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Bolton Against the Bedroom Tax was once again in the news recently when protesters interrupted a council meeting in the central library to draw attention to the Bolton Council's refusal to act on the petition delivered to its leader Cliff Morris back in October 2014.
It was one of many protests the campaign group has mounted since handing over the petition, calling for a "no evictions" policy for victims of the Bedroom Tax. Earlier protests have seen campaigners don Cliff Morris masks en masse in the council chamber and chaining themselves to the seats in the chamber to prevent removal by the police. (In the event it was the council that moved out.)
The petition, according to the council's own guidelines, should have initiated a full council debate, opened by the campaign leader, Linda Charnock, addressing the council. Instead, and despite public promises by council leader Cliff Morris, the petition was shunted around various committees before being dumped in the bureaucratic long grass. But if the intention was to silence the campaign, the council leader's strategy has badly misfired. After announcing a ban on campaigners entering the council chamber, the council has been forced into rescinding such a move as a breach of constituents' rights.
Bolton Against the Bedroom Tax was formed after the introduction of the Welfare Reform Act by the Liberal-Conservative coalition government in 2012. The Act contained measures to impose an "under-occupancy" charge on social tenants deemed to have spare rooms. Affected tenants faced a reduction in housing benefit of 14% for one spare rooms and 25% for two spare rooms. Supporters of the measures like to refer to the system of paying housing benefit to "under-occupiers" as the spare room subsidy, the implication being that such tenants enjoy accommodation beyond their needs at tax-payers' expense.
The coalition government's stated rationale for the Bedroom Tax was to make more efficient use of the available social housing stock. In reality it was part of a raft of measures designed to reduce social security payments, penalise unemployment and stigmatise benefit claimants. The broader political narrative is one of forcing people into poorly paid jobs with little security, often on zero hours contracts, in effect driving down living standards for those at the bottom of the income tree. This has been the pattern since the Thatcher government of the eighties. Since then, as labour laws have been weakened, trade unions attacked through punitive legislation and financial regulation stripped away, wealth and income inequality have increased massively. The annual Credit Suisse global wealth report of 2014 reported:
• The amount of the country's wealth controlled by the richest 10% increased to 54.1% this year, up from 51.5% in 2000, according to the annual Credit Suisse global wealth report.
• The increase in inequality has coincided with a boom in the number of rich and super-rich people in Britain. There are now 44 dollar billionaires in Britain, compared with eight at the start of the century, while the number of people whose net worth is at least $50m (£31m) almost quadrupled to 4,660.
• As the rich have got richer, low and middle-income households have been squeezed by falling real incomes caused by years of rising household bills and lack of wage increases.
Since then things have deteriorated further as the grip of the government's austerity measures tightens.
Seventy percent of those affected by the Bedroom Tax are disabled. Many of those affected had already suffered at the hands of the other prong of the government's assault on disabled people at the hands of ATOS, a private company contracted to reassess the condition of those claiming disability benefits but whose incompetence forced to pull out of the arrangement after a series catastrophic failures. (http://www.theguardian.com/society/2015/jan/18/after-hated-atos-quits-will-maximus-make-work-assessments-less-arduous) Time after time disabled claimants were having their housing benefits cut despite the so-called 'spare room' being essential for their life-enhancing, or life preserving equipment, or for the partners or carers to sleep in. In other cases they were being told to move from specially adapted homes because they were deemed to be too large for their needs. In other cases parents separated from their former partners were told their children were not entitled to a room of their own when staying at weekends and during holidays, but should either share a bed or sleep on the couch. In every case there was a callous disregard for the tenants' welfare and quality of life.
Bolton Against the Bedroom Tax has collected the stories of many victims of the tax. They reveal that far from being "spongers" looking for an easy ride, the vast majority are extremely vulnerable people who have suffered poor health or misfortune and often both, and found themselves caught up in a downward spiral of mounting debt with no means of escape. For many Bolton Against the Bedroom Tax has been a lifeline. Over the past two years the campaign has held over twenty public meetings, petitioned relentlessly, set up a drop in centre and personally supported tens of victims in meetings with the council, at tribunals and in court. It has held demonstrations in the town centre, outside the law courts and the council chambers and stands ready at any time to support those under threat of eviction. In doing so it has given campaigners hope, a sense of purpose and immense pride in what the campaign has achieved. Last year Bolton Against the Bedroom Tax was acclaimed Campaign of the Year by Bolton Socialist Club. It was a well-deserved tribute to an essential, hard-working and never-say-die campaign. It will continue to work for victims of this pernicious tax for as long as it's needed.

subset: commoncrawl


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text: [ Gah, I've been trying not to get drawn into this shit. ] Nathanael Nerode wrote: >Theodore Ts'o wrote: >> The GPL also does not adhere to the DFSG. Previously, this didn't >> matter because the GPL is a license, and not software. > >&@#$&.... > >Shall I repeat this again? This hasn't changed. "Debian will remain 100% >free software", as an English sentence, includes the meaning "Debian will >remain 100% software". No room for non-software. You keep on asserting that. Your interpretation of that phrase is not the only one possible. Another possible (and apparently quite common) interpretation is "100% of the software in Debian will remain free". A lot of the problem in interpretation can be understood if you consider what people are focussing on. Many Debian developers (shockingly, I know) are and have been actually trying to produce a high-quality free operating system. As most of us are software (sorry, _program_) developers trying to get the job done, pedantry over the exact wording and spirit of the DFSG and SC as applied to license texts and fonts has often not been considered necessary. _Please_ can you drop this hyperbole and get on with something productive instead? For example, ISTR you were working on several of the kernel drivers to make them load binary firmware from userland. How's that going? -- Steve McIntyre, Cambridge, UK. firstname.lastname@example.com "Every time you use Tcl, God kills a kitten." -- Malcolm Ray


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Posted by Stacey on Oct 15, 2008 in The Latest Love | 0 comments
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Read next: The top 10 bedtime stories to get your tot to sleep


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Director Mariano Pensotti Talks Radical Theater 100 Years After the Russian Revolution
As we approach the 100-year anniversary of the October Revolution next month, we should consider the legacy of this event and its importance in light of our contemporary social ills. The mass majority of the world finds itself living under conditions that have historically led to revolution: generalized injustice and inequality, economic instability, war, and disconnect between those in power and the people.
A universal discontent is currently expressed through the politics of resistance: mass protests on the streets and on social media, symbolic gestures like sit-ins and individual actions, collective and grassroots organizing, and attempts to create safe spaces of autonomy. In some regions, movements like these have led to "revolutions" and their inevitable companion: the bloody, repressive, and conservative counterrevolution, as was also the case with the ascent of Stalin in the Soviet Union in 1924. Marx famously said of the 1848 French Revolution "History repeats itself: the first time as a tragedy, the second time as a farce." Today, when we are way past the "third time," what awaits the "democratic" world? Will we continue pushing for reform, through struggle and conflict, in the plastic system that is our democracy, or is yet another revolution in the making? On this backdrop, the perennial question of art's role in social transformation arises once more. How can contemporary art become a form of resistance to injustice and an instrument of change, not only a depiction of it?
For me, the work of Argentine author and director Mariano Pensotti offers a promising response. His interdisciplinary practice is heavily influenced by the Proletkult Theater of the Russian Revolution. His latest project, Arde brillante en los bosques de la noche (It burns bright in the forests of the night), which debuted earlier this year, chronicles the lives of three contemporary women in Latin America with diffuse connections to the 1917 revolution, and asks us to consider the relevance of its ideologies and principles in contemporary society, specifically Argentina.
Kunsten Festival des Arts, Brussels: Mariano Pensotti & Grupo Marea, Arde brillante en las bosques de la noche
Like the Proletkult Theater, Pensotti combines a multitude of media in his plays and installations including entire films; he places some of his works in the unsuspecting public space; his plots address today's pressing social issues. This mix of form and content recalls Sergey Eisenstein's "theater of attractions" style. Like the latter, Pensotti raises the spectator's awareness of their own existence by forcing them to "co-produce" the meaning of the work, yet ultimately leading them to the conclusion he carefully planned.
Beyond formal and stylistic approaches inspired by revolutionary theorists, Pensotti is also keenly attentive to the mode of production of the work. Attempting to put his political ideas into practice, Pensotti founded the collective Grupo Marea with set designer Mariana Tirantte. Without relinquishing the director's authorship, the group collaborates on the development of theater plays, installations, and artworks, splitting funding equally among the members, and crediting contributions collectively. With its roots in the collective theater practices of the 1960s, this more egalitarian model of production can serve as an example for improving human relations in the cultural field. It stimulates us to work more collaboratively and less competitively, to attempt resisting the pitfalls of aspirational capitalism and the "politics of envy" that govern the art world, to recognize each individual's contribution to the whole, thereby truly making the personal political. These small gestures of resistance, if undertaken by a critical mass, can lead to larger, more durable, social transformations.
I spoke with Pensotti recently about Arde brillante en los bosques de la noche, a work whose artistic merit matches its political force, balancing the two without collapsing into neither pure form nor politics, creating the type of artistic work that responds to the needs of our troubled generation.
"[The play] has to do with the idea of being a spectator or protagonist of History, but also to address the question of whether witnessing somebody else's story might transform your own."
Theater Spektakel: Mariano Pensotti & Grupo Marea, Arde brillante en las bosques de la noche
Olga Stefan: Arde brillante en los bosques de la noche, your most recent play, asks us to consider, 100 years after the Russian Revolution, where its principles and ideologies are still needed today. To enter into this inquiry you construct a false premise: the story of the daughter of Alexandra Kollontai (the Soviet revolutionary and feminist who wrote extensively on freedom, the body, sexuality, and how capitalist society shapes female identity), who runs away from Stalinist Russia after her mother's death and takes refuge in Misiones, Argentina. This story becomes the thread uniting all three characters in the play. Why did you come up with this premise and why did you need it?
Mariano Pensotti: From the beginning it was clear for me that I didn't want to work with the Russian Revolution just as an historical event, but rather to see how its ideas and principles are still relevant now. And at the same time, I wanted to trace the implications of the Revolution in my own Argentinian context, to move it out of Europe. The Russian Revolution as a whole is extremely difficult to fictionalize: it has actually been done so many times before that I wanted to go in a different direction. That was when I started to get deeper into the story of Alexandra Kollontai and her writings and actions during the Revolution.
"Contemporary feminism, especially in Latin America, is quite closely linked to some of the key ideas of the Russian Revolution."
At a certain point I started to feel that contemporary feminism, especially in Latin America, is quite closely linked to some of the key ideas of the Russian Revolution, even if it doesn't lay in classical Marxism at all. But of course I'm a theater director, not a theoretician, and I work with fiction, with some sort of "expanded-fiction" if you like. I don't do documentary theater either. So I started to imagine stories related to all these topics and I discovered that there was a small community of Russians living in Misiones more or less at the same time of the Revolution and that was the moment where I imagined a fake Kollontai daughter going to live there, trying to create an utopian socialist commune in the crazy Argentinian jungle in the first decades of the twentieth century.
OS: Some of your previous titles come from music or quotes. Where does the title of this play come from?
MP: It's a very free translation of a William Blake verse from his poem "The Tyger." The original verse says "burning bright in the forest of the night" which has been translated into Spanish in many ways. It's a poem that I like a lot and somehow I think the verse is a nice metaphor of the whole idea of the revolution, the utopia that, like a wild animal in a forest, shines even in the darkest moments.
Kunsten Festival des Arts, Brussels: Mariano Pensotti & Grupo Marea, Arde brillante en las bosques de la noche
OS: The play presents the story of three independent women who nevertheless still suffer from the violence of this male-dominated society, but in different ways. Tell us about the relationship between each character and the type of violence you assign to her.
MP: I think what the main characters experience through the stories is a mixture of violence and frustration. The first one, Estela, is a university professor who teaches the Russian Revolution in contemporary Buenos Aires and she's in conflict with herself because she feels her life is much more conventional and bourgeois than what she teaches. She is at a difficult moment in her relationship with her teenage daughter, who has no qualms to take her place in a male-dominated society and sees no contradiction in becoming a sort of doll-sex-object. And at the same time her husband is leaving her for a younger woman, which eventually alienates Estela and leads her to use violence against herself.
"Puppets are struggling all the time to say what they want, to be free while they're being manipulated."
The second character, Sonja, is a young European middle-class woman who decides to join a revolutionary guerrilla movement in Colombia after watching a violent event against a woman. Then, after some experiences of real violence during combat, she went back to Europe and finds how much her family has changed during her absence. Behind an image of tolerance and support she finds out that her relatives "sold" her. They try to make money by selling her story and forcing her to work by giving workshops for Apple CEOs who had discovered that studying revolutionary techniques helps them improve sales.
And the third character is a journalist who works on a political TV show, and to celebrate a promotion decides to do sexual tourism in Misiones with some friends. There, young and poor descendants of Russians sell themselves to middle class ladies from Buenos Aires. At the beginning it looks like a form of violence against the male prostitutes' bodies, but when she gets deeper into that world, it is ultimately revealed to be something different, and much more violent.
Theater Spektakel: Mariano Pensotti & Grupo Marea, Arde brillante en las bosques de la noche
OS: Arde brillante en los bosques de la noche is a film within a play within a puppet theater. You call it a marioshka of "fictions within fictions." How are these fictions related and how does the form of each story correspond to its representation of reality? Specifically, the first layer of reality was expressed through a puppet play, with the characters manipulating puppets that are exact replicas of themselves. Puppets are usually recognized as less "real," while cinema, which we perceive as the most closely connected to reality, is in fact the most removed in this play—the third layer, the furthest away from reality. So in fact you used the inverse of expectation.
MP: I wanted to use the inverse of expectations in terms of reality and its representations. And I also wanted the puppets to be the main point of view, the one of the audience. As you mention, this is a film within a play within a puppet theater and the beginning and the end are the puppets. There's a lot of theory about the body and its representations inside the piece. I wanted to have the body of the same actors transformed into small puppets that work as doubles, then in the second story, to have them live as people, and then in the third, to appear in a bigger format through the medium of film. It really has to do with the idea of being a spectator or protagonist of History, but also to address the question of whether witnessing somebody else's story might transform your own. And somehow it is also related to the transition from manual labor, the puppets, to a more elaborated form of work, the film.
But speaking about theory, I wanted to use a lot of discussions about freedom, the body, social control and biopolitics, which in the mouth of puppets feels less solemn than in a living body's, and also much more contradictory and bittersweet, since they're struggling all the time to say what they want, to be free while they're being manipulated in such a concrete way.
Kunsten Festival des Arts, Brussels: Mariano Pensotti & Grupo Marea, Arde brillante en las bosques de la noche
OS: Your work, which spans theater, cinema, performance art, and installation, is influenced by Prolekult Theater and Sergei Eisenstein's theories. In Arde brillante en los bosques de la noche, the film is an autonomous work of art but also an inherent part of the play. Similarly, in Eisenstein's 1923 theatrical mise-en-scene of Alexander Ostrovsky's 1868 Enough Stupidity in Every Wise Man, he not only adapts the characters to reflect that day's societal realities, but also makes his first film called Glumov's Diary, which is an inherent part of the play yet also a stand-alone work.
MP: Eisenstein's mise-en-scene of the Ostrovsky's piece, which I have to admit I didn't know about before starting the research for Arde brillante… was really the starting point and the trigger of the idea of using a film for the third part. I was reading a book about that experience and when I went to bed that night, I had a strange dream where a group of puppets went to see a theater piece… I've always been interested in Eisenstein's ideas about montage and his basic notion that two images form a third one in the mind of the audience.
Kunsten Festival des Arts, Brussels: Mariano Pensotti & Grupo Marea, Arde brillante en las bosques de la noche
OS: You created Grupo Marea, a collective with whom you work on the production of your plays. When we spoke about political theater and how the production of the play is equally important to its content and form, you mentioned that you tried to reflect your politics in the way you relate to your colleagues and co-workers. Please tell us about this further and how you function in Grupo Marea. How do you treat authorship, hierarchy, and collaboration in the group?
MP: We were interested in forming a collective of artists from different backgrounds and disciplines working together in theater to explore the limits of fiction. We discuss ideas together from the beginning of each project, not defining the format that we're going to use, keeping that open as much as possible—afterward it can become a theater piece, an installation, a collaboration with other artists, etc.
After some time of discussion, I'm the one who writes the stories and the text but I keep on talking with the other members of the group about the concept, independently of their role in the final piece. Even though it's not exactly a classic example of "collective creation," it certainly implies a strong amount of ideas coming from all of us. We try to collaborate as much as possible in the general production of everything, and we form a cooperative where we all earn almost the same amount of money at those moments where there's some money involved, which is not always the case.
OS: What I loved about Arde brillante en los bosques de la noche is that you treat revolutionaries and radical ideologies in a very human way—you show their hypocrisies, duplicities, and absurdities while highlighting the many important positive and relevant contributions.
Do you think political theater needs to be propaganda, as Eisenstein and many others since believed? How do you see political theater and art today in the context of the long tradition of radical Argentine thinkers who have written on the topic?
MP: Well, I have to say that I don't consider my theater to be exactly "political theater," but more a theater that likes to discuss political ideas inside the context of fictions and the life of some specific characters. In that sense sometimes I feel closer to a certain literary tradition from the nineteenth century, especially novelists such as Tolstoy, Balzac, or Stendhal that—making a huge reduction of their goals—were struggling to create art pieces that were bigger than life, including fictions, but also their lived experiences, discussions of political events of their time, and philosophical ideas…
I don't think political theater needs to be propaganda, but I don't like theater that hides its political ideas too much either. I think I prefer works of art where ideas are quite clear and exposed, and then sometimes contradicted within the same piece.
"I don't think political theater needs to be propaganda, but I don't like theater that hides its political ideas too much either."
In some way I think political art in Argentina, as politics in general, is quite alienated right now. After 10–12 years of center-left governments in Latin America, with a rebirth of political involvement in every aspect of life, we're now facing a huge reaction from the right. In just two years most of the Latin American countries had turned right, supported by mass media propaganda, dirty tactics, and a lot of opportunism. What is more striking for us is that now there's no military involved in right wing governments, as was the case in the 70s and 80s, but rather CEOs. A new neoliberal experiment is taking place here again and the future looks extremely uncertain. In the best scenario it might create, as a sort of reaction, a political art movement opposing this at some point, but so far I'm seeing more apathy and depression than action. As we're now not facing a dictatorship but a right wing government elected by a surprisingly large number of people, the question of "for whom" we're making art is also in the air. That creates an atmosphere of isolation and the need to find new ways of organization.
Kunsten Festival des Arts, Brussels: Mariano Pensotti & Grupo Marea, Arde brillante en las bosques de la noche
OS: In most of your work the theme of broken utopias seems to be a constant subtext. Dreams that have not materialized. Missed opportunities. What could have been. Disillusionment. Tell us where this preoccupation comes from.
MP: It probably has to do with the position of my generation in relation to Argentina. We're the sons and daughter of the revolutionaries who, during the 70s and 80s, were trying to transform the country into some sort of Socialism and were exterminated by the dictatorship. We grew up surrounded by the idea of "loss." Not just a physical loss of people [murdered and disappeared by the regime] but also of a lost world, more ideal than real. The contrast between the world our parents fought for and the one we were living in was so huge that it left a permanent mark on many of us.
But then there's also something that I consider more universal: no matter where you were born or raised, the feeling that we all have is that we could have been better or happier had we done or experienced things differently. The tragedy of being one and not many. The difference between our expectations of life, of ourselves, and our true reality is for me a wonderful source of fiction.
Olga Stefan is an arts writer, curator, and researcher based in Zürich.
(Image at top: Theater Spektakel: Mariano Pensotti & Grupo Marea, Arde brillante en las bosques de la noche. All images © Grupo Marea)
Tags: theater Mariano Pensotti, video-art, performance, realism
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|- Knolik
isolating mechanism
isolating mechanism defined in 1951 yearisolating mechanism - isolating mechanism;
isolating mechanism - Mechanism restricting the exchange of genes between populations, by diminishing cross-breeding. Necessary for the evolutionary divergence of populations from each other.
near isolating mechanism in Knolik
definition of word "isolating mechanism" was readed 2130 times
|Legal info


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The world-class orchestra will perform this week at Whitney Hall.
Win the virtual experience of a golden ticket to Wonka's Chocolate Factory. And learn about global dreams along the way.
Parag Khanna spoke at Idea Festival, sharing information on global events to suggest that power to provide social and environmental solutions should belong to anyone who wants to be part of the solution.
Jerusalem's history has clearly influenced many Kentucky folk. But the Bluegrass State has reciprocated, in part anyway.
Local news for Sept. 15, 2010


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The digital age we live in has afforded us with numerous ways we can carry our businesses online and get the publicity we need. For Fitness Marketing Tips especially, there are so many engaging and fun marketing strategies you can employ to get the knowledge of your Fitness house spread abroad. When it comes to Digital marketing for Fitness houses, what you want to do is to find a way to ensure that news of your gym gets out to new members while existing members are kept happy and returning. You can achieve this by means of meaningful content creation for your ad campaigns.
Follow the following Fitness Marketing Tips for 2019
Before we get down to business, it is important for us to first off understand the nature of the fitness industry. The fitness industry or sector is a health and lifestyle industry that thrives on two major factors – The acclaimed competence of the instructor(s) therein and the condition of the facility (workout gears installed, space, comfort and luxury arrangements etc.) That said, for an industry as this, you would need to structure your fitness marketing campaigns to endeavors that both amp up the image of your fitness center and to the campaigns that will draw people in. This article will serve as a great tool to expose to you the many marketing strategies you can employ for your gym in the year 2018. Enjoy the read!
Get Started: Go Online!
The importance of this can't be overemphasized. The world is a digital village now and there will be more people than your flyers can reach. If you are really serious about breaking the bank this year, you should take the internet more seriously in your marketing campaigns.
Make an User Friendly Fitness Website
If you don't already have one, you should get a functional website, preferably a WordPress based site as they are lighter and easier to access. What a website does for you is to give you that primary, foundational standing online for all your other campaigns to follow. Your website can serve as a viewing gallery for all the productive work that gets done in your fitness center, and also help you to garner a better following on social media. Of course, you would need to ensure that the contents provided on you website are all Search Engine Optimized (SEO). This would help your facility rank well on Google searches.
Email Marketing
Email marketing is a great way to be among the first things your clients see in the morning when they wake. With good email marketing you can cover as much as 2 million people around your location and boost the traffic on your website. The secret about compelling email pitches is the quality of the content in terms of language and graphics. To run a successful email marketing ad you would need someone good at crafting highly converting pieces for your business.
Create a Challenge
If you've gotten the first step all set, the next thing you should do is to create a challenge. A challenge could be tagged anything but it should be geared towards wellness and fitness. An idea for a good fitness challenge is a Slim down contest held in the summer and promoted on social media – people could come in weight loss goals for the summer and share their successes online when it's all done. Another good challenge idea is the Corporate Challenge – this is simply getting people in different career paths to compete against each other, with each participant representing his career path. The benefits of organizing challenges are two fold, if done properly, it would lead to increased online traffic and social media trends, the other benefit is that it guides participants (your clients) to a healthier looking body.
Create a Fitness Blog
Yeah, you can run a blog even if you're not good at blogging, all you need to do is get someone to manage the blog for you. Why a blog? Because they are always fun to read and are read daily by millions of people around your neighborhood and abroad! Your blogs don't have to be all about writing on words, you can decide to have a member featured weekly, organize small competitions on it and even answer questions from your members via your blog. Blogs are a great way to provide your website with new content so that it doesn't remain stale. With a WordPress site, you can easily take advantage of the blogger options which is integrated with the structure of the website.
Ensure the above Fitness Marketing Tips for 2019, you should reach your target goals!


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Have you ever been to a sporting event where the stadium was completely silent? Me neither. The coaches, teammates and fans are motivating the players through bursts of enthusiasm and spirited encouragement to do the best they can. Can you imagine if these players were surrounded by disengaged coaches and uninvested fans? Talk about blasé. Is it safe to say that their performance would decline? We do. Motivation fuels performance.
How do you motivate those in your work organizations? Do you offer incentives? Do you tell employees that they might lose our job if they don't turn in their best work? Or do you motivate them with the notion that they play a role in the success of your team or business? Both fear and incentives, while they may get the job done right now, usually result in temporary motivation. We should strive for long term motivation by inspiring others to develop a sense of personal satisfaction. We can't afford to devalue the thrill of achievement. The reward is substantial when we can positively change the way someone feels about themselves.
The motivational climate of many of our work organizations presumably aren't as positive as they could or should be. When given the opportunity, allow employees to share their ideas, make them feel heard and that their opinions matter. Create a fun, relaxed environment that supports balance. Crack a joke, a smile, say "Good Morning" instead of the forlorn head nod. Motivation is going to begin at the top and trickle down. You would be surprised to discover how many managers focus on the wrong tactics of motivation. Check out our video that talks about building the BEST motivation climate!
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I have chosen to combine Nr. 473 Precious Amethyst with Nr. 467 Quindim Gold. They are made for each other :-)
I have applied both polishes for this effect. The shine is the original one, I have used no top coat.
I was surprised to see that they are long lasting and persist for a long time on nails without taking any damage. They didn't chip off even without having a protective top coat over them, even after 3 days of sun bathing and several sauna sessions.
Just LOVE them!
If you like my manicures you can follow me on Bloglovin and Pinterest


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Job Summary :
The Shoe Carnival Store Manager assists the General Manager with the daily operations of the store and carries store keys to perform opening and closing responsibilities.
Primary Duties & Responsibilities :
Requirements :
Total Rewards :
The Shoe Carnival, Inc. Total Rewards program offers eligible associates highly competitive benefits, including the following :
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Read all about it – find out how people, businesses and communities are using Inmarsat to meet their own mission-critical communication needs.
Or let us keep you posted automatically about what's happening at Inmarsat by registering to receive our news by email, by subscribing to our RSS feed, or by following us on Twitter.
14 February 2014: Miranda Mills, President of Inmarsat Aviation, discussed the exciting future of in-flight connectivity at the Inmarsat Americas regional workshop on 12-13 February.
More than 60 Inmarsat partners and representatives from key regional airlines gathered at the Hyatt Regency Hotel in Fort Lauderdale, Florida, USA, to learn more about Inmarsat Aviation's plans moving forwards and the capabilities that the introduction of GX Aviation services would bring.
"By 2015 we will all be able to connect in the cabin to the internet in the same high-speed way that we do on the ground today," explained Miranda Mills.
"Inmarsat is best placed to deliver this due to our heritage as a safety services provider around the world. Airlines and business aviation customers also know our service and know that it works because it is consistent wherever they go."
Delegates also had an opportunity to hear about new SwiftBroadband services and solutions on the horizon as well as listen to presentations from key Inmarsat representatives, including Leo Mondale, Inmarsat Managing Director, Growth Management and Support.
In addition, guest speaker J. David Grizzle, former Chief Operating Officer of the FAA Traffic Organisation, discussed the Challenge of new product development in an era of fiscal uncertainty.
An interactive presentation and forum on Flight Deck Communications wrapped up the workshop.
Attendees heard from a panel of leading satcom industry peers including Cobham, Honeywell, ISA, UA, ARINC, Thales, SITA and Rockwell Collins.
"The event was a huge success bringing together partners and customers in one place, underpinning our position as the market leader in aviation satellite communications," concluded Neal Meehan, Aviation Vice President, Americas.
Inmarsat Aviation:www.inmarsat.com


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Watching his once formidable lead in the polls crumble, Pennsylvania Senate candidate Pat Toomey asserted, "It's very clear. The person who is the extreme candidate that is so far out of touch with Pennsylvania is Joe Sestak."
A huge part of Pat Toomey's campaign strategy seemed to be based on remaking his image to come across as a moderate Republican. In an election year with the likes of Ken Buck, Sharron Angle, Christine O'Donnell, and Joe Miller, even solidly conservative Republicans could come-off as "moderate" due to the elevated extremism on the Right.
But Pat Toomey is certainly no moderate on either economic or social issues:
• Pat Toomey was rated one of the most right-wing members of Congress: "more conservative voting record than J.D Hayworth, Jim DeMint, and was about as conservative as Jesse Helms," and "had a considerably more conservative voting record than Rick Santorum." Toomey is so far to the Right that he even felt that Mike Huckabee was too moderate.
• An anti-choice zealot, Pat Toomey called for doctors to be thrown in jail for performing abortions. Furthermore, Toomey doesn't just want a Constitutional Amendment to ban gay marriage, but even tried to prohibit gay and lesbian couples from adopting children.
• He led the Club for Growth for four years, a vehemently pro-corporate advocacy group that recently exclaimed: "Privatize Social Security? Hell Yeah!" Toomey himself has worked to privatize Social Security throughout his career.
• Back in 2006, Toomey described his pro-corporate advocacy as "all about protecting our Christian heritage" and "a culture that is under assault." For Toomey, "protecting our Christian heritage" also includes preventing oversight on Wall Street's reckless "derivatives trading." Not only is Toomey a staunch opponent of Wall Street Reform, but worked a derivatives trader.
• He stood with Phyllis Schlafly, Tony Perkins, James Dobson and Tim LaHaye to support the Family Research Council's Kenneth Blackwell to become Chair of the Republican National Committee. When leading Focus on the Family, James Dobson enthusiastically campaigned for Toomey when he ran for Senate in 2004.
Pat Toomey's ultraconservative views have made him a darling of pro-corporate groups and the Religious Right. His plan to come across as a moderate is as absurd as it is scary.


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Texas Gov. Rick Perry's comparison of homosexuality to alcoholism this week was widely regarded as a major political misstep … except, of course, by the fervently anti-gay pundits on MattBarber's website BarbWire.
BarbWire senior editor Jeff Allen writes today that Perry's comments defending the Texas GOP's support for ex-gay therapy "demonstrate his resolute refusal to back down to the bullies of Big Gay" and should "inspire a few other Republicans to grow a spine."
"That's what presidential poise under pressure looks like," Allen writes, also hailing the gay-baiting TV ad that Perry ran during the 2012 Iowa caucuses.
Of course, Perry finished in fifth place in the caucuses and later dropped out of the race.
The Los Angeles Times reported that Perry's comments resulted in a "smattering of groans and hisses" from the crowd. Perhaps his fearless fortitude, displayed while speaking in the hostile territory of the "gay" Mecca of San Francisco, will inspire a few other Republicans to grow a spine — but don't hold your breath.
During his last presidential bid in 2012, Perry also emphasized his Christian faith in a campaign advertisement entitled "Strong" that debuted late 2011 in Iowa. The spot condemned the military's perilous repeal of the don't-ask-don't-tell policy which prevented open homosexuals from serving in the military.
"I'm not ashamed to admit that I'm a Christian, but you don't need to be in the pew every Sunday to know there's something wrong in this country when 'gays' can serve openly in the military but our kids can't openly celebrate Christmas or pray in school," Perry declared in the advertisement. And he also pledged to stand against the "liberal attacks on our religious heritage."
Fortunately, Gov. Perry's latest remarks demonstrate his resolute refusal to back down to the bullies of Big Gay. That's what presidential poise under pressure looks like.


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Good shots of milk being bottled and new plastic sachets filled; milk floats on their rounds.
Short Summary
Unissued / unused material - dates and locations may be unclear / unknown.
Mildenhall, Suffolk
MS. Small milk float moving along suburban road on its rounds. Various shots, United Dairies milk float arriving and parked outside their dairy. LS Inside the dairy showing the modern way milk is bottled automatically. Various shots, a young factory worker demonstrating the new milk packing process to a group of observers, where a continuous strip of polythene bag is filled with milk, sealed and cut into packs by machine. MS A young woman is made to pose holding an armful of milk sachets, brand name is "Polymaid". Various shots, a milkman making his delivery of polythene wrapped pints of milk, first to a woman at the door of her cottage and then just dropping them into little boxes outside the front door.
Various shots at the depot of a milkman loading his flat, supposedly showing how more polythene wrapped pints can be carried than bottles of milk. LS Milkman drives his float out of the yard. CU Man in a jacket slips a milk bag into his jacket pocket. MS and CU Housewife on step of house catching a bag of milk thrown by the milkman. MS Man cuts off the corner of milk sachet and has a drink. Various shots, empty milk bottles left outside houses.
Note: Date on original record: 14/12/1964.
- Film ID:
- 3107.02
- Media URN:
- 87726
- Group:
- Unissued unused
- Archive:
- British Pathé
- Issue Date:
- 1964
- Sound:
- Mute
- HD Format:
- Available on request
- Stock:
- Black & White
- Duration:
- 00:05:01:00
- Time in/Out:
- 01:01:42:00 / 01:06:43:00
- Canister:


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It could be very frustrating if you lost an item especially if it's in your own home. If you drop a piece of paper in the office or even on your way to work or school, it could be frustrating but you easily learn how to let go because you know that there's probably no way to find it anymore. However, if you lose something inside your home and you just can't seem to find it, it becomes more frustrating and even annoying because you know it's just there and you just don't know where to look.
This happens to a lot of us all the time. It could be that receipt for the skirt you want to exchange or refund, the TV remote control, the ribbon your child chooses to wear for the day and she just wouldn't pick anything else, your car keys, your mobile phone (especially when it's on silent mode) and a whole lot more. You would think that for as long as you're super organized, live healthy, Have a good nights rest and you have everything in its proper order and position, you wouldn't lose anything at all especially in your own home; however, it still happens.
So here are 5 easy tips to help you get rid of that frustrating feeling when trying to find a lost item in your home.
1. Think. Think hard.
Stop talking, complaining, blaming people or even screaming. You look for lost items with your eyes and not with your mouth. Your brain dictates what your eyes can see or where to look so use your mind and think hard. Try to remember where you last saw that item or when you last felt it in your pocket. If that doesn't work, then proceed to the next tip.
2. Turn on the lights.
Even if it's day time and there's little light that comes into a room, turn on the lights or even use a flash light. You need to see everything clearly in order for you to spot a lost item especially if it's small. Use a flashlight to look under the bed, the tables, the couch and everywhere else. It's common sense, really. If you can't see clearly, how can you find what you're looking for?
3. Trace back your steps.
Did you just come home from work? Were you in the kitchen or in your bedroom? Look even in the weirdest places. You might have unknowingly placed the remote control in the ref while you got a bottle of juice or you might have dropped your car keys the moment you locked your car door. Turn on the garage door opener and let the natural light come in. You might have even left the item outside and you'll only know that when the garage door is open.
4. Ask if anyone has seen it.
Now if you already tried to look but you can't find it on your own, it's time to ask for help. Ask family members if they've seen what you're looking for because they might have and placed it somewhere else.
5. Learn to let go.
It happens to a lot of people—you can't find something when you're looking for it but when you're not, you will finally see it. If you just can't find what you're looking for, then start letting go. Think of a backup plan. Do you have a universal remote control that you can use instead? Do you have spare car keys? If what you're looking for is just inside your home, you will find it eventually but for now, learn to let go and move on. You can't keep looking for an entire day or two!
For more information go to:
Garage Automatics
Simply Psychology


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We've had a bit of a think on your behalf!
It's fantastic that you would like to help us tackle loneliness in Edinburgh for good.
To get you started, we've listed some ideas…
Download our Ideas Pack for more suggestions and nifty tips on how to make the most out of your ideas.
If you're thinking about fundraising for us then get in touch. We can't wait to hear from you!
Vintage Vibes is all about friendships and good company whilst tackling loneliness – and we love to partner with lovely businesses!
By nominating Vintage Vibes as a chosen charity project, you will be making a positive impact in your local community and changing the to the lives of the loneliest over-60s population in the UK.
Being our friends not only improves lives but also boosts the positive PR of the business, opens the door to our networks of fabulous staff, volunteers and VIPs, plus gives your workplace team and brand something really super to be proud of. Hurrah!
Getting involved couldn't be easier, or more fun…
Other ways to help….
We recently surveyed over 250 of our supporters who gave us oodles of inspiration! Some of their top suggestions for ways to support and/or fundraise included:
Get in touch if you are interested in being a production partner for our soon to be launched range of merchandise.
Over 80% of our survey respondents said they would be keen to support a local business that was supporting Vintage Vibes.
To learn more or get started, simply, call us on 0131 343 0958 or email us at firstname.lastname@example.com
We have all sorts of bits and bobs to help you help us…
We also have everything you need to make fundraising easy as pie…
…and more!
Get in touch at firstname.lastname@example.com or call 0131 343 0958 to find out more.
Want to donate today? Click here.


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Developed by U.S. sportswear giant Nike, the Triax Vapor 300 Watch features a large, curved LED screen. Designed for runners and people with active lifestyles, the watch face is titled at a 27 degree angle and the crystal mineral glass is scratch-resistant. The watch can record lap times and also has a stopwatch, alarm and calendar. Setting these features is a simple process.
Setting the Time and Date
Check that your watch is in time mode and press and hold the button on the center-left side of the watch face for three seconds.
Press the button above the watch face to increase the value displayed, and the button on the right of the watch face to decrease the number.
Set the time using one or both buttons then press the button on the lower left corner of the watch face to advance to the day, month and year screens.
Select the 12 or 24 hour clock and press the button on the lower left corner to move to the day or month display. Press again to access the Power Save menu and press once more to enter the screen contrast adjustment page.
Exit the time and date setting function by pressing the button on the center-left side of the watch face.
Setting the Alarm
Scroll to time mode and press the view button to the lower right of the watch face once to select alarm one, or twice to choose alarm two.
Press and hold the button on the center-left side of the watch face for three seconds to access the alarm adjustment mode.
Set the alarm using the two buttons located above and to the right of the display. The button located in the lower left corner advances the adjustment option from hour to minute.
Complete the alarm setting process by touching the button to the center-left of the watch face. Adjusted alarms are automatically set to function.
Turn the alarm feature off before the alarm is activated by pressing the button you used to increase the value displayed.
- Jupiterimages/Photos.com/Getty Images


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Imagination acknowledges assistance of
Yorkshire Forward for Research Initiative
London, UK, Dec 6th 2010, Imagination
Technologies, a leading multimedia and communications technologies company, has
successfully completed the first phase of research into advanced System on Chip
(SoC) software and systems design made possible by a funding grant from
Yorkshire Forward, the Regional Development Agency for Yorkshire and Humber,
and the European Union through the European Regional Development Fund. The
grant was provided to increase research and development, supporting the
development of a single integrated applications processor and increasing the
company's offer in the mobile products market.
Simon Hill, Executive Director of Business
at Yorkshire Forward comments: "We are delighted that Imagination is already able
to demonstrate the first fruits of this project thanks to our support.. Grants
such as these ultimately promote the world-class innovation in Yorkshire and
Humber businesses and supports our work in securing industrial excellence in
the region."
One key result of this first phase of research was the
completion of a study into how best to map the Android™ operating system from
Google onto the META processor's unique architecture. Imagination expects that
the research project supported by Yorkshire Forward will result in further
innovations as the work progresses, not only in terms of Operating Systems and
application platforms, but also methodologies to achieve high performance SoC
solutions based on Imagination's innovative META multi-threaded processor.
Jim Whittaker, VP Processor IP, Imagination
says: "We are delighted with the support for research offered by Yorkshire
Forward which complements the significant investment Imagination has making for
many years in our processor technology. Our research team in Leeds is
developing new technologies that are being positively received by product
development teams across all parts of Imagination's engineering community. As a
result of Yorkshire Forward's support, we look forward to continue growing the capability
and scope of activities of our Leeds-based research team."
About Imagination Technologies
Technologies Group plc (LSE:IMG) – a global leader in multimedia and
communication technologies – creates and licenses market-leading processor
cores for graphics, video, multi-threaded embedded processing/DSP and
multi-standard communications applications. These silicon intellectual property
(IP) solutions for systems-on-chip (SoC) are complemented by platform
level IP and services, a strong array of software tools and drivers and
extensive developer and middleware ecosystems. Target markets includemobile phone, handheld multimedia,
home consumer entertainment, mobile and low-power computing, and in-car
electronics.Its licensees include
many of the leading semiconductor and consumer electronics companies.
Imagination has corporate headquarters in the United Kingdom, with sales
and R&D offices worldwide. See: www.imgtec.com.


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Families are required to complete an Application Form, which will help determine the needs of the family. All information gathered on these forms will remain strictly confidential at all times. Families who have been identified as needing support will have priority into the program. *Completing an application is the first step in the application process and does not guarantee acceptance.
- All children must be of Aboriginal descent.
- Children must be between 2.5 – 6 years of age to be considered for enrollment.
- Children with special needs will be encouraged to participate in the program and will do our best to accommodate these children if appropriate resources can be secured.
- Once the initial number of spaces is filled, parents may place their child on a waiting list. Children on the waiting list are prioritized based on need rather than on a first come first served basis.


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Pain relief formula
Cream & Salve
MJ Creams mail order is now available through Bud Buddy. You can no longer place mail orders on this site.
Infused with Arnica, Juniper and Marijuana for fast-acting relief from muscle pain, joint pain and inflammation.
Available as a fast-acting cream and potent salve.
MJ Creams are made with a neutral base cream, infused with Marijuana Resin, Hemp Seed Oil, and Essential Oils. MJ Salves are made with pure beeswax and coconut oil instead of a base cream. They are both used to treat the symptoms for a wide variety of skin and muscle conditions, providing relief from pain and inflammation.
The PAIN formulation is best for rapid relief of all kinds of pain and inflammation. Treats immediate and chronic pain of all kinds, including muscle pain, post-surgical pain, joint pain, arthritis and bruises.
The salves have a higher concentration of cannabinoids than the creams, and will have a longer-lasting effect.
TO USE: Rub a small amount onto the affected area. If pain is not relieved within 15 minutes, apply a second time for stronger pain relief.
* Not for internal use. Arnica should not be applied to open cuts or open wounds.
PAIN Secret Tip: Apply salve to problem areas before a workout or other painful activity, to stop pain before it begins.
Cream Ingredients: Water, Sunflower Oil, Steric Acid, Shea Butter, Jojoba Seed Oil, Cannabis Hemp Seed Oil, Marijuana Resin, Extract of Arnica, Extract of Juniper, Carbomer, Sodium Hydroxide, Xanthan Gum, Tetrasodium EDTA, caprylyl glyocol, phenoxyethanol
Salve Ingredients: Organic beeswax, Coconut Oil, Cannabis Hemp Oil, Marijuana Resin, Arnica, Juniper.
Made with pure, water-extracted marijuana resin.