which Washington had founded when he was only 25 years old. The educator's monument on its campus shows him lifting a symbolic veil from the head of a freed slave.


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Judge Dredd Creator John Wagner Explains Why New Movie Should Work
By Sean O'Connell 2012-01-20 14:14:35 comments
Danny Cannons Judge Dredd, with Sylvester Stallone as a futuristic weapon of justice, falls into that category of graphic-novel adaptations that stumbled on the journey from page to screen. (Two words: Rob. Schneider.) The film took liberties with John Wagner and Carlos Ezquerra's gritty character, and the film well, it didnt work. Hollywoods getting a do-over when it comes to Judge Dredd, however, and Wagner opened up to the L.A. Times on why this new version, simply called Dredd, should be better.
Perhaps that was one of the failings of the first film; they tried to do too much and ended up with not a lot, Wagner says. Dredd homes in on the essential job of judging instant justice in a violent future city. I like the actors, theyre well cast and they handled their parts well. Olivia Thirlby is perfect as Anderson, the young psi judge. She gives the character a touching vulnerability. Karl Urban will not remove his helmet and will not kiss his costar.
Wagner has nice things to say about Stallone as Dredd (though the revealing-the-face thing is a real bone of contention). He also says that he admires the budget that Cannon had back in 1995, though the money often was spent on characters ad robots that werent part of Dredds world.
Pete Travis (Vantage Point, Endgame) helms this new iteration of Judge Dredd, and he appears to have the blessing of the long-running Dredd creative team. Without question, this is a character and a world that could use a revision, though well have to wait until Sept. 21 to see what theyve come with.
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Saturday, 25 February 2012
dailynews ONLINE
Waruna PADMASIRI
Divi Neguma is a multi pronged and holistic programme to develop our
rural economy, reduce poverty, address malnutrition, move to healthy
farming techniques. If the programme is successful, Sri Lanka will not
only have a strong independent economy, more resistant to external
pressures but also a healthy and nutritious society by 2016, said
Additional Secretary A. A. K. Ranawaka (Rural economy) Economic
Development Ministry during an interview with the Daily News.
Q: Can you explain the concept behind
'Divi Neguma'?
A: 'Mahinda Chinthanaya
Idiri Dekma' the policy 'statement of the government states a prosperous
village will be created by 2016.' Based on this target, the President
announced that one million domestic economic units will be created in
2011 through the Budget speech (Nov. 2010).
Independence, self reliance is the key to a prosperous village. Meeting
one's own needs was a hallmark of a classic Sri Lankan village.
The primary aim is to guarantee food security, connect the household
with the national economy and create self-sufficiency.
It will lead to a healthy diet, decrease malnutrition level in the
county. We also want to reduce the use of chemical fertilizer and
pesticides and move toward more healthy agricultural techniques.
There is also a need to develop the rural economy and reduce poverty
levels. This can be done at the first instance by reducing household
expenses, then by connecting the home economic unit with the national
economy providing a source of income to the household.
'Divi Neguma' programme is the machinery or the pathway to achieving
these aims.
Q: There are many different aspects
to Divi Neguma; food security, nutrition, economic development. What is
more important?
A: If you compare Sri
Lanka to a developed country, our vegetable consumption is very low.
It's about 125g per day whereas in a developed country it's about 330g
per day. It is the same with fruits. This effects health, our nutrition.
So Divi Neguma wants to increase the consumption of vegetables for
nutritional reasons.
At the same time it wants to encourage the home garden concept to
produce these vegetables. One reason is, this will reduce the use of
harmful chemical fertilizer, the other is to reduce the financial burden
on the household. Excess produce can be sold in the market to earn extra
This will create food security; more food will be available,
affordability will improve.
Divi Neguma aims are interconnected, so all the aims are important;
poverty alleviation, food security, self-sufficiency, better nutrition,
food free of poison.
Q: How did you go from the concept of
the 'prosperous village' to the 'Divi Neguma' programme?
A: After the Budget speech
in November 2010, it fell upon the Economic Development Ministry to
achieve this target - 'a prosperous village'.
From the very beginning, 23 ministries and their agencies helped
create Divi Neguma. Three sub committees were created at the national
level to create a national policy to; increase domestic production,
replace imports with local produce, increasing consumption in three
sectors, namely the Agricultural Sector, Animal Husbandry and Fisheries,
Senior Ministers Athauda Seneviratne, Milroy Fernando, A. H. M.
Fowzie headed the three respective sub committees.
Ministry of Finance and Planning and the Ministry of Public
Administration and Home Affairs also assisted.
Q: Apart from the 23 ministries that
are involved in Divi Neguma, who actually run its activities on a
day-to-day basis?
A: We have a mechanism
from National Level to the Village Level, it includes provincial
organizations, District Secretaries and Divisional Secretaries.
The main officials involved are four village level helpers, namely;
Grana Niladari, Samurdhi Officer, Agricultural Research Officer and the
Family Health Midwife.
Last year, these officers were tasked with finding 25 suitable
individuals from the village to participate in 'Divi Neguma'. They act
as the eyes and ears on the ground since they have regular contact with
the people on a day-to-day basis. They monitor the progress.
The entire workforce of Divi Neguma consists of 50,000 public
servants from the 23 government ministries, including 30,000 Samurdhi
Q: What is the work being done under
'Divi Neguma'?
A: The first phase began
in March 2011. We handed out seeds and plants of five types of
vegetables on two occasions last year. Our initial target was to reach
one million households. However we were able to connect with 2.1 million
households to Divi Neguma.
We planted one million coconut saplings. Fruit plants like Rambutan,
Papay, Pineapple and cashew were given to people to farm.
Over 300,000 chicks were distributed to households with 10 per
household and 800 milch cows were given out. Various fisheries projects
were started. For example breeding ornamental fish, fresh water fish,
pond fish and drying fish. About 1,500 people received bicycle boxes for
selling fish.
The purpose of handing out the vegetable plants was that people could
grow vegetables for their own consumption. Secondly, if they had a
surplus they could sell that.
Milch cows and chicken were handed out with the aim of both
increasing domestic production and also to provide a source of income to
the people involved.
Then well assisted people to engage in an industry that will allow
them to earn an extra income. Divi Neguma encourages people to make some
kind of product with the use of the raw materials and skills from the
local surroundings. We want to promote domestic industries and
entrepreneurs e.g. making coconut oil, incense etc.
Q: You said that over two million
people received plants and seeds. Were these locally purchased?
A: In 2011 the
Agricultural Department, Small Crops Export Department and some private
institutions provided seeds. Some of the seeds were imported.
However we constructed 3,000 plant nurseries last year under the Divi
Neguma programme. So from this year onward the seeds and plants required
will be produced in Sri Lanka itself.
Q: How does Divi Neguma work to
develop local industries?
A: We held seven
industrial exhibitions last year in seven districts. This year there
will be 18 exhibitions held in the other 18 districts.
At the exhibition we recognize people who are suitable to engage in
industrial activities. We provide them with capital for them to begin
their enterprise up to 50 percent of the expenses. The other half of the
expenses are born by the entrepreneur.
The Regional Development Bank, Samurdhi Bank and other commercial
banks provide loans to those who cannot find the 50 percent required to
start their business. We will be conducting awareness programmes from
this year to provide the technical knowledge required by those who
engage in an industry. Technical training institutions like NARA will
assist in this.
We want to assist those who have started a successful industrial
activity by providing the knowledge required by them.
Q: What is happening under Divi
Neguma in 2012?
A: The target for 2012 is
to reach 4.9 million households in Sri Lanka through Divi Neguma. We
want to provide vegetable seeds, plants, fruit trees or coconut saplings
to every family in the country to start their own home garden.
In addition, people with ¼ acres to 2.5 acres of land will get
assistance to grow something at a commercial level e.g. pineapple,
papaya, banana, lemon, ginger, turmeric, Karapincha, Kankun, types of
potatoes etc. Divi Neguma will provide seeds/plants, fertilizer, tools
as well as the technical knowledge required for this task.
Budget 2012 called for halting the import five items of food; Mungata,
Undu, Sesame, Corn and Peanuts. The domestic production of these items
will be increased through Divi Neguma to realise this target.
Milk production is expected to increase from 20 percent to 35 percent
of the national requirement by the end of the year.
Q: What has been the reaction to Divi
Neguma from participants so far?
A: The reaction has been
very positive. A lot of people are looking after their home gardens
well. Most people are expecting to use their harvest for domestic use.
Some people have gone well beyond with what Divi Neguma had provided.
They have found their own plants and seeds. They have collected
knowledge from others, spent a lot of time and energy to create their
home gardens in an exceptional manner.
However a few people have not even bothered to plant the seeds that
were given, others have not looked after their crops well.
On the industrial side some people have faced difficulties in getting
bank loans. People have complained about difficulties faced in filling
forms, providing securities and even about the rude customer service at
the banks.
A lot of people have expressed an interest in engage in animal
Q: Has Divi Neguma been successful so
A: There is definite
evidence of success already. For example when world food prices had been
on the rise, our prices have remained relatively stable and low since
the middle of last year. The cost of some items such as eggs have been
The real benefits of Divi Neguma like food security, self reliance
and better nutrition will take a longer time to realize, but the signs
that Divi Neguma is having an impact is already evident.
Q: Any specific areas which need
A: The monitoring of the
programme is done by the four village level officers. Every recipient
household has a diary to record their expenses. This information/data
should get collected at village level and travel up to the national
level (through the Divisional Secretariat and District Secretariat).
There is a need for better monitoring. For example to identify
industries which need assistance or to identify home gardeners who may
need more information. There has to be a better follow up on the
progress being made by the Divi Neguma recipients.
As I said before we need to provide people with more technical
knowledge. For example to encourage people to switch from chemical
fertilizer to organic fertilizer is not easy. But conducting awareness
programmes can be helpful to convince people to make the change.
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You've just finished P.F. Chang's Rock 'n' Roll Marathon (or Half Marathon). Now what are you going to do? Written
by Race Coverage, Published Sep. 30, 2009, Updated Oct. 1, 2010 at 12:56 PM UTC
Are you visiting San Jose for Sunday's Rock 'N' Roll San Jose Half Marathon? Here's what to do after crossing the
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Actress Rani Mukerji-starrer "Aiyya" was earlier scheduled for a Sep 28 release, but it has been postponed and now it will hit screens during Dussehra.
Co-produced by Anurag Kashyap and Viacom 18, "Aiyya" has been directed by Sachin Kundalkar.
"Yes, we were supposed to release our film on Sep 28, but now the film has been pushed back. There is no specific reason as such. It is a collective decision taken by Anurag Kashyap and Viacom 18," Kundalkar told IANS.
"Now we are looking for Dussehra release. It will be releasing in the last week of October," he added.
"Aiyya" is said to be about a woman who finds a man desirable because he smells good and Rani, last seen in "No One Killed Jessica", has teamed up with southern actor Prithvi Raj for the movie.
"I am not really done with the film. The editing is going on full swing. And Amit Trivedi is composing the music presently," said Kundalkar. – IANS


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___ Reference Map of Georgia (GA)
About GeorgiaGeorgia, one of the 50 US states is situated in the southeastern United States, with a coastline at the Atlantic Ocean in southeast. Not to be confused with Georgia, a country in southwestern Asia and formerly part of the Russian empire. The US state is bordered to the north by Tennessee and North Carolina, to the south by Florida, to the west by Alabama, the Savannah River formes a natural border with South Carolina. The states nickname is "Peach State" and also "Yankee-land of the South".
With an area of 153,909 km² (59,425 sq mi) the US state of Georgia is about half the size of Italy.
Major rivers in Georgia are the Savannah River, the Chattahoochee River which forms part of the border with Alabama, the Altamaha River, fed by the Oconee and Ocmulgee rivers, and the Suwanee River which rises in the Okefenokee Swamp, a 1,770 km² peat filled wetland in south west Georgia and northern Florida. Major lakes are, Lake Sidney Lanier, Lake Seminole, and West Point Lake.
Highest elevation in the state is Brasstown Bald mountain with 1,458 m (4,784 ft).
Georgia has a population of 10 million people (est. 2014). Capital city is Atlanta, largest metropolitan area is Atlanta-Sandy Springs-Roswell, GA Metropolitan Area.
Statehood since 2 January 1788. Founded as an English colony in 1732 and named after King George II of Great Britain, it was one of the original thirteen states.
A detailed map showing the US state of Georgia with boundaries, the state capital Atlanta,
major cities and populated places, streams and lakes, interstate highways, principal highways, and railroads.
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Reference Map of Georgia
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The map shows the location of following cities and towns in Georgia:
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Husom & Rose Photographic Restoration
The history of photographic processes is a history of improvements in the ease of making a photograph, but not necessarily the longevity of the image. Photographs from the 1950's can be more faded than ones from late 19th century. The chemicals used to produce a photograph are often the ones that cause the most damage, particularly if not properly washed out of the print by the photo lab. Other problems include mold, foxing (brown stains) and discoloration from exposure to acid papers and glue stains—frequently from improper storage in an album.
Color photographs have problems of their own. The dyes used to create color images have varied over the years and again the age may not always be the only factor. While black and white photographs generally do not fade from sunlight, color photos can lose their color rather quickly. But to make matters worse, color in photos do fade even in the dark. Almost all color prints after the mid-1970s are on a plastic coated paper that is prone to cracking or small breaks in the emulsion if not kept perfectly flat.
Finally, let's not leave out damage from other "natural causes." Water generally does not have a negative effect on photographs since they are exposed to baths of water in the processing. However when you add water to framed photos or an album full of family photos, damage can often be extensive. In these cases it is best to not try to remove the photos once the water has dried. Likewise photographs that are severely curled should not be unrolled. We are experienced in dealing with these issues and can often provide some relief before we begin digital restoration.
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Glee Season 5 Spoiler: Who's Filming With Sue in NYC? (PHOTO)
Is Sue Sylvester (Jane Lynch) about to be busy gettin' busy on Glee? Indeed, the always-cantankerous character will soon have a love interest on the show — and you'll never guess who appears to be playing that part!
Jane had previously revealed that Sue will be watching Rachel's (Lea Michele) opening night of Funny Girl in NYC. "I probably shouldn't tell you how she gets there, but I will say that she falls in love, and it's a lot of fun," Jane said last month of the upcoming episode.
It now appears as though Sue's lucky guy will be played by former Saturday Night Live star Chris Parnell! Way to go, Sue.
On April 2, Jane posted a photo (at left) of herself and Chris on the Glee set while filming Season 5, Episode 17: "Opening Night." "Chris Parnell and me on @glee," Jane captions it. "Why am I in a caftan, and why does he have bed head?"
We're thrilled to see Chris on Glee soon. He has previously appeared on such TV shows as Suburgatory and 30 Rock, so Glee is lucky to have him. And we can't wait to see his sure-to-be-hilarious relationship with Sue unfold.
Do you think Chris Parnell will be playing Sue's love interest? And is he a good match for her?
Source: Jane on Twitter


text:
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text:
Kristina Toutanova
July 2006
In this paper we show that generative models are competitive with and sometimes superior to discriminative models, when both kinds of models are allowed to learn structures that are optimal for discrimination. In particular, we compare Bayesian Networks and Conditional loglinear models on two NLP tasks. We observe that when the structure of the generative model encodes very strong independence assumptions (a la Naive Bayes), a discriminative model is superior, but when the generative model is allowed to weaken these independence assumptions via learning a more complex structure, it can achieve very similar or better performance than a corresponding discriminative model. In addition, as structure learning for generative models is far more efficient, they may be preferable for some tasks.
|Publication type
|Published in
|In Proceedings of EMNLP
|Association for Computational Linguistics
All copyrights reserved by ACL 2007


text:
"It's really coming down," Hanana murmured, peering out the window.
"They weren't joking around, were they?" One of her "sisters" stepped forward to join her, staring out as she adjusted her glasses. "When the baker said they got a lot of snow, I thought it was, you know, a foot or two."
Actually, there wasn't two feet of snow on the ground just yet, but it was coming close.
A week ago, the day after Hanana's unsuccessful "flower-venture" in town, one of the villagers--the baker--had come knocking. At first the family had thought someone had finally come around to try and actually be friendly, but it wasn't quite the case. "Winter's coming," he'd said, his tone having a strange edge to it. "Right around the corner, so to speak." He'd gone on, telling them to bar the door, close the windows as tight as they could, and under no circumstances were they to leave their home. Since they were out on the very edge of town, right by the forest, the demon would surely come for them first, he'd said.
Hanana had been about to tell him off for frightening her adopted-sisters--both of them had looked very confused and a bit nervous, Aruru edging behind her a bit and grabbing the pink-haired girl's sleeve, but the man waved it off. "I'm only doing the neighborly thing and warning you all," he shrugged. "When the snow dies down, someone will come by to see if you need anything. Til then..." He'd shrugged again before turning and shuffling down the path back to the village.
And then poor Hanana had to tell her sisters that the village had some old superstition but they shouldn't worry about it themselves. "Every town has some little story, right?" she'd said with a small smile. "It doesn't mean they're all true!"
The other two had exchanged glances, clearly not convinced.
And now, with snow falling faster and faster, with no sign of stopping, more than they'd ever seen at once before, the two were convinced that the stories were true after all.
"I'm sure it's nothing," Hanana said, looking over her shoulder, trying to force her mind away from the sight out the window. "This is a new place, after all...the weather patterns can't be the same everywhere."
"I'm not so sure, Hanana," Eruru said as Aruru rushed past to close the curtains. "The story says that the weather just changed suddenly. It's supposed to be subtle, over time, right?" She swallowed. "Such a dramatic change so suddenly...something isn't right."
Hanana didn't have an answer to that. Because really, the more she thought about it, she was right. Sure, maybe a demon wasn't really out there, but...something had happened, right? She didn't know what, but something had.
She didn't want to believe the story but she couldn't deny there was something odd about it.
Maybe that'd be a good excuse to leave the town...It wasn't like they had any real reason to stick around. No one had talked to them for a while, and even now they didn't sound very friendly. There wasn't much here for them either--the girls had wanted to see the word beyond their hometown, for their own individual reasons. It had taken a while, but they'd finally been able to save enough money to leave, and come here, but there was really no point in staying at all. No new opportunities, distant townspeople, and--and Hanana almost hated to admit it because it did sound rather childish and selfish--she couldn't see a flower anymore.
She'd never thought she'd see the day when that happened.
Well, why not? This could be a good excuse--it didn't seem like any of them were happy here anyway. Yes, after the winter season had passed, she and her sisters would pack up their things and--
"Hey girls..." Aruru spoke up suddenly, having not moved from the window all this time. One hand gripped the curtains tightly as she stared out into the flurries. "No one else likes to come up here, do they?"
"Not if they can help it, I think..." Eruru said. "Why?"
"Someone's outside right now."
In an instant, all three were at the window, staring at the spot where Aruru was pointing. Hanana had to press her face to the window, cupping her hands around her eyes in order to try and see better. It was difficult to make out, but sure enough, there was someone out there! Some dark figure in the distance was shuffling along, pausing every now and then before continuing.
The first thing that came to Hanana's mind was that story. He saw someone near the forest...thought someone had gotten lost.
"They were right!" Aruru pushed herself away from the window, hands over her mouth. "Shut the curtains, hurry!"
"That's...that can't be right!" Hanana answered. She shook her head, as if to erase the story from her mind, and went for the door.
"H-hey, wait a minute, where are you going?!"
She grabbed a coat, put it on. "I'm sure someone's just lost is all...You can't just leave them out to freeze to death, that's horrible!" She could just imagine it: someone had gotten locked out of their house somehow, and couldn't find a way back in. And no one would let them inside their own shelters because of the story. Then when that poor person would be found, frozen to death, they'd all just think...Hanana shuddered involuntarily. No way! No way, that couldn't happen! See what rumors will cause? she thought to herself, turning the knob. "I'll be back--no matter what, you girls stay indoors, okay?"
And before her sisters could stop her, she'd shut the door behind her.
She should have brought a scarf, a hat, or mittens with her. The moment she stepped out, she'd started shivering, teeth chattering a bit. The pink-haired girl hugged herself, rubbing her arms to get some feeling in them. Wow, winters really were bad here...
...all the more reason to help that person ahead of her.
"Heeeey!" she called out, a hand cupped around her mouth. "Hey, stop!"
The figure ahead stopped, seemed to turn to look at her.
"Over here!" she shouted again, moving her free arm in a "come here" gesture. "Over here; I'll get you inside!"
The other person turned and ran the opposite direction. Into the forest.
"No, not that way! You won't be safe there!" Without thinking, she ran after them, cupping her hands over her mouth and breathing on them to warm them again. "Wait--I just want to help you!"
In retrospect, this may not have been her best idea.
She was in the forest now, and while the trees kept some of the falling snow at bay, they did nothing for the cold. And she really wasn't dressed for this, even in her coat. Hanana sneezed, rubbed her numb nose with the back of her hand, and pressed on. She could still see that person ahead of her--actually, they seemed to be slowing down. She didn't know they were getting too tired or cold to go on anymore (like she felt she was) or if it was something else...
never mind why they'd run off in the first place. Maybe they were shy or...or they thought Hanana was the demon; that'd be a funny story to tell her sisters.
...if she ever got back. She was already feeling sluggish, legs barely listening to her. When she tried to call out again ("Wait, please!") her voice came out as a hoarse croak.
But no matter how miserable she felt, she kept telling herself that the other must be even worse--they had to have been out in the cold longer, they were exposed to the elements longer, and she could never--would never--just abandon someone. Not if she could help it.
She smiled weakly as she finally noticed how much closer she was--just enough to barely make out the features of their clothing.
"Y-You...can't be out here," she croaked, reaching forward with a numb, trembling arm. "You'll...you'll f-freeze...."
That was it. Too cold, too much at once for her. Her already-fading vision started to darken, and she could just barely see the other person jerk around to look back as she grazed his shoulder.
The last thing she actually noticed was bright, shining blue.
Frost -two- by Lady-MothWatch
©2012-2016 Lady-Moth
Well...I just kept bouncing ideas around for the meeting to happen, kept researching and researching variations upon variations of the tale...and I wasn't sure that the way the majority of them went felt...right.
(For those who don't know, in Disney, Belle offers herself in exchange for her father, whom the Beast took as prisoner; in the French fairytale, her own father must offer anyone to be killed by the beast in his place and Beauty offers herself (the family objects but in the end, does nothing to stop her), in another version the beast does tell her father to give him the first living creature he sees and it turns out to be Beauty, but that didn't feel right either!
...so in the end, it came down to Hanana being too nice for her own good. Waugh.
Keroro characters belong to respective owners, gijinkas belong to
(For those who don't know, in Disney, Belle offers herself in exchange for her father, whom the Beast took as prisoner; in the French fairytale, her own father must offer anyone to be killed by the beast in his place and Beauty offers herself (the family objects but in the end, does nothing to stop her), in another version the beast does tell her father to give him the first living creature he sees and it turns out to be Beauty, but that didn't feel right either!
...so in the end, it came down to Hanana being too nice for her own good. Waugh.
Keroro characters belong to respective owners, gijinkas belong to
This is fantastic *goes to next chapter*
No don't fuss at yourself! All the changes and alterations you've made make it more original, yet still capturing the background of the original story in a way, and... dang it I don't know how to describe it, just whatever you're doing, KEEP DOING IT~ /no a profession writer or critic so is at a lost of words except that this is awesome, even though it's only to chapter two
YES. Oh boy this is awesome!


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This Adult Deluxe Bunny Suit with Yellow Vest and Mascot Head costume is great for Easter picnics, parades, and bunny hops! It includes a mascot head that is oversized so your head fits comfortably inside and the eyes are made of mesh screen so you can see, as is the mouth area so you can talk. The bunny has a friendly face, with two white and pink ears standing up atop the head. The jumpsuit has a long, white zipper in the back for easy on and off, as well as a plush bunny tail! The plush, rabbit foot shaped shoe covers secure over the foot with elastic and the mittens slide easily over the hands and have fur on top with fabric on the bottom for maneuverability! The yellow bow tie and vest feature a colorful Easter egg pattern.
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text:
Forty-ninth session
Agenda item 160
The General Assembly,
Recalling its resolution 2248 (S-V) of 19 May 1967, by which it established the United Nations Council for South West Africa as the legal Administering Authority for the Territory until independence, 1/
Recalling also its resolution 2679 (XXV) of 9 December 1970, by which it established the United Nations Fund for Namibia and its resolution 3112 (XXVIII) of 12 December 1973, by which it appointed the United Nations Council for Namibia trustee of the United Nations Fund for Namibia,
Recalling further its resolution S-18/1 of 23 April 1990, by which it admitted the Republic of Namibia to membership in the United Nations,
Recalling its resolution 44/243 A of 11 September 1990, in which it decided that the United Nations Council for Namibia, having fulfilled the important mandate entrusted to it by the General Assembly in its resolution 2248 (S-V) relating to the Territory, was to be dissolved, and in which it requested the Secretary-General immediately to arrange, in consultation with the Government of Namibia, to coordinate the transfer to the Government of Namibia of the programmes, activities and assets of the United Nations Council for Namibia, including archival collections consisting of, inter alia, major resolutions and decisions of the United Nations on the question of Namibia and other relevant documents and official correspondence, as well as, in particular, those relating to the implementation of Decree No. 1 for the Protection of the Natural Resources of Namibia 2/ and to the accession to international conventions and representation of Namibia in specialized agencies of the United Nations and intergovernmental organizations,
Recalling also its resolution 44/243 B, of 11 September 1990, in which it decided that the United Nations Fund for Namibia should continue to operate in order to ensure the orderly completion of all programmes and activities currently financed from it and as set forth in annex II of the resolution and that a report in that respect should be made to the General Assembly at an appropriate time, and also decided that the United Nations Institute for Namibia, having fulfilled its mandate to provide substantive support in its areas of competence in the struggle for freedom of the Namibians and the establishment of an independent Namibia and in view of the critical financial difficulties it was experiencing, should cease its operations on 30 September 1990,
1. Takes note of the report of the Trust Committee for the United Nations Fund for Namibia; 3/
2. Decides that the one student remaining under the United Nations Fund for Namibia shall be transferred for administration purposes with the necessary funds until completion of his programme in 1996 to the United Nations Educational and Training Programme for Southern Africa, administered by the Department for Development Support and Management Services of the Secretariat;
3. Decides also that, since the activities of the United Nations Fund for Namibia financed under the three accounts -- Nationhood Programme Account, General Account and United Nations Institute for Namibia Account -- have been completed, the three accounts of the Fund shall be closed and the assets transferred to the Government of Namibia to be utilized for the purpose for which they were given, namely, the education of Namibians;
4. Decides further that the Trust Committee for the United Nations Fund for Namibia, having completed its mandate, is hereby dissolved.
92nd plenary meeting
19 December 1994
1/ By its resolution 2372 (XXII) of 12 June 1968, the General Assembly proclaimed that South West Africa should thenceforth be known as "Namibia" and decided that the United Nations Council for South West Africa should be called "United Nations Council for Namibia".
2/ Official Records of the General Assembly, Thirty-fifth Session, Supplement No. 24 (A/35/24), vol. I, annex II.