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was concerned she would be the last to quit Petersburg.
people's will cannot be verified, for it never occurred.
laughter from a statesman made a strange impression on him.
referring to the Saxony china dishes.
it is all over, and forever."
all sides awaiting a word from him.
Russian frontier, as was the case in 1807!"
That never does any harm," thought Anatole.
done before) that I'm in the dumps."
growing excited. "What about your son, your sister, and your father?"
Natasha had told him that she had rejected Bolkonski.
The City of Edinburgh Council has drawn up plans to make improvements to walking and cycling infrastructure in the west of Edinburgh, including nearby to Sighthill campus. New paths and pedestrian crossings will connect up communities from East Craigs all the way down to Clovenstone. The project, known as the West Edinburgh Link, aims to transform walking and cycling in and around the area.
Removing parking on one side of Bankhead Avenue to build a segregated cycle lane.
Remvoing a lane of traffic from Wester Hailes Road to build a widened footpath and a segregated cycle lane.
Creating new pedestrian crossings on Wester Hailes Road and Calder Road.
Improving the feel of many footpaths and public areas through 'placemaking' (installing trees, benches, etc.).
The deadline to respond to the consultation is 10th May 2019. After that, the design team will use the feedback to improve the plans and ensure they represent the views of local people.
Edinburgh College Students' Association will be submitting a report to the project team giving our views on the plans. If you would like to contribute to this, please email alex@ecsa.scot.
A survey conducted at two of Ghana’s most important markets in Accra has given indications that beginning from a couple of months from now, traders at their respective enclaves will begin to reduce prices of goods.
Traders at the Abossey Okai spare parts market and the Makola market, both in Accra claim to have struck a win-win situation with the government to realize this objective.
Traders explain that by June, a number of importers would have sold their old stocks, and would be applying downward revised pricing on their new goods cleared from the ports under the new imports duty regime, which would impact positively on shelf prices of those goods.
The reduction of prices of goods is expected to settle in following government’s 50 percent reduction in benchmark values, used by Customs in valuation of all imported goods for import duty assessment purposes and 30 percent reduction for benchmark value of vehicles.
Speaking with the Goldstreet Business during a familiarization tour embarked by the Ghana Revenue Authority (GRA) in the area aimed at conducting a field survey to assess changes that have occurred after the Vice President’s pronouncement on the benchmark values reduction, the Co-chairman of Abossey Okai Spare Parts Dealers Association, Mr. Siaw Ampadu said in the next three months, customers will experience the reduction of prices of goods in their pockets.
“We are going to make sure every spare parts dealer here in Abossey Okai reduces the prices of their goods only if government policy keeps working. The policy should be a win-win situation for all”, he reiterated.
The tour was also meant to ensure that the reduction does not only benefit the traders and importers alone, but everyone else in the supply value chain, notably the end users. Already, some spare parts dealers in the enclave have reduced prices of some selected goods to enable customers experience the benefits of imports duty payments reduction.
These sets of traders who have reduced their prices are still in the minority, being only those that have just cleared their goods from the ports following introduction the new imports duty regime.
For instance, one of the traders said he had reduced an item from Gh¢300.00 to Gh¢250.00, which translates to almost 17 percent reduction in the item.
With regards to their counterparts at the Makola market, some traders who spoke with this paper narrated that no one had cleared goods since the directive, but noted they were ready to reduce prices of goods only when the GRA takes pragmatic steps to eliminate the activities of dawn markets within the vicinity, which they claimed was largely affecting their businesses.
Whether you believe the number 13 is lucky or not, the 13th annual Droppin’ of the Carp at Lucky Park in downtown Prairie du Chien could bring you a little good fortune in the new year. This is only if you buy into the superstition and plant a kiss on the world-renowned local fish, “Lucky, the carp,” on New Year’s Eve Tuesday night. It would make for a good photo opportunity, if nothing else.
Of course, there’s much more to the Droppin’ of the Carp and Carp Fest than the lowering of “Lucky,” but the famous frozen fish is certainly the most felicitous aspect of the entire celebration. Between 2,500 and 3,500 fans attend the carp drop from year to year, and this holiday, despite a chilly New Year’s forecast, an enthusiastic crowd is expected yet again.
The celebration will kick off at Lucky Park at 9 p.m. with the area’s largest music, entertainment and light show, sponsored by Twisted Vision (Nick and Nate Gilberts and Shawn Redman).
“They do a nice show; they really get the crowd involved,” Nelson said.
Throughout the evening, prizes will be bestowed upon some of the most spirited event-goers. So be sure to dress to impress. Droppin’ of the Carp T-shirts and hats will also be for sale. A huge bonfire will be going and Twisted Vision will continue generating excitement until the carp is lowered. The festivities conclude around 12:30 a.m. on New Year’s Day 2014.
Carp King and Queen Ken and Jan Meyer, and Carp Family, the Randy Paske family, will reign over this year’s event. In addition, Golden Carp Sponsors who give toward the festival will have the option to designate members of their businesses to join the prestigious Carp Court, which is also recognized at the carp drop.
At the stroke of midnight, “Lucky” will drop, fireworks will light up the sky and party-goers will ring in the new year with noisemakers, kisses, toasts and good cheer. Highlights of the event will also include the first Pledge of Allegiance for 2014 as well as the singing of “God Bless America” as everyone remembers our troops and all that they have sacrificed.
Carp Fest will end on Wednesday with the New Year’s Day Rotary Club Breakfast at Huckleberry’s Restaurant in Prairie du Chien, from 9 a.m. to 1 p.m. The Carp King and Queen and Carp Fest Committee will show up around 10 a.m. for one last hoorah. The public is welcome to attend the breakfast.
“The transition of the Droppin’ of the Carp that started 13 years ago—when we thought a few dozen people would show up—has been very remarkable,” Nelson said.
Four years ago, Parks and Recreation Director Mike Ulrich approached Nelson about making the carp drop into more of a week-long festival. Nelson agreed with the idea. Now, thanks to the addition of a Carp Coloring Contest, Hoffman Hall activities, a Carp Bowl football game (canceled for 2013), a Bowling Party, Youth Ice Fishing Derby, Teen Dance, Euchre Tournament and more, it has developed into that.
“The event has really grown into a holiday celebration that gives people something to stay awake for, that’s personalized and local,” Nelson explained. “It gives people some time to spend with their families, friends and neighbors, and the opportunity to meet new friends too. It also fills them with hope for good luck and good fortune in the new year.
Speaking of “Lucky,” Nelson said this year’s illustrious carp was pulled from local waters before they froze. “Lucky” has been locked away safely in a vault until now. Commercial fisherman Mike Valley has spiffed her up for the New Year’s occasion.
According to Nelson, the tradition of kissing “Lucky” started in the early years of the carp drop when “some young girls from out of town asked if they could kiss her.” With the advent of digital cameras and sharing on Facebook, pictures of attendees kissing “Lucky” have grown more popular and helped to illustrate the event’s unique charm to people all over the world.
So dress in your warmest layers of clothing, underneath your most creative, colorful and amusing attire, and find your way to Lucky Park this Tuesday night for an event you won’t soon forget.
Some of Michigan’s 371 juvenile lifers involved in current litigation: (l to r, top through bottom row), Cortez Davis and Raymond Carp, awaiting re-sentencing under USSC decision; plaintiffs in USDC case Henry Hill, Keith Maxey, Dontez Tillman, Jemal Tipton, Henry Hill, Nicole Dupure, Giovanni Casper, Jean Cintron, Matthew Bentley, Bosie Smith, Kevin Boyd, Damion Todd, and Jennifer Pruitt; Edward Sanders and David Walton, in prison since 1975 at the age of 17; (photos show some lifers at current age, others at age they went to prison).
DETROIT – A federal district court judge ruled Jan. 30 that the U.S. Supreme Court decision, Miller v. Alabama/Jackson v. Hobbs, which made mandatory juvenile life without parole sentences unconstitutional, is retroactive and applies to all of Michigan’s juvenile lifers. They are those sentenced to death in prison while they were children, under the age of 18.
U. S. District Court Judge John Corbett O’Meara.
The decision means all juvenile lifers are now eligible for parole, says Deborah LaBelle, attorney for the plaintiffs, calling it a significant victory. Click on Hill 1 30 13 highlighted to read U.S. District Court Judge John Corbett O’Meara’s entire ruling.
According to varying sources, there are from 362 to 371 juvenile lifers in Michigan’s prison system, 70 percent of them prisoners of color. Many have spent decades behind bars. Michigan has the second highest number of juvenile lifers among the states. Before the Miller decision, the U.S. was the only country in the world that allowed juvenile life without parole.
Although Hill v. Snyder is not a class action case, involving just 13 named plaintiffs, Judge O’Meara extended the reach of his ruling, setting precedent for all Michigan juvenile lifers.
Michigan Attorney General Bill Schuette: Heil!
Michigan Attorney General Bill Schuette and a state appeals court, ruling in Michigan v Carp, had contended that the Miller ruling applies only to new sentences, dashing the fervent hopes of Michigan’s juvenile lifers.
Judge Michael Talbot was appointed to the appeals court in 1998 by Gov. John Engler.
On Jan. 16, an appeals court blocked the anxiously awaited re-sentencing of Cortez Davis, set for Jan.25 in front of Wayne County Circuit Court Judge Vera Massey Jones. The re-sentencing was set prior to the Carp decision. The appeals court in Davis was headed by Judge Michael Talbot, the chief appeals judge as well as the original sentencing judge in the Carp case.
Click on Cortez Davis COA 1 16 13 for the Davis ruling.
Most recently, Schuette trumpeted his success in making Michigan a “four strikes and you’re out” state.
This act will likely swell the ranks of Michigan’s prison population, which the MDOC reported as 42,904 at the end of 2011. Michigan spends over $2 billion a year on its prison system, one-fourth of the state’s general funds, and is one of only four states in the country to spend more on prisons than education.
O’Meara noted the recalcitrance of Michigan’s state courts and government in his decision.
DamionTodd (r) with brother John Meyers and mother Pamela Todd.
Damion Todd was sentenced at the age of 17 to life without parole in 1986, for his role in a shoot-out between two groups of youths which resulted in the death of a 16-year-old bystander. He also faced Judge Michael Talbot, who gave him not only life without parole, but said he should serve it in solitary confinement and at hard labor, provisions which are not used by the Michigan Department of Corrections.
“I was totally overwhelmed,” he reacted. “I guess the best way that I can describe it was surreal. The morale is high with the men that I have spoken to. Even those who aren’t directly affected by this decision have congratulated me and expressed how pleased they were with Judge O’Meara’s decision. I, along with several men I have conversed with, are extremely grateful for Judge O’Meara’s decision, and we are humbled with the confidence that [attorney] Deborah Labelle will present a just recommendation to Judge O’Meara on our behalf.
Highland Park youth outside teachers meeting protesting lay-offs, April, 2004.
Attorney Deborah LaBelle, who represented the plaintiffs on behalf of the Michigan chapter of the American Civil Liberties Union, explained the outcome in detail to VOD.
In the wake of the Miller ruling, LaBelle has coordinated a coalition of progressive attorneys and organizations which have pledged to represent every one of the state’s juvenile lifers, pro bono if need be. The organizations include the ACLU, the State Appellate Defenders’ Office, the University of Michigan Juvenile Justice Law Clinic, and the Criminal Defense Attorneys of Michigan.
For more information on the legal campaign for Michigan’s juvenile lifers, contact attorney Deborah LaBelle’s office at (734) 996-5620 or email her at deblabelle@aol.com.
Marie Chouinard performed her first solo, Crystallization, in 1978: it was an hour-long “study of geometrical movement” inside an art gallery, set to the sound-scape of musician Rober Racine scraping a metal grill. Other solo works involved Chouinard urinating into a bucket (Petite Danse Sans Nom (1980)) or reaching nirvana while banging a pair of cymbals overhead (Earthquake in the Heartchakra (1985)). Unsuspecting Montreal audiences didn’t know what to make of this twenty-three-year-old powerhouse of provocation and primal movement vocabularies. Because Chouinard has never been terribly interested in pliés and tendus, and while she cites Simone Forti as an influence, dance lineages do not spur her creations. Instead, her obsessions range from visual art, to poetry, to—most of all—the architecture of our bodies. Since she founded Compagnie Marie Chouinard in 1990, the Canadian performer-choreographer has refused to be pigeonholed, composing works that replicate Henri Michaux’s India-ink drawings (Henri Michaux: Movements (2005 – 11)), physicalize struggles with freedom (bODY_rEMIX/gOLDBERG_vARIATIONS (2005)), and reimagine Greek myths (Orpheus and Eurydice (2008)), among other things. As part of Martha Graham’s 2015 – 16 season, Chouinard choreographed Inner Resources, a work just as visceral, rigorous, and daring as the fifty pieces that span her nuanced career. Chouinard spoke with the Rail’s dance editor Stephanie Del Rosso about what inspires and riles her, and how the personal and political blend.
Martha Graham Dance Company in Marie Chouinards Inner Resources. Photo: Brigid Pierce.
Stephanie Del Rosso (Rail): Can you talk a bit about your process, both in regards to Inner Resources and your work at large?
Chouinard: Of course I am a feminist. For me, it’s impossible for any intelligent woman aware of the situation not to be. It’s like humanist. Of course you are a humanist. These are such basic things—it’s like breathing. Of course you want equal life for people. That is not even a question for me.
Rail: I find it exciting that a great deal of your work seems to be changing and challenging how we view female bodies on stage. In Inner Resources, I noted this in the jagged, staccato movements of your choreography, or in the costume choices—especially when the dancers faces are hidden from the audience. Are you interested in reimagining the world’s perception of women?
Chouinard: I’m not exactly thinking in those terms. I’m trying to construct something. And in my way of organizing and receiving the world, of course a woman is full of power and intelligence and possibility—for me that’s obvious. In this case, [the dancers] had mustaches. And I thought they were beautiful. I felt a connection to something very peaceful and complete. So I’m making more choices from the standpoint of beauty. But where I find beauty is maybe not where someone else finds it.
Chouinard: Anything you do is political, so I will not deny that there is something political there. But as a creator I’m more interested in opening the mind and the heart and stepping into new landscapes. It’s just my motivation. Politics are a byproduct. When the piece was completed I realized: oh my god, there’s a political statement here. And I was totally agreeing with it. But that was not my first intention; that’s not what I was consciously looking for from the beginning.
Rail: Speaking of beauty, you once told an interviewer that you were compelled by “violence in beauty and beauty in violence and the paradox of life that beauty and violence can occur together.” I find this profound and accurate. Can you expand on this notion?
Chouinard: Sometimes beauty is so immense that it can create a pain inside me. Maybe because it comes from a place of longing or missing. Even the beauty of a sunset—sometimes you can have tears in your eyes. Sometimes happiness can be performed as violence. For me, life is so violent. Just think of the sun: it is an infernal, violent thing that’s happening all the time.
Rail: In addition to pieces that you’ve created for proscenium performance venues, you’ve also composed work for spaces outside of traditional contexts: Action performances, installations, and even an iPhone app. I’m curious why you are interested in these different performance models and what spurred you to involve technology in your work.
Chouinard: All of my work is usually around the realm of the human body, but I’m also using many different things—a book of poetry, for instance—[to help me]. Again, I’m an architect, so I just take whatever I need. Technology was providing me with some tools. For example, the app I created: I needed to use the details of the face—the tongue, the nose, the mouth. I wanted to make something ever-changing according to the choices of the people performing. So I thought: I have to create a program for that. I look to kids because I do feel it is a game. And people think only kids can play but it really is a game of our lives—a game of creating.
Rail: You’re based in Montreal, but you’ve also lived in New York, Berlin, Bali, and Nepal. Does place impact your work at all?
Chouinard: I feel that life impacts my choreography rather than place—being alive. That’s big—for me it’s really big. And very temporary. I’m still creating from that starting point; there is a residual vibration.
Rail: Looking forward: What is the future of your own company and more broadly, what do you hope for the future of the world of dance? Is there anything you want to change about the current dance climate?
Chouinard: I would change nothing in the world of dance, but I hope there will be a change in the genetic code of the human being. Something is really not functioning because we are killing people and we are creating misery for others. So I would want a change at that level. But I have no idea how to get there. There is so much suffering. Dance has no problems—we have problems, human beings.
Rail: Do you believe that dance or art has the capacity to invoke social change?
Chouinard: No, no, no. No way. Give me an example. I don’t believe in that. I think it can bring a sense of unity, a sense of beauty, a sense of longing that is satisfied somehow, a sense of completion, a challenge—many, many good things. It can have many, many effects. But I don’t see any social change happening in art. Maybe there is, but I don’t know about it.
The Kanga waterproof PVC pants are designed to offer the user with additional protection when suffering from moderate to heavy incontinence.
The Kanga waterproof PVC pants are designed to offer the user with additional protection when suffering from moderate to heavy incontinence. To be worn in conjunction with incontinence pants/pads. The Kanga® brief is reusable and washable. Made from non-crinkle waterproof fabric. Elasticated leg to ensure maximum security.
By default, LaTeX vertically centers the floats on a float page; the present author is not alone in not liking this arrangement. Unfortunately, the control of the positioning is “buried” in LaTeX-internal commands, so some care is needed to change the layout.
\@fpbot defines the distance from the bottom of the last float on the page to the bottom of the page.
so that the gaps expand to fill the space not occupied by floats, but if there is more than one float on the page, the gap between them will expand to twice the space at top and bottom.
Surprisingly, you may find this setting leaves your floats too high on the page. One can justify a value of 5pt (in place of 0pt) — it’s roughly the difference between \topskip and the height of normal (10pt) text.
Note that this is a “global” setting (best established in a class file, or at worst in the document preamble); making the change for a single float page is likely (at the least) to be rather tricky.
Bloggers and reporters are flooded with pitches every day, but pitches with certain elements always rise to the top.
Ever wonder why some of your pitches don’t get picked up or even elicit a response from the writers you’re targeting?
We at Fractl reached out to 500 top-tier publishers including BuzzFeed, Mashable, TechCrunch, and more to find out what they wish PR professionals knew about content creation and pitching.
Use of the term “content marketing” has been steadily climbing since 2011, according to Google Trends, while “blogger outreach” leaped in 2011 and has spiked again in 2014.
In conjunction, writers are receiving more pitches than ever. At some top-tier publications, writers receive more than 38,000 emails each year, and two-thirds of those emails are from people vying for press attention. 45 percent of the writers we surveyed only write one article per day, but 40 percent receive a minimum of 20 pitches per day. About eight percent get pitched more than 100 times.
So how can you overcome the competition to get your content noticed? Here are eight insights from our study.
1. Try a teamwork approach.
It shouldn’t be surprising that many writers are in their profession because they enjoy writing and developing their own stories. That’s why a full 70 percent told us they’d rather receive a pitch to collaborate, rather than receive a finished asset. Taking the specific interests of your target writers – and their audiences – into consideration should help you think of some collaborative opportunities to offer.
Whatever your angle, it is important to note that just as interests vary, so do style preferences and website restrictions on formatting. In fact, writers listed no less than 13 formats when we asked their preference. The top 5, in order, were articles, infographics, mixed-media pieces, data visualizations, and images.
A good strategy is to seek out your prospects at least two weeks before you send them a pitch. Find their recent articles, blogs, and social media presences to learn their beat and anything else you can about them. Comment, reply, or retweet them with meaningful observations (something more than “this is really interesting!” or “great article!”), and if you can, find a personal connection. Were you both cheering for Germany during the World Cup? Do you have kids the same age? About two-thirds of our respondents told us that having a personal connection mattered when they considered pitches, so don’t miss your chance to make one.
5. Read your pitch, then read it again.
If you’re in a rush, skipping your proofing step is never the shortcut to take. An astounding 85 percent of writers told us there was at least some likelihood that they would delete a pitch based on spelling and/or grammar errors, no matter how great the content otherwise. A good rule of thumb is that if a sentence sounds awkward when you say it out loud, then there’s a good likelihood you have a grammar problem on your hands. Buy yourself a copy of The Elements of Style, or find the closest grammar geek in your office and make friends.
6. Save industry jargon for the industry.

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