However, there are radiometric dating methods that can be used on sedimentary rock, including luminescence dating.
All radiometric dating methods measure isotopes in some way.
Some measure the decay of isotopes more indirectly.
For example, fission track dating measures the microscopic marks left in crystals by subatomic particles from decaying isotopes.
Radiocarbon dating measures radioactive isotopes in once-living organic material instead of rock, using the decay of carbon-14 to nitrogen-14.
By clicking on or navigating the site, you agree to allow us to collect information on and off Facebook through cookies.Most directly measure the amount of isotopes in rocks, using a mass spectrometer.Others measure the subatomic particles that are emitted as an isotope decays.These use radioactive minerals in rocks as geological clocks.
The atoms of some chemical elements have different forms, called isotopes.
These break down over time in a process scientists call radioactive decay.


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If you want to try a Mirror Dinghy, there are a few options open to you.
The Mirror Class Association owns some Demonstration boats which are available. All our boats are GRP Winder Mark 3s with Bermuda rig.
Some Sailing Clubs with Mirror fleets offer the chance to try sailing in a Mirror dinghy as part of their Open days. You can find a list in our event calander.

domain: hobby


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1/1 Photo of Southern Living's Easiest Banana Bread Ever
I got this recipe out of the 1996 Southern Living's Annual Recipes cookbook years ago. I tried because it started out with a yellow cake mix and now everyone loves it and requests it every year. It is so super easy and it even makes 2 loaves-- 1 to keep and eat and 1 to give away. Enjoy!!!!
Units: US | Metric
Serving Size: 1 (1517 g)
Servings Per Recipe: 1

domain: food


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To be a regional leader in driving collaboration and strategy within our communities on issues that are critical to the economic growth, quality of life and sustainability of this region.
The Regional Commission helps local governments address regionally significant issues with planning designed to enhance our region’s infrastructure, promote our region’s economic growth, and improve and sustain our region’s quality of life.
The Regional Commission provides long-range transportation planning for the Roanoke Valley and rural localities within our region. Regionally coordinated approaches to planning and developing our region’s transportation infrastructure is central to the mobility of our citizens and supporting businesses that rely on logistics and supply chain management.
In January, the U.S. Economic Development Administration designated the Roanoke Valley-Alleghany region an Economic Development District (EDD). This designation enhances our ability to obtain grants from EDA. A key function of EDDs is to develop, maintain and assist in implementing a regional Comprehensive Economic Development Strategy (CEDS) and support local governments in short-term planning activities.
The EDD area will be comprised of the counties of Alleghany, Botetourt, Craig, and Roanoke; and the cities of Covington, Roanoke and Salem.
Commenting on EDD designation, Congressman Bob Goodlatte said “The ability to attract new economic development, and with the jobs, educational opportunities, and innovation, is key to the growth of any community. This Economic Development District designation is encouraging news for the Roanoke and Alleghany region! I am pleased that the Roanoke Valley-Alleghany Regional Commission’s hard work and perseverance has brought this great opportunity to fruition to help strengthen local economies. I look forward to seeing how our part of the Commonwealth continues to grow.”
Wayne Strickland, Executive Director of the Regional Commission, stated “The Commission recognized the benefits of our region in being designated an EDD. The designation process took several years to complete, but the time and effort put into obtaining EDD status will result in expanding opportunities for funding important economic development projects in the region.”
Today begins a 45-day public comment period for the Draft Fiscal Year 2018-2021 Transportation Improvement Program for the Roanoke Valley Transportation Planning Organization (RVTPO). The Transportation improvement Program (TIP) is a four-year capital improvements program for all regional transportation projects receiving federal funding.
The draft TIP document is being made available for public comment by accessing the following link. Comments may be made by contacting Bryan Hill at 540-343-4417 or email@example.com. Public comment on the draft TIP will be open until Friday, March 25, 2017. Additionally, on April 27, 2017, a public hearing will be held by the RVTPO Policy Board to consider adoption of the TIP.
I attended the Safety Performance Measures Target Setting Workshop in Richmond, VA. That lengthy title might not mean much to you. I’ll try to explain why I was excited.
The U.S. Congress requires cities and states to report Performance Measures to the Federal Highway Administration every year, such as bridge conditions, freight movement, and traffic congestion.
The five required Safety Performance Measures are:
Recently, Congress also required cities and states to set targets for their Safety Performance Measures. This requirement confused me. What possible fatality target can you choose other than ZERO?
I learned that “setting targets” means to calculate evidence-based “targets”, or forecast. We forecast the number of fatalities we think we’ll have based on the numbers of fatalities we’ve had over the past several years. In Virginia, it’s been declining by about 2%, so Virginia’s target is a 2% decrease.
Congress next directed the Federal Highway Administration to assess whether cities and states are meeting their targets. If Virginia’s traffic fatalities decrease by 2%, we pass! But if we see less than a 2% decrease, we don’t necessarily fail. The Federal Highway Administration will determine if we had any decrease at all. If so, we pass! If not—we fail.
The challenge doesn’t seem to be particularly stringent at first glance. If the trend of the past few years continues, we pass. Sounds like we can do nothing and get an A+!
But that’s not true. We hope that recent efforts to improve traffic safety is one of the factors causing the decline in fatalities (although we know that there are many factors). To pass, we must at least keep doing what we’ve been doing.
What are the consequences for failure? Well, nothing really. I wonder if the original legislation did include consequences, and it was watered down. Still, I’m happy with the outcome, because what elected officials wants their city or state to be the one that had too many traffic fatalities? “What gets measured, gets managed”, and we are moving away from measuring Level of Service—how many cars we can move—and moving toward measuring Safety. What Congress has done is initiated a change in culture.
With 40,000 people dying every year on US roads, it is high time.

domain: economics


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Markham is a beautiful historic property located just north of the town of St. Helena. Wine maker Kimberley Nichols crafts elegant award winning wines. We specialize in Bordeaux varietals, particularly Merlot.
Markham was founded in 1874 by a French man from Bordeaux. Our historic stone cellar was built in 1879 and still operates today. The cellar is also one of largest event spaces in Napa. Bruce Markham bought and revolutionized the winery in 1977. We have been famous for our Bordeaux styled reds ever since.

domain: history


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If you have a pooch with short legs or one that can't jump high enough to reach certain space, these steps are for them. With 5 steps these stairs work great for your pooch reaching the bed, sofa, table or even their favorite look out window. Comfort for your pooch is priority number one when building these steps. The deep, wide design means small dogs can fit on the entire step and large can comfortably climb. Less steps also reduces stress for your dogs joints and legs. Cleaning these stairs is a breeze, simply take off carpet tread and throw in the washing machine! Easy snap together assembly makes your life easier so you have more time for play with your pooch.
Capacity: 150 lbs.
Measures Approx. 34"L x 16"W x 30.5"H

domain: pet


There’s that day in January when you go to the store and see no more festive candy canes, holiday-themed Hershey's Kisses or red-and-green colored M&Ms; the holiday-themed Whitman's Samplers, the chocolate Santas bundled in colorful foil wrappers, those chocolate "oranges" — all gone without a trace. They may be overflowing into the aisles of your local big box retailer or drugstore right now, but after the holidays are officially over, where do all of these Christmas-specific sweets end up? Are they destroyed? Given to charity? Sent to the North Pole?
If, like I did, you always thought that, come January 1, they went into hibernation in the closets of every grandmother in America — tucked in with the leftover wrapping paper and recycled gift boxes before being pulled out and dumped right back into the Christmas candy dish the next year — you may be partially right.
"Generally, stores really do sell through most of their inventory by lowering prices," said Michael Allured, publisher of candy trade magazine The Manufacturing Confectioner. "All but a very small portion is sold, the rest may go to a food pantry like Second Harvest. But every retailer has to deal with their own leftover inventory on their own."
He also has observed that manufacturers are now starting to make seasonal candies with more general motifs so that they have a longer shelf life.
"For Halloween, for example, they'll have more of a fall motif than a specific Halloween motif,” he said. “It gives the candy more staying power and keeps waste down."
Anna Lingeris, global brand manager for The Hershey Company, which makes a broad assortment of Christmas confections, from Jolly Rancher candy canes to Reese's peanut butter holiday trees (the best-sellers are still those classic Hershey’s Kisses dressed up in festive holiday hues), told TODAY.com that, "We only make as much as we already have orders for. Generally, product leftover from the holiday season is discounted per the retailer; however, The Hershey Company does donate a portion of unsold candy to various organizations including Feeding America, Operation Blessing and others."
"When it comes to seasonal products, we don't even make any Christmas-specific products unless we already have an order for it," explained Tom Ward, president of Russell Stover, which also produces Whitman's. Ward says if the company does end up with extra inventory, due to a retail customer purchasing a smaller quantity than originally promised, they’ll send the excess to their own Russell Stover retail stores, mark it down and eventually it may end up at a food pantry or the Salvation Army. But once the retailer purchases the candies, that retailer is responsible for moving the product.
Of course, once December 25 has passed — and often before — the price-slashing begins as stores pull out the big discounts in order to move inventory. And, interestingly, all of the retailers we contacted said the pre-and-post-Christmas sale prices, along with careful buying practices, were enough to make the candy disappear.
A spokesperson for Walmart stores said that they typically sell out of all of their holiday candy, discounting it after Christmas and allowing stores to keep it on sale at their discretion. Target had an almost identical response. At Walgreens, the candy also magically disappears thanks to sale pricing. And at Family Dollar stores, roughly 75 percent of the holiday candy stock is sold before Christmas and the rest sold after.
So what about folks who are buying those candies after Christmas and archiving them, along with discounted wrapping paper, for the next year? Do they really last and, more importantly, will they still taste good?
When it comes to items like Hershey's Kisses, the candy buy-and-hoard contingent is in luck.
"They generally have a shelf life of up to 11 months,” Lingeris said. “Chocolate products will maintain their quality if stored in a cool, dry place (55-60 degrees F)."
As for the swankier gift boxes? Not so much. "The Russell Stover and Whitman's boxes all have a customer-facing 'best by' code," said Ward. "They're different depending on the item, but the seasonal samplers, for example, are generally good for two months after the holiday season. After this date, we request that the retailer no longer sell the product."
Allured agrees you won't want to keep them, or any other higher-end box chocolates for very long, as the quality deteriorates quickly. "The center fillings will lose their flavor and with more expensive chocolates that use heavy cream, they can eventually spoil."
Your best bet for long-term candy storage? Hard candy. When the apocalypse comes, it sounds like it's going to just be the cockroaches and… candy canes.
"Things like candy canes or ribbon candy are good for well over a year, up to five years possibly. The sugar creates a matrix that holds it all together," said Allured. This is as long as you store it in a cool, dry place: "Humidity is the enemy."
Ward also answered a pressing question we've always wanted to know the answer to: which side of the dividing line does he fall on when it comes to taking a nibble out of a chocolate and then putting it back if you don't like the filling?
"I think it's really rude!" he said. So there you have it, straight from the president of the company.
Kirsten Henri loves any kind of chocolate with a coconut center, but thinks the ones filled with fruit should be considered punishment, not dessert.
More from TODAY Food:


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This article was first published on Focus Magazine (Issue 70).
Singapore, a true foodie’s paradise. Our little red dot houses a huge selection of food, from our favourite hawker centres, street food to celebrity restaurants. Despite our small land mass and limited agricultural output, food is big business here. Yet today, Singapore is producing only 10% of its nutritional needs domestically.
On a more macro level, expanding populations globally are driving food demand and consumption. Coupled with erratic weather patterns, fluctuating commodity prices and protectionist trade policies, food security is an issue that will continue to weigh significantly on individuals and communities.
Modern technologies in urban agriculture and aquaculture will play a central role in Singapore’s food production, enabling us to grow more with less in our highly urbanised and densely built-up environment. The use of sensors, data and artificial intelligence, for example, can also improve the quality of yield through real time insights on farming conditions and reduce wastage by tackling problems before they imperil a harvest.
Future-proofing our food production is not solely about increasing the supply of fresh produce. Of equal importance is innovating the way we create our food, be it through the use of new ingredients or the development of products catering to niche sectors like our ageing population. With the number of Singaporeans aged 65 and above increasing to one in four by 2030, texture-modified food is an important area in food production which we should pay close attention to. For example, Singapore has produced texture-modified meals in local flavours that are ready-to-eat for those with swallowing difficulties, also known as dysphagia.
Putting in place the infrastructure to grow the nascent sector
The 2019 Global Innovation Index ranks Singapore first in Asia. This is a testament to the strength of our innovation ecosystem. Our intellectual property regime is reliable and our standards have earned the trust of people, businesses and governments worldwide. Together with a pro-business environment, these fundamentals create a solid foundation for technology transfer and product development in the agri-food tech sector.
The agri-food tech sector itself is nascent. To leapfrog the sector’s development, Enterprise Singapore is doing two things:
- Building a vibrant startup environment to uncover more talent as well as anchor technical experts, incubators, accelerators and potential investors here, and
- Deepening the capabilities of our home-grown companies, large and small, to upgrade, scale up and globalise.
Building a flourishing startup landscape
Earlier this year, Enterprise Singapore’s investment arm, SEEDS Capital, appointed seven co-investment partners to catalyse more than S$90 million worth of investments into deep tech and early stage agri-food tech startups, in order to create disruptive agri-food solutions. Capital is crucial in the foundational years of a startup, enabling them to bring their innovative ideas to fruition.
These partners were selected based on their capabilities in nurturing startups, access to funding and commercialisation resources, and good track records. On top of injecting liquidity into the ecosystem, they will provide hands-on assistance, mentorship and connections with potential investors in their networks to fast-track product commercialisation.
More recently, in July 2019, SEEDS Capital announced its first agri-food tech co-investment with Openspace Ventures for Nutrition Technologies to establish Southeast Asia’s largest hi-tech commercial-scale insect protein production facility. When ready, the insect farm will produce over 18,000 tonnes of animal feed and organic fertilisers annually.
Enterprise Singapore and SEEDS Capital will continue to catalyse more investments in this area, towards creating food solutions that have high market potential both for and beyond Singapore.
Global accelerators can also nurture and support Singapore’s local agri-food tech startups in fundraising, tech sourcing, product development, commercialisation and internationalisation. To date, five accelerators have made Singapore their home in Asia – Big Idea Ventures, GROW, Hatch Blue, Trendlines and The Yield Lab.
Strengthening capabilities to grow and globalize
Specific to putting in place the infrastructure to drive innovation in the agri-tech ecosystem, Enterprise Singapore is working with JTC, the Singapore Food Agency (SFA), the Agency for Science, Technology and Research (A*STAR) and the Singapore Economic Development Board (EDB) to establish the Agri-Food Innovation Park (AFIP). The park will centralise hi-tech urban farming – both agriculture and aquaculture – R&D activities at Sungei Kadut.
The Aquaculture Innovation Centre (AIC) at Temasek Polytechnic will bring the vast expertise and manpower from nine different partners across tertiary institutes and government agencies together through a consortium model. Such a model enables the AIC partners to tap complementary strengths and create sustainable aquaculture solutions to serve both the domestic and international markets.
Beyond uplifting Singapore’s capabilities, we support companies to source for alternative urban agriculture and aquaculture production sites to achieve scale. One example of a Singapore company that has done this is Barramundi Asia. It inked an agreement with the Brunei government to farm up to 36,000 tonnes of fish in Brunei Darussalam. This can potentially open trade channels into other countries.
For post-harvest innovation, Enterprise Singapore is leading FoodInnovate, an initiative that was rolled out in April 2018 to drive food innovation through four key pillars – infrastructure, knowledge-building, co-innovation and disruptive technologies. Our food companies will be able to produce, test-bed and commercialise products to meet consumer demands and nutrition needs of the future.
There is both business and social value in innovation. While agri-food tech may still be in its early stages of growth in Singapore, it is critical to take a long-term view of developing this sector. We have started to make early moves to uncover promising startups and disruptive technologies; anchor investors, incubators, accelerators and experts; and creating the infrastructure to cultivate agri-food technologies. By fostering innovation, we lay the foundation to position Singapore as one of Asia’s leading food and nutrition hub.

domain: news


Syracuse and suburbs split over fate of aging urban expressway
Contemporary urban planners generally agree in their assessment of New York’s urban highways: They’re bad.
From Buffalo to Brooklyn, they divided neighborhoods and cut businesses off from customer bases, creating noise and air pollution that made remaining homes less desirable.
They were designed to scoot cars into and out of urban centers, or to carry long-haul traffic between, around and through them. As Jane Jacobs famously wrote, though, what they also did was “eviscerate” neighborhoods and “sack” cities, wiping away the streetscapes upon which urban life could take root and thrive.
But while the question of putting expressways into cities may be settled, it’s proving a lot more difficult to reach consensus on how to take one out.
At issue is a stretch of Interstate 81 that cuts through Syracuse, whose fate is currently under consideration by the state, leading to an urban-suburban split over what to do about it.
Last year, the state released 16 proposals for the stretch of highway that bisects the city that could be divided into three categories: ones that would rebuild and straighten the viaduct; ones that would tear it down and replace it with a boulevard; and ones that would replace it with a Big-Dig style boulevard and tunnel.
“There’s pros and cons to each of the 16, but it’s our job to narrow it down and look at what are the best alternatives to move forward,” New York State Department of Transportation commissioner Joan McDonald told Capital. “When we talk about looking about the costs of projects, et cetera, the biggest unknown is tunnels. We can make some assessments and build contingencies in, but until they actually start construction it’s hard to know what the unknowns are.”
Located near the geographic center of the state, Syracuse is New York’s fifth-largest city. It was built around the Erie Canal—which ran through the city, on the northern edge of the present-day downtown—and was also an early center for chemical manufacturing, as engineers drew on nearby salt and lime deposits.
After World War II, while American factories were humming and the nation’s cities were exploding into suburbs, planners ran two interstate highways through the heart of the Salt City: 81, which cuts across its north-south axis along Almond Street on the way from Binghamton to Fort Drum, and Interstate 690, which runs east-west just north of the old canal, merging briefly with 81 before they diverge again outside the city limits.
Construction on 81 started in 1959—two years before the publication of Jacobs’ Death and Life of Great American Cities—and ended in 1968. The last portion was a 1.4-mile viaduct, from a cemetery to the 690 junction and then up to the southern tip of Onondaga Lake.
With the elevated roadway battered from a generation of exposure to the elements and now too narrow to conform with updated safety standards, the state transportation department is in the preliminary stages of an environmental review to rehabilitate, remove or replace it.
The same issues are playing out in cities across New York and around the country: Rochester officials began filling in part of its “inner loop” late last year, and planners in Albany are hoping Syracuse’s experience could set the course for re-developing Interstate 787, which cuts the Capital City off from the Hudson River.
“In each place it comes up where the roadway either fails or is at the end of its life cycle,” said Peter Fleischer, executive director of Empire State Future, which advocates for smart planning and generally favors taking urban highways down. “When they were building in the mid-’60s, nobody was speaking up for the cities and they were where the poor people lived. So they put the roads there because that was the most efficient. Fast-forward 50 years in Syracuse, and all of a sudden, people say they like livability, they like walkability and they want to be connected.”
Bob Doucette, a major developer and civic activist in Syracuse, is one of those people.
From his office in Armory Square, he argues that a tunnel would cost too much, take too long and actually end up destroying even more properties. One of the great benefits of building a boulevard is that it would free up seven acres for new development that, if done correctly, could create a bridge between Syracuse’s downtown and the University Hill neighborhood, which is home to Syracuse University, several major hospitals and the state’s forestry school.
“What you do is energize the street grid with a number of streets that are now not used,” Doucette said. “This area is proximate to two of our largest employers. It could have a thousand uses, and it’s just being wasted at this point.”
Currently, cars traveling to Syracuse University exit I-81 and descend on a ramp to Almond Street, from which they can go up the hill on Harrison or Adams Streets.
The result is a long stream of cars waiting to turn, forming nearly a solid wall at rush hour and, for pedestrians, a confusing and dangerous gauntlet.
A boulevard, Doucette said, could be properly designed to balance the needs of the north-south traffic with cars and people going between the neighborhoods.
Stephanie Miner, the city’s Democratic mayor, agrees that the viaduct has to come down, and is similarly skeptical about a tunnel.
Shift focus from the exiting vehicles, though, to the highway’s regular flow of 100,000 cars a day. If the viaduct were replaced with a boulevard, where would that traffic go?
“You can have your boulevard, but you’ve got to [provide for] through-traffic as well,” said John DeFrancisco, a Republican state senator who successfully pushed McDonald to keep studying the tunnel alternatives even after the D.O.T.’s preliminary review discarded them. “To have just a boulevard for all the traffic … is insanity, because there’s traffic like crazy in that area anyway.”
This argument, not coincidentally, is primarily being advanced by, and on behalf of, suburban interests.
In addition to DeFrancisco, a group called Save 81 is pushing to preserve interstate access to that part of the city. The group’s key members are suburban hoteliers and the Congel family, whose Pyramid Management Group owns upstate New York’s largest mall, Destiny USA, which is located on a brownfield site along Onondaga Lake.
The hotels are strategically located just off the highway and minutes from Hancock International Airport, which lies northeast of the city center. The mall draws more of its customers from the highways—people come from as far away as Binghamton and Utica—than Syracuse, maintaining simple access is key to business.
Mark Nicotra, supervisor of the Town of Salina, says that his suburb was transformed by the highway from sleepy farmland to a healthy commercial center. His family grew up in its eastern hamlet of Lyncourt, running a family produce business near the old General Motors plant. There’s a picture in his office of Buckley Road, near Seventh Street, which was farmland before the highway went in. Now that commercial center is the heart of the town’s tax base, boasting six hotels, the Flat Iron Grill and Tully’s Good Times.
“If we look back 50 years ago when this was originally done—if we were going to do it today, we wouldn’t do it this way,” he said. “It isn’t attractive, it can be some sort of barrier, but it’s what we have. But businesses grew up around access to that highway, and we need to maintain it in some form. People may look at it as an urban-suburban conflict, but it’s not a city decision, it’s not a county decision—it has regional effects and will for decades.”
Doucette, representing the city view, doesn’t particularly sympathize.
He proposes that the through-traffic be dealt with simply by routing it on a easterly loop along I-481, which cuts around the city and past DeWitt before meeting up with I-690.
“And if it would keep the mall happy, to keep their I-81 address, then just change the sign on the road and call it 81,” he said.
Nicotra, the suburban town supervisor, said he was rooting for a tunnel, despite the tunnel projects being a nonstarter in the city.
A state D.O.T. spokesman said the detailed analysis of the short list of alternatives would be released “in the next few months”—it was originally promised for January—and will include specific designs and cost estimates.
A tunnel plan may or may not make the cut.
This article appeared in the February edition of Capital magazine.


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AMB Multiplex, jointly owned by producer Suneil Narang and superstar Mahesh Babu, has become a favorite hanging place for the youngsters for movie lovers in Hyderabad. Along with Prasads Multiplex, AMB Cinemas is now considered as the barometer for the multiplex business.
AMB Cinemas has recorded huge footfalls after the second wave of the pandemic, thanks to the success of Naga Chaitanya and Sai Pallavi starrer ‘Love Story’. Directed by Sekhar Kammula, the film went to become a big success.
At AMB, ‘Love Story’ has grossed Rs 1 crore, a record post-pandemic era. “From 251 shows with an audience of 48,233, a gross collection of Rs. 1 crore has come,” the management of multiplex said in a statement.
‘Love Story’ was released on September 24. The film garnered good reviews.

domain: entertainment


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Updated: Nov 23, 2022
Intra‐articular injections of platelet‐rich plasma decrease pain and improve functional outcomes than sham saline in patients with knee osteoarthritis
Jiabao Chu1,7 · Weifeng Duan1 · Ziqiang Yu2,3 · Tao Tao4 · Jie Xu5 · Qianli Ma6 · Lingying Zhao2,3 · Jiong Jiong Guo1,2
Received: 14 October 2021 / Accepted: 10 January 2022
© The Author(s) under exclusive licence to European Society of Sports Traumatology, Knee Surgery, Arthroscopy (ESSKA) 2022
Following is the summary of the above article:
This controlled double-blind study used diverse tests to determine the efficacy of P-PRP versus saline on knee osteoarthritis. The tests used to measure the clinical results of each treatment were the WOMAC Osteoarthritis Index to measure pain, range of motion, and knee function; IKDC test to measure pain, biochemical markers in the joint, and cartilage; and MRI scans to assess cartilage loss. These tests were performed to establish a baseline and then at 3, 6, 12, 24, and 60 months following the procedures. This study demonstrated that there were significantly better clinical results 3 months after both types of procedure. Following the 3 month mark, the saline group showed no further improvement, in fact they declined. Whereas the PRP group showed significant improvement at least 24 months and up to 48 months. The PRP group also demonstrated less cartilage loss with almost 50% less cartilage loss as compared to the saline group. At 6 months post-procedure the saline group had the same inflammatory factors that they did before the procedure, while the PRP group saw reduced inflammatory factors. This study demonstrated that overall PRP was a whopping 430% more effective than saline at treating knee osteoarthritis.
Follow the link below to read the full study:

domain: literature


Progressing slowly. One of the bigger operations of this build is joining all the main hull parts. There is still a bit of warping along the main pieces, hopefully with some heat and time (clamped to the radiator) it will even out. The heat gun is standing by just in case it’s not enough. However, I do plan on cutting and adding some reinforcement bars on the inside once I get some of these larger portions completed. The neck/bridge section is still unattached as I’m still thinking of making it removable for shipping. You can see the kit already has a TON of detail, but I will be adding more because there are a lot of bare areas. Not to mention the part fit is not spectacular by any means and there are a lot of gaps that will need to be both filled from the inside and detailed on the front.


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domain: geography


text:
The only thing Judge Daniel Kelly knows lasts forever is tertiary syphilis.
Exploring the legendary Père-Lachaise cemetery in Paris, Heddy Honigmann's Forever is a brave documentary that explores the possibility that whilst peoples always die, their art and legacy can live on and provide hope for eternity.
Prior to watching Forever, I had never heard of Heddy Honigmann, the Peruvian born director who for years has been taking the European art house circuit by storm. Renowned for travelling the world in search of inspiration for her films, Honigmann eventually stumbled across the Père-Lachaise cemetery in Paris, where amongst the buried sit the legendary likes of Oscar Wilde, Jim Morrison, Marcel Proust, and Frédéric Chopin. Forever largely explores how the work of these visionaries has brought hope and courage to a new generation of artists whilst also capturing the sense of awe and deep routed tragic beauty that has engulfed the cemetery itself.
The film sprawls out and delivers a wide picture of how very different people can all be deeply affected by the same works and the same places. The cemetery itself has been wonderfully captured by Honigmann who works hard to instill a warm yet haunting atmosphere within the environment. There is something truly gorgeous about the way the film takes the sad individuals seeking solace in the necropolis and contrasts them with the director's preference for graceful and poignant imagery within the environment. For a film clearly shot on a miniscule budget it is a testament to Honigmann that Forever is such a visual feast for the eyes.
The central stories that Honnigmann explores in her film are inextricably linked with the fact that death can give a life true purpose. Nearly all of Honigmann's keys subjects in the documentary are using the great artistic idols within the graveyard as a way to inspire them in the wake of a tragedy, whether that is the loss of a loved one, the fleeing of their culture or simply in helping battle their personal demons. The film is not so much about the famous personalities buried in the Cemetery but the way in which these giants of culture have provided work so important that they have defined lives through it. It's clear that essentially Forever is a film which feels artistic greatness not only goes beyond the grave but can also deeply impact those still alive.
Forever isn't going to work for everyone who tries to embrace its culturally diverse perspective on life and death. Honigmann's picture will simply be too stagnant and thoughtful for some whilst others will be chased away its sporadic habit of falling into sharp, short, dull patches. The film sees the lives of many people at the graveyard and some are inevitably more fascinating than others, leaving the less intriguing perspectives as filler for the 95 minutes. One suspects had Honigmann cut 10 more minutes (and a few less memorable faces) from the film it would be a more consistently engaging watch. However that's the only genuinely major criticism you could make of this otherwise impressive slice of filmmaking. Its audience will always be limited but for those able to tap into Forever it marks a highly rewarding and insightful watch.
The DVD also features a 30 minute interview with Honigmann courtesy of film critic John Anderson, which manages to provide a lot of interesting insight into the director's vision and own interpretations of the cinematic medium. To juxtapose that, however, the only other features are a limp biography and filmography, DVD extras of a bygone era. Icarus Films has presented the documentary with both scruffy visuals and audio, but it's not really a film that would benefit from a rousing Dolby Digital 5.1 track, so maybe the basic technical assets are for the best.
Not perfect, but ambitious and fresh enough to warrant a solid
recommendation. Not guilty.
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Studio: Icarus Films
• Director Interview
Review content copyright © 2009 Daniel Kelly; Site design and review layout copyright © 2016 Verdict Partners LLC. All rights reserved.

domain: artistic


text:
A look at Sherlock Holmes in his retirement years as a reporter is curious about the whisperings at the University of a mysterious man rumored to be exploring and examining corpses in the dead of night. If it isn’t related to a crime, what could he possibly be searching for? The Retired Detective hints as that.
The lead story is joined by a shorter tale by the same creative team as Sherlock Holmes... [click here for more]
Dedicated to the men and women of Law Enforcement
Each day the men and women of law enforcement embark on their patrols never knowing what the day will bring.
Each day is a struggle with people who do not understand the duties and responsibilities of a Police Officer.
Each day is fraught with boredom punctuated by sheer terror, yet they must remain calm in the face of danger.
Citizens... [click here for more]
The Freak: A Story of St. George
Written by Erik Ehn
Adapted and Recorded by David Hinde Chapman
Featuring Jenn Schorr, Jeremy Robinson, Amanda Chapman
Script first published in The Saint Plays ... [click here for more]

domain: library


(Washington, DC) – Today, Mayor Bowser announced that under the Fair Shot Minimum Wage Amendment of 2016, effective July 1, 2022, the District’s minimum wage will increase from $15.20 to $16.10 per hour for non-tipped employees and $5.35 for tipped employees.
“The Fight for $15 didn’t end at $15, and beginning July 1, workers should expect to see this latest increase reflected in their pay,” said Mayor Bowser. “We know that a strong economy and a strong workforce means having a strong, competitive minimum wage. We were proud to make DC a leader in the Fight for $15, and now we are proud to build on those efforts as our work continues to give all Washingtonians their fair shot.”
In 2016, as part of her commitment to create pathways to the middle class for Washingtonians across all eight wards, Mayor Bowser championed and then signed the Fair Shot Minimum Wage Amendment of 2016 into law to raise the District’s minimum wage to $15.00 per hour by 2020. This latest increase is due to provisions in the amendment that tie DC’s minimum wage to the Consumer Price Index.
“Washington’s employers are pivotal to our local economy and help make our city a great place to live and work. DC is open and our workers deserve a fair shot at economic prosperity,” said Department of Employment Services Director Dr. Unique Morris-Hughes. “We want to make sure all businesses are aware of the changes in the District’s minimum wage so they can stay compliant, and workers are paid what they earn.”
The Department of Employment Services (DOES) Office of Wage-Hour Compliance is responsible for ensuring employers meet their obligations by fairly compensating District workers. The Office of Wage-Hour conducts compliance audits and works to recover unpaid wages for employees who have not been paid pursuant to DC wage laws, either administratively or through court action. Wage-Hour compliance involves ensuring adherence to the wage laws of the District of Columbia by holding employers accountable to the laws.
Questions or concerns with regard to wage theft, minimum wage, or compliance with other ordinances can reach the Office of Wage-Hour Compliance at [email protected] or call (202) 671-1880.


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Norwich hairdresser climbs Mount Kilimanjaro for charity
A Norwich hairdresser has raised thousands of pounds for a cancer charity after climbing one of the highest peaks in the world.
Kirsty Hanford, who lives in Unthank Road, climbed Mount Kilimanjaro from September 15 and reached the summit on September 20.
The 22-year-old was part of a group which raised �111,000 for Macmillan cancer support.
'It was amazing. You can do as much research as you can but it doesn't prepare you,' she said. 'After the first day we were exhausted.
'I loved every moment of it but it was the hardest thing I have ever done.'
You may also want to watch:
To help raise extra funds before she went to Africa, Miss Hanford wore a ghoulish Avatar costume to work.
Mount Kilimanjaro is the highest peak in Africa standing at 5,895m (19,341ft) above sea level.
- 1 'It feels like Christmas': Shoppers return to city as lockdown lifts
- 2 An ‘Après Ski’ inspired food and drink event is coming to Norwich
- 3 Schools in Norfolk closed or partially shut due to coronavirus
- 4 Norwich pub to host Christmas market and Disney breakfast
- 5 'We've lost £300,000': Bar owner slams £1,000 grant 'insult'
- 6 Police search after reports of camouflaged man 'with weapon' in woods
- 7 Early start for shoppers as Norfolk comes out of lockdown
- 8 What you can (and can't) do as Norfolk enters Tier 2 restrictions
- 9 Parts of Norfolk may see snow by end of the week, say forecasters
- 10 Covid-19 vaccine: who will get it, when and how?
Miss Hanford added: 'I am really pleased I did it. If I could do it again I would.'


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In many ways, every single thing I could possibly say about this story is
encoded thematically within this image. All of which said, whose hand is
on waxwork Tom Baker’s shoulder, exactly?
It’s November 23rd, 1983. Lionel Richie is at number one with “All Night Long (All Night),” as for one of only two times in Doctor Who we are forced to use the American charts, as this story actually aired two days earlier in the US than it did in the UK. This fact reflects the way in which Doctor Who, in the 1980s, was increasingly turning into a global export – a massive brand that raked in money for the BBC. This, of course, is not what you expect. In any other context global success would matter tremendously and would justify the show’s continued existence. But the BBC is beholden to different rules, as is appropriate given the nature of its funding. The license payers deserve not to be ignored in favor of Americans. And so far from being a reason to keep the show on the air, Nathan-Turner’s mad quest to chase American cult television fans at the expense of the license payers is, increasingly, a major problem.
Not, however, here – a story that is rightfully and properly delightful when it airs on November 25th, 1983. Billy Joel is at number one with “Uptown Girl,” with Paul McCartney and Michael Jackson below him with “Say Say Say.” The Cure are also in the top ten with “The Love Cats.”
In real news, since March sci-fi and the real world have merged uncomfortably with Ronald Reagan announcing the space-based and comically unfeasible Strategic Defense Initiative, derisively nicknamed “Star Wars.” Samantha Smith manages the impressive feat of being used as a cheap propaganda tool by both the USSR and the US. Her resulting celebrity is the only reason she is on the plane whose crash kills her at the age of thirteen two years later.
Margaret Thatcher wins reelection in June in a landslide whereby an outright majority of voters opted for more liberal parties, resulting in Thatcher having a 61% majority in the House of Commons. This massive vote of confidence emboldens Thatcher’s government, and the Thatcherism we all know and loathe really begins here. Pioneer 10 flees the solar system four days later.
The Famicom, known in the US as the Nintendo Entertainment System, launches in Japan. The Global Positioning System is announced to be opened for civilian use. The GNU project is publicly announced. 38 IRA prisoners escape from Maze prison. And US cruise missiles arrive at Greenham Common.
While, of course, on television we have a big one. The Five Doctors.
The problem with occasionally doing what I think of as the gonzo entries is that there is occasionally the sense that I’m expected, for a given “big” story, to provide one. In practice it’s a bit more idiosyncratic than that. What makes a classic story and what makes a story that lends itself to an over the top gonzo entry do not, in fact, completely coincide. What enables a gonzo entry is a story in which there is some excess – in which the story messily signifies more than it quite means to, gesturing, often against its will, at a greater, more mythic order of things.
In this regard it is easiest to compare The Five Doctors with its obvious antecedent, The Three Doctors. The Three Doctors bristled with mythic possibility precisely because what it offered was so troubling within the context of Doctor Who. The story broke rule after rule, at once connecting with a history of the program that the Pertwee era had, at least briefly, gestured at erasing and breaking decisively with that past, opening onto an altogether grander vista. The Three Doctors invoked the past, but it was an unfamiliar and uncertain past that gestured towards a strange and unpredictable future. Blakean visions ensued. The Five Doctors, on the other hand, does little to facilitate such an entry. And this, more than anything, speaks volumes about the fallen state of the program.
It is not, of course, that it is bad. The Five Doctors is pure, unbridled fun. It does all that is required of it, and to ask more of it is churlish. What is telling, though, is that in ten years (or, really, closer to eleven) the nature of what is required of a multi-doctor anniversary story has changed dramatically. In 1973 the history of the program was, oddly, both completely obscured due to the unavailability of documentation and thoroughly present – Hartnell had only been off the air for seven years, and Troughton just over three. By 1983, however, the history of the program had almost completely inverted. It was thoroughly well-documented, with Doctor Who Magazine, the Target line, the Haining book, and a wealth of other sources making information about the program more and more available. But by 1983 it had been almost a decade since Pertwee had been on the screen, and well over one for Troughton and Hartnell. The massive and monolithic wall that was the Baker years stood between the present and the early history. In 1973 we didn’t think we knew what the program had been, but in fact remembered the spirit of it well. By 1983 we thought we knew exactly what the program had been, but couldn’t be more wrong.
As a result, revisiting the past is not, in 1983, a sort of quasi-mystical and ritualistic act of self-definition to gather the whole of what the show was. It’s a trip to the Doctor Who museum – Longleat for all. A butterfly gallery of once-magical creatures chloroformed, catalogued, brought out to flutter weakly for the license-paying audience. Far from gonzo, we have little more than an exhibit catalogue. Program notes for a special exhibit, an eight quid extra ticket on top of your free museum admission.
Exhibit 1.1: William Hartnell (Reconstruction)
The First Doctor, of course, never existed. Hartnell played only the Doctor, a unique character, replaceable only in hindsight. In the Three Doctors Hartnell returned, but too ill to summon the character, his appearance more a painful farewell, a last visit to the hospital. There are flashes of the animating fire that crackle beneath the surface, but merely flashes, the body serving as a living memorial to the spirit it once housed.
This is, in some ways, less ghoulish than that, at least. With only the already fading memory of An Unearthly Child from the Five Faces series to actually base a memory of the character on, Hurndall’s imitation of the character is at least less painful than an obvously ailing Hartnell peering at his cue cards. It is not Hartnell’s Doctor – not even close – but it is a credible First Doctor – the encyclopedia entry set of character traits that defined the first iteration of the character – a cranky old man, all “hm”s and “dear boy”s. The physical resemblance is reasonably impressive – no worse than the obvious shifts in Davros and the Master that took place over the Baker era.
Still, it is telling that both Dicks and the story’s original writer, Robert Holmes, instinctively wanted to sideline the character. In Holmes’s script the First Doctor was to be an impostor diegetically as well as extra-diegetically, whereas in Dicks’s original the Doctors roles were to be recallibrated to include Tom Baker. Baker was to have the Gallifrey portion of the plot, with Davison taking the portion that went to Hurndall, and Hurdnall being stuck in the TARDIS in the non-role given to Turlough and Susan. While perhaps a better handling of Hartnell’s decline and death than was managed in 1973 while he was still alive, there is something terribly inadequate about it, a degree to which it proves the moment when the claim that The Five Doctors engages an authentic history of the show becomes unsustainable.
Exhibit 1.2: William Hartnell (Archive Footage)
An odd claim, advanced by some, is that the choice to include the brief clip of Hartnell before the credits undermines Hurndall’s performance. This, of course, assumes that Hurndall was meant to fool anybody – an odd claim given that his appearance was milked as a trivia question from day one, or that Hartnell’s death was an obscure mystery.
Hurndall’s performance was always presented as a memorial to Hartnell. To say that it is imperfect – to illustrate that Hurndall is not a seamless replacement for Hartnell – is hardly an insult to either. Nobody would be so dismissive as to say that Hartnell was interchangeable with any other actor. The inclusion of a clip of Hartnell himself serves to underline this, to position Hurndall as what he is – a man paying homage to someone else’s character and someone else’s performance. To say that seeing Hartnell spoils the illusion suggests that the illusion could ever be maintained, or that even John Nathan-Turner would be crass enough to try. Of course Hurndall was talked up as being able to duplicate Hartnell. That’s the polite thing to say in this situation. Nobody was meant to be fooled. Nobody was.
Exhibit 1.3: Susan Foreman
Oddly haunting the proceedings, as she must, it is oddly fitting that she is the only companion that we don’t see summoned to the Death Zone, instead simply showing up in the midst of a hallway. There’s tacit acknowledgment that she’s a Time Lord, at least – she recognizes Gallifrey and Gallifreyan history.
But this, in turn, only exacerbates the larger problems of the character. The Problem of Susan has, hazily defined, been a recurring theme of this blog. It is, on the one hand, a placeholder for the more general problem of the companions and the Doctor’s relationship with them. In Susan’s case we first phrased this as the tension between the possibility of her growing up and taking some action on her own behalf and her subservience to the Doctor – a problem, in essence, of budding teenage sexuality.
Since then we have discovered the problem to exist in a more general sense. The transience of all companions when compared with the permanence of the Doctor means that the relationship is always asymmetrical. No companion can ever be unique and irreplaceable to the Doctor because the structure of the story dictates that they all must be replaced. Nobody gets to travel in the TARDIS forever. Not even Romana – the one companion who in theory could have stayed forever – gets to. And so the companions are all interchangeable, simply because they must be interchanged. On the other hand, drama requires that they be essential and not extraneous to proceedings.
The result is that no companion quite makes sense outside of the limited context in which they exist on the show. They are optical illusions, tricks relying on forced perspective. Move the lens an inch onto their lives before or after the TARDIS and the illusion is shattered as we are forced to try to grapple with lives designed for the TARDIS outside that context. This, more than a fascination with mawkish and depressing sentimentality, is why all companion return stories in the professional fanfiction are so bleak. Because these characters cannot and have never been able to sustain anything beyond the window of their lives we see.
Susan, of course, is the first case of this – a character that only makes sense when she is traveling with her grandfather because of the weight of expectations involved in his departure – the endlessly deferred return that we know can never happen. But more than that, she is a character who only makes sense prior to the development of the series’ mythology. It is telling that nobody on Gallifrey ever asks of their other prodigal, their other great renegade. Even when she appears on Gallifrey, in the Death Zone, she is ignored, treated as just another companion to be ignored. The Problem of Susan is, in the end, that nobody who knew how the series would go would ever have written her in. She’s a stranded artifact, at once central to the series mythology and unrevisitable because she no longer makes any sense. (The Virgin books entire Other mythology can, in one sense, be interpreted as a desperate attempt to shoehorn her into the otherwise seemingly family-free structure of Gallifrey.)
And so Susan haunts the narrative, necessary and yet impossible to integrate. Ironically, by ignoring her, treating her with no characterization other than a tendency to hurt herself, and then shoving her in the TARDIS with no plot she becomes the one piece of the series history to be treated with complete authenticity and honesty.
Exhibit 1.4: Dalek
Obligatory, which says more about its involvement than anything else. Dicks has said that his strategy in writing The Five Doctors was to just put everything in and trust that nobody was going to look too hard at the glue. This is, again, essentially correct. The story proceeds not according to narrative logic but according to a paratextual logic. It is driven by a need to shove in every signifier of Doctor Who it can find, and more to the point, its audience knows it. It works not according to plot logic but according to the logic of nostalgia.
The Dalek is the point where this is most blatantly signposted. It appears, gets one scene, and is abandoned, having served its purpose. The audience, upon seeing this, knows exactly what sort of story this is.
But for those who approach the story hoping for a significant story in its own right – a story that is about doing something instead of a live action version of the Peter Haining book – this marks the point in the story where it is obvious that we will be disappointed. As, let’s be fair, would anyone who might have been excited by the prospect of rematching the Daleks with the Doctor, given that they’d not appeared in four years.
Exhibit 2.1: Patrick Troughton
The hardest presence to confine to a museum, of course. Mercury and pigeonholing were never going to be comfortable bedmates. But the matter of encapsulating Troughton in a reunion story is more complex than just that. All of the Doctors suffer from a reunion story simply because they are forced to go from being lead actors to being part of an ensemble – something only Hartnell had to deal with, and him only in his earliest stories.
But Troughton is in some ways uniquely suited to this reversal simply because his character always controlled scenes from the margins. And so relegated to supporting cast he is, in some ways, in his element. (Indeed, in one of the most subtle touches in The Five Doctors, Troughton even gets to peer out of a television monitor at the Fifth Doctor.) On the one hand, quicksilver cannot be pigeonholed. On the other hand, its method of resistance is to be so free-flowing and amorphous that it can adopt any form. Troughton’s Doctor is the one who is most distant from his actual characterization in the reunion stories. But Troughton’s ever-shifting nature in the role means this distance is, in many regards, just another manifestation of the mercury.
This leads, in these stories, to an odd effect. Troughton is, in all three of his returns to the series, the most compelling and likable thing on offer. The underlying mischevious twinkle that animated his Doctor still exists in what Tat Wood memorably describes as his “potty professor” guise. All of his charm is intact. And so watching him, in any of the three stories, they serve as effective first encounters. The three reunion stories were my first three Troughton stories. But they worked marvelously as gateways to his era proper, in which all of the pleasure of the character in these survives along with the myriad of other depths Troughton was able to lend to the role.
Exhibit 2.2: Brigadier
It is impossible not to notice the fact that the companion pairings in The Five Doctors are completely wrong. It is, of course, a logistical problem, as ever, centering on Tom Baker’s late departure and Frazer Hines’s being unavailable due to commitments on Emmerdale Farm. But the result is unfortunate – Troughton is paired with the Brigadier, a character he only met in two stories and has no particular attachment to.
Courtney, of course, is pure class and makes it work, pitching his performance so as to make Troughton and he into a sort of retired buddy cop movie – two old warhorses dragged out of retirement for one last adventure. Unforgiven with Yeti. As it is impossible to train a camera on Nicholas Courtney and Patrick Troughton without something satisfying happening, this works.
But there’s an obvious flaw in the plan. The decision to delay the big meet-up of the Doctors until the very end means that there is no time for a key scene, namely the one in which Courtney and Pertwee reunite. The two exchange two sentences and then Pertwee blows the Brigadier off to go translate an inscription. Again the checkbox nature of this story becomes altogether too clear – the fact that this story is about nothing more than the most abstract form of the past.
Exhibit 2.3: Yeti
It is, of course, inexplicable what this is doing here. Apparently the Great Intelligence is casually animating Yeti on Gallifrey for no reason other than the desire to bring back some classic Second Doctor monster. But the sheer brevity of its nonsensical appearance only highlights the degree to which the zeal to add bits of everything into this story was ill-advised. One of the things that increasingly comes up in Doctor Who as it speeds towards cancellation is its low budget, but when one hits something like this, what, exactly, is one expected to do? They wasted money building a Yeti costume for a two minute sequence instead of giving us more than two lines of dialogue between Pertwee and Courtney? Seriously?
Exhibit 2.4: Jamie and Zoe
Ah, the big continuity error. And it was an accident. It was supposed to be Victoria Watling returning, and the Doctor was supposed to figure out that they were illusions when Victoria misidentified the Brigadier’s rank, as he’d only been a Colonel when they met. Instead, of course, we have Troughton aware of the circumstances of his own regeneration, sparking the whole Season 6B thing.
But what’s really striking is the cruelty of this scene. Here, for one scene, we get a proper reunion – the core cast of the best-preserved season of Troughton – the one that people had gotten to see recently in The Krotons. And it’s just illusions and phantasms – a trick from the mind of Rassilon. The touch of having the phantasms scream as they disappear is particularly bleak.
Exhibit 3.1: Jon Pertwee
The Doctor who ought be most suited to this style of reunion is, puzzlingly, the one least served by the script. The Pertwee era, more than any other era, lends itself to this museum approach given that at times it seems to want to be nothing more than a collection of memes waiting for the Internet. And yet there is no Pertwee death pose, no Venusian aikido, no UNIT. He doesn’t even get his proper costume, unlike Troughton not getting to shed his overcoat once he’s in the studio. (Here I must also cite my choice for the funniest moment in Volume 5 of About Time, the observation that no theory of continuity can possibly account for Jon Pertwee’s hair.) The brief interplay with the Master, the appearance of Bessie, and a quick polarity reversal are the extent to which the Pertwee era is plundered for references.
Pertwee is left to play an inchoate mass of paternalism, and he acquits himself well. But this transition from the action hero of memory to a doting old man who is kidnapped on his Sunday drive captures an interesting aspect of how the two Doctors who are actually brought back return. Both Pertwee and Troughton play their parts as though their characters have retired – as old men coming back for one last adventure. Indeed, the entire past of the program is shown implicitly as “past its prime.”
This, of course, captures the fundamental anxiety at the heart of these proceedings, and, in many ways, of the whole of the program since Earthshock. On the one hand, Nathan-Turner is obsessed with strip-mining the program’s history. On the other, Nathan-Turner remains obsessed with distinguishing himself and glorifying his tenure as producer. And so the program is increasingly obsessed with referencing its past for the sole purpose of trying to show how much better it is than the very past that it sees itself as primarily existing to reference.
The tightrope of ambivalence that I’ve been walking in this entry amounts, in most regards, to an ambivalence of execution and conception. The story does exactly what it has to and is charming. Nothing more was required than this cheery museum catalogue, and in many ways nothing more was wanted. But one cannot embrace this without also embracing the reduction of Doctor Who to a set of trivia answers that has happened over the season. Had this not been the capstone of a museum project that had been running for eighteen months and would continue interminably into the next story it would be one thing. Instead it stands out as the one defensible moment in a sea of misguided self-indulgence, like an unpleasant drunk’s one genuinely funny bit at a party.
Exhibit 3.2: Sarah-Jane Smith
There is no scene that exemplifies the job of playing the companion quite like Lis Sladen gamely throwing herself down a small embankment and screaming in terror. All of which said, seeing her go from prospective leading woman in K-9 and Company back to interchangeable peril monkey is physically painful.
Exhibit 3.3: Bessie
As strange as it is to see the era of the program’s past that can most easily be reduced to a bunch of signifiers largely unmined, it is difficult to argue seriously that, in bringing back Bessie, they picked the most necessary of them. There is perhaps no symbol of the Pertwee era’s wonderful and ludicrous excess as the action hero driving a rickety old car like Bessie.
I never liked the Third Doctor era that much, and by the time I got my license was largely out of love with Doctor Who as well. I still named my first car, a rusting Chevy S-10 pickup truck, Bessie.
Exhibit 3.4: Liz and Mike
Ironically, Richard Franklin turns out to be terribly good at playing a character who is unsettlingly malevolent for reasons you cannot quite put your finger on. But again the shoehorn approach lets the story down. With two “phantasms” sections the appearance of Jamie and Zoe is completely drained of all tension. As grim and cruel as that sequence is, it at least has real impact, or would have if we hadn’t just seen Pertwee solve the exact same mystery a few minutes before. Was anyone so clamoring for the return of Liz Shaw and Mike Yates that this seemed like a good idea?
Exhibit 3.5: Cybermen
There are, in the whole of this story, exactly two interesting ideas of what to do with the past Doctors. One we’ll talk about later, and the other is pairing Pertwee against the Cybermen. This latter one is interesting because, of course, Pertwee is the only classic series Doctor to not have a Cybermen story in his era.
By most standards this is a trivia answer. But here it gets treated as a serious lack – as if Doctor Who had some real flaw in its past because one particular incarnation of the Doctor had never faced one particular monster. Aside from turning a given era of the program into a bucket list (Nicholas Courtney, check, Daleks, check, Cybermen, check, OK, regenerate the bugger) it serves as evidence of that strange breed of thought that thinks that monsters are the most important part of Doctor Who. This strain of thought is unfortunate, having produced exactly one good idea, ever. (Paul Cornell’s idea of the Doctor being what monsters have nightmares about, of course.) And its increasing prevalence in this era is part and parcel of why The Five Doctors had no expectations resting on it beyond checking boxes. The Cybermen, in this vision, are treated as an abstract idea, valued because they appeared on Doctor Who. Why would the series do more than check boxes for its anniversary when a substantial portion of its audience actually gives a damn whether this particular set of tin soldiers faced off with this particular actor?
I’d say that the onscreen results of this obligatory confrontation (again, picked over having Jon Pertwee actually meaningfully interact with his own supporting cast) should be forcibly shown on repeat to anyone who thinks that Doctor Who is mostly about monsters until they repent, but the fact of the matter is that most of them wouldn’t understand the problem in the first place. To quote, or at least paraphrase Gareth Roberts, those people got what they wanted. They got Attack of the Cybermen.
Exhibit 3.6: Terrance Dicks
For all my bitterness surrounding this story – a bitterness that focuses mainly on the fact that now its impossible to do another reunion story with Patrick Troughton and Jon Pertwee and so I’m forced to look at this as the missed opportunity for the sort of epic and totemic reunion story that I genuinely believe could be done, and, indeed, that was done in 1973 – I ought stress for the umpteenth time that it is utterly delightful and fun. It must, of course, have been far more so at the time, when the home video releases didn’t exist and all of these returns were thrilling and new and, for many, the first time they’d gotten to see Troughton or Pertwee. Now that this has fallen into nostalgia as well it’s indistinguishable from all the other Pertwee or Troughton stories on one’s DVD shelf save for the fact that it’s dodgier. At the time there was real magic to it.
So much of the credit for that magic goes to Terrance Dicks, whose strengths as a writer are played to utterly here. His ability to stitch a ludicrous set of elements together with nothing more than the ability to sketch a high concept idea out efficiently and his knack for plucky adventure yarns is the thing that saves this story from being Arc of Infinity 2. It takes a very, very good writer with a very, very good understanding of how audiences work to grasp that the script doesn’t have to make plot sense if it makes thematic sense. Realizing that he didn’t have to figure out how to make it all sensible, he just had to get it all on screen was a stroke of genius.
Exhibit 4.1: Tom Baker and Lala Ward (Archive Footage)
Several times in comments a bit of a debate over how long the shadow of Tom Baker really hangs over the program. The answer is at least “until Rose,” if not “until David Tennant finally beats him in a most popular Doctor poll.” Here we see it at, perhaps, its clearest.
Baker had, of course, only been out of the role for two years when the story filmed. It is wholly understandable why he did not want to return at this point. It’s harder to credit in the context of his later reluctance to engage with the program, admittedly, but that’s neither here nor there. And if we’re being honest it would have been a challenge to integrate him. In this story Davison’s supposed “blandness” – a trait that really tends to mean his tendency not to recklessly steal scenes from everyone around him – is largely a benefit, simply because it means everyone can be on about the same footing in the big shared scene at the end. Whereas, let’s face it, the scene would have been harmed by inserting a Tom Baker sized ego into it.
Still, his absence is palpable here. I remember being crushed when I put the tape in for the first time, thinking I’d finally get my third Tom Baker story, then being doubly thrilled to see that I was going to get my first Romana story, then finding out that they weren’t really in it and it was just old footage from Shada. Delightful footage, of course, but still, only a fragment.
But again, as with the Five Faces, the real effect of this is the erasure of a significant period of Doctor Who. The way in which the six seasons between Pertwee and Nathan-Turner are so barely referenced in anything that comes after creates an odd effect. For a program so obsessed with its own past the blatant ignoring of the most popular segment of the past is telling, if only inadvertently. Given the lack of respect Nathan-Turner shows to the past he plunders his failure to ever engage in the actual most popular of the period looks like cowardice, regardless of whether or not it was.
Exhibit 4.2: Tom Baker (Reconstruction)
If the moment in which Lis Sladen hurls herself down a small hill in the name of peril monkeying is the moment of Doctor Who that most perfectly embodies the companion, the decision to have a wax dummy of Tom Baker stand in for a photoshoot is the moment that most perfectly embodies John Nathan-Turner.
Exhibit 4.3: Leela (This item on loan to another museum)
While researching this piece, the fact that most staggered me was that Louise Jameson had offered to return for the story and was turned down because they couldn’t find a way to put her in. Let that sink in for a bit, as it serves as one of the more damning pieces of evidence that Nathan-Turner deliberately sidelined the Baker years. Yes, Jameson lacked a Doctor to be paired with.
But on the other hand, the task of integrating her into the story would have been trivial given that she was already on Gallifrey. You know. Where the story is set. Indeed, adding her would have done little more than give Davison someone to play off of in the Gallifrey scenes and, perhaps more importantly, would have meant that the Baker era were represented in more than just passing. Indeed, Leela is in many ways the perfect companion for this, given that she’s the companion that spanned the two main producers of the Baker era – the one who has something resembling a legitimate claim to represent the whole of it.
In many ways it’s her absence that stings the most, then. Because her omission, when she was available and wanted to appear, constitutes a real failure to represent the Baker era in a story that is otherwise preposterously obsessive about shoehorning everything in. And no, Sarah Jane doesn’t cut it. Yes, she’s primarily a Baker-era companion, but she’s explicitly used here as a Pertwee companion. This only heightens the sense that the Baker era is getting actively ignored.
No way to write her in. Feh.
Exhibit 4.4: K-9
Well, and then there’s K-9. Whose cameo status is, at least, wholly understandable – with the bulk of the story being filmed on location in Wales (standing in as the dark secret at the heart of Gallifrey. So that’s funny too.) he was never going to work well, and Dicks specifically asked to be spared dealing with him, which, given that he was stepping in at the last minute because Robert Holmes couldn’t get the scripts to work, was a more than fair request.
K-9 is, in many ways, the last throw of the dice for the Baker era, and reiterating his new pairing with Sarah Jane makes this the one non-Shada scene to evoke the Baker years. But, of course, they only appeared together on Nathan-Turner’s watch. That irritating egoism and tendency of Nathan-Turner to just cut out the bits of Tom Baker he didn’t do persists even here. Even a scene that does encompass virtually the whole of the Tom Baker years – he only appeared in seven stories that didn’t feature one of Sarah Jane or K-9 – somehow is prevented from actually serving to honor his tenure.
Exhibit 5.1: Peter Davison
If ever there was a Doctor one might worry about getting upstaged in this, it would have to be Davison. At Longleat, apparently, he was voted the worst Doctor because he was, apparently, bland – a classic case of why you can’t always trust the audience to tell you what they want. Davison’s Doctor may have his flaws – although I frankly don’t really see them, viewing him as one of the finest actors to have played the part – but blandness isn’t one of them. Bad writing often is, but even in his worst scripts Davison manages to sell the part, making his Doctor a flurry of activity. “We don’t like Davison because he’s bland” is, in reality, little more than an inarticulate way of saying “we still miss Tom Baker.” In practice, Davison is magnificent here, and even if he doesn’t get to be paired with Tom Baker he more than shows that he belongs in the company of his predecessors.
It was Troughton, of course, who encouraged Davison to leave after three years. And in the rehearsals for Castrovalva, apparently, Troughton dropped by to say hello and stood in for Davison in setting up a scene. Troughton, in other words, was always a bit of a mentoring presence for Davison, and that carries over here to how he plays the role. It’s worth watching his scenes with Hurndall, in which he manages at once to defer to Hurndall, recognizing that in this story he’s not the real main attraction, while simultaneously putting his stamp on things. Troughton-like, he flits on the edges of the scene, managing to provide a commentary on his earlier selves without upstaging them.
He is, of course, helped tremendously by Baker’s deciding not to do the special and, accordingly, by his getting the Gallifrey plot instead of being one of the “to the tower” Doctors. This makes him the odd Doctor out – the one who gets a plot that’s unlike the others. Yes, it also means he’s the one who gets cheaply mind controlled, but nobody’s perfect.
Exhibit 5.2: The Master
Amusingly, he works here, if only because the story has no illusions that he works as a character. He is unapologetically played as a bit of a buffoon. His scene storming into the Tower at the end and whining angrily that the Doctors were all terribly mean to him is not only deft characterization, it’s wonderfully spot-on. I’d say that it’s the perfect end for the character’s somewhat superfluous role in proceedings here, but it’s not. The Brigadier decking him is the perfect end, and just about makes up for the appalling three-line scene with Pertwee.
Note also that Dicks quietly fixes Robert Holmes’s in hindsight poor decision to set a definite endpoint for the series by establishing that giving a Time Lord a new cycle of regenerations is not only possible but the sort of thing that gets handed out as casual payment.
Exhibit 5.3: Tegan
The other interesting idea that the story has is pairing Tegan with the First Doctor. Unfortunately, almost nothing about the idea actually works. It’s based on the misapprehension that the First Doctor’s character is defined merely by his crankiness, first of all, and that there’s something strange about pairing him with a loudmouthed or strongwilled person. In practice, of course, Hartnell got paired with strong-willed characters all the time. Tegan has nothing on Barbara. Nothing. (To say nothing of the episodes where Hartnell is paired with Nicholas Courtney’s Brett Vyon)
But on top of that, nothing gets done with it. There’s not actually any hilarious banter between Tegan and the First Doctor. They don’t share any quips. Tegan doesn’t get to put the Doctor in his place. It turns out that what happens when you pair Tegan with the First Doctor is that Tegan looks sullen and grouchy and doesn’t do anything, an outcome that comes perilously close to suggesting that all Tegan really needs is a disciplinarian who will shut her mouth.
Exhibit 5.4: Turlough
Turlough is also in this story, as it happens, though you’d hardly know watching it. Still, at least he gets to appear in all the other stories around this, so, you know, it’s less depressing watching him get pointlessly shoved in the TARDIS than it is to watch Carole Ann Ford get hired just to be wasted in the TARDIS with Turlough.
Exhibit 5.5: Gallifrey
Ah, yes. Gallifrey. This is the last of the four Gallifrey stories, though Trial of a Time Lord flirts with the iconography. Everyone points out that Cardinal Borusa is played by four different actors in the course of four stories, but what’s pointed out less is that there are unmistakably four different Gallifreys here. In The Deadly Assassin the Doctor needs to be told who Rassilon is. Here everybody knows rhymes and stories about Rassilon and his tomb, and Gallifrey manages to find another dark secret in the heart of it all.
Given this it’s actually surprising just how well Rassilon’s appearance works. The moment when the faces on his tomb come to life and begin looking around frantically is one of the great moments of a horrific concept overcoming its technical limitations and managing to be really creepy anyway. Or, at least, I thought so. Watch me discover that they’re the new Plasmatons.
But on the whole Gallifrey suffers the worst from the museum approach, and it’s here that the gulf between 1973 and 1983 becomes most apparent. In The Three Doctors Gallifrey was still treated as a mysterious place of powerful beings we knew little about, with secrets that would be revealed. Here Gallifrey was treated as something we all know everything about, with the Death Zone being just one previously unmentioned detail. The lushness of the Deadly Assassin has given way to excessive glitter and “space” doors that, as is hilariously pointed out by David Tennant in the 25th anniversary commentary track for this story, are just doors with two handles screwed on.
And the mind probe.
All of which said, we here reach the limit of my critical capacity, and that limit is Chancellor Flavia. Nothing about Dinah Sheridan’s performance or the role as written begins to account for her status within fandom. And yet I, without having any real knowledge of that status, similarly took to Chancellor Flavia as being a terribly important character. Part of this was that she was, apparently, the new Lord President of Gallifrey and would thus presumably be important. But this seems insufficient to explain the level of fascination she holds (for instance, Davies and Collinson nicknaming the “Time Lordy” music of the Davies/Tennant era as “Chancellor Flavia’s Theme”). Nor is her potential as a camp icon quite enough.
Exhibit 5.6: Theme Music
While I am not among those who hate the Peter Howell arrangement of the theme music, the moment in the closing credits when the Delia Derbyshire theme gives way to the Howell theme is actively painful. And not just because of the rough key change.
Exhibit 5.7: How it All Started
The story goes out of its way to have its ending supposedly mirror “how it all started,” with Tegan getting in a painfully awkward line about the Doctor “deliberately choosing to go on the run from your own people in a rackety old TARDIS” at the end. But, of course, that’s not how it all started. It started with two people falling out of the world into a strange and mysterious space that didn’t make sense. It didn’t start with Time Lords at all. And it certainly didn’t start following a ninety minute museum tour of the series past.
This is, in many ways, a microcosm of my ambivalence over this story. By returning to an imaginary past and then making an ending that amounts to shouting “twenty more years, just like this!” the series is, in effect, completely abandoning all possibility of what it once was – a series about the strange and the unsettling. Doctor Who has, at long last, given up all prospect of being anything other than populist comfort food. This story isn’t what does it. The Nathan-Turner era has been careening towards it since Bidmead left. It’s implicit, in many ways, in the shift from being a science fiction show at Saturday teatime to a sci-fi soap opera.
And it’s in many ways implicit in the general cultural turn towards franchise/property based science fiction. Doctor Who is first and foremost a brand, and when brands have anniversaries this is the sort of anniversary they have. All of this is just the consequences of 1983 playing out over poor Doctor Who. But it’s very hard to be anything short of dismayed by it. As wonderful as the program can be through the Davison era, and even though it hits wonderful far more often than its given credit for, it’s impossible not to be more than faintly disappointed by what the program is here compared to what it once was.


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Information is based on travel restrictions from Bristol to MalawiMost visitors from Bristol need to provide a negative COVID-19 test result and/or quarantine to enter Malawi.COVID-19 testing requirementsVisitors from Bristol must present a negative RT-PCR (NAAT) test taken 72 hours before departing to Malawi.Quarantine requirementsVisitors from Bristol are not required to quarantine after entering Malawi.DocumentsHealth Declaration Form - Travelers must complete a health declaration form before their travel. Travel Surveillance Form - Must be completed and presented upon arrival.
Returning to Bristol from MalawiCOVID-19 testing requirementsVisitors from Malawi are not required to present a negative COVID-19 PCR test or antigen result upon entering Bristol.Quarantine requirementsVisitors from Malawi are not required to quarantine after entering Bristol.

domain: travel


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Time and Space on Five Acres
Finally, after sitting in front of my PC a couple of hours going over the days news, facebook posts and emails, my fingers get around to writing. Some days are like that. Don’t wanna days, I call them. I am not a real social person by nature, being a bit shy and awkward. A couple of events at the end of the week are pushing me out of the house and into doing things, and I sit here in mild resentment over those demands on my precious time.
I have lost track of time and space. I seldom get the day of the week right. Today is Wednesday, yet my mind insists it is Thursday, a day that I have committed myself to make another puppy run for one of the tireless rescuers in a nearby big city. I gripe about 180 miles once every so many days. She easily runs 500 miles a week and never complains about it. Not me, though. I bitch about everything.
Finally got my Sukkah down yesterday, but now the problem of storage comes up. I don’t know where I am going to put it. I might just get a couple of sawhorses and put the pieces on that, and wrap it all up in a tarp.
So that is the day today. Action packed and exciting, eh?
2 thoughts on “Time and Space on Five Acres”
October 22, 2014 at 12:40 pm
Totally action packing excitement as always. 😛
October 22, 2014 at 12:45 pm
What can I say? It is exciting to be me … ;-P


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Tuesday, of course, was election day. Edgewood got students involved the week leading up to the 4th through events on campus, helping people to register, and providing equal information on both major candidates. On election day a shuttle bus took students from campus to the nearest polls. Later, there were places on campus for students to gather and watch the results pour in.
After classes I met with several friends from Edgewood and UW, and after our new president of the United States was announced we went to State Street and the capitol to see if anything special was happening. It turned out that thousands of people of all different ages had randomly decided to come out into the streets to dance and celebrate, walking from the captiol to Bascom Hill and back. For such a spontaneous and emotional event, the crowd was extremely well-behaved and responsible. There was no conflict; the police department actually blocked off some streets to direct traffic and keep the crowd safe. It was truly being in the middle of an historical event, and no matter one’s political views it was great to see so many people in one place getting along and having the time of their lives. At the very least, it was an experience to remember.
November 4, 2008 has to be one of the best moments of my life! I will never forget the excitement, amazement, and pride I felt. I know a lot of people voted during this election, but there was something more to it than just casting my vote. On this day I felt empowered! I truly had faith in the country and the people in it. I knew that this election would be historic no matter what the results were. I can remember crying after I found out that Barack Obama was our president elect. Tears of joy flowed from my eyes because this was a huge step in the acceptance of a culture. I was one of many African Americans who took pride in this election. My grandmother, who turned 80 years old on election day, could not believe how far we have come. I can remember her telling me “Be thankful for this day, because people have fought and died just to make this day possible”. I think this very night proved to not only a race of people, but to the entire world, Change is Possible! For that very reason, I will never forget November 4, 2008.

domain: sociology


By Sharon van Arneman
Did you know that February is Heart Health Month? And how fitting is that! To think that the month that gives us Valentine’s Day, when everyone’s focus seems drawn to those intricate matters of the heart, is also the month that calls us to pay attention to our heart-health is not mere coincidence. So how’s your heart?
While Valentine’s Day will be a beautiful day for many, there will doubtlessly be one too many who’ll be nursing a broken heart: The young woman who thought she was heading to the altar, but was informed that the relationship was “just a friendship”; the young man who lost the girl of his dreams; the wife whose husband does not care for romance; the husband who must take second place to his wife’s career. Perhaps knowing that the world’s greatest Valentine was well acquainted with the pain of rejection will help soothe the hurts of many a rejected soul this Valentine’s Day.
Whether we’re applying for a job or asking someone out on a date, which of us doesn’t know what it’s like to have our heart broken? There is virtually no one who hasn’t experienced rejection. From not cutting the team as a kid, to being marginalised as an adult, rejection is an experience that’s all too familiar. Who can forget those times when we gave our all and yet no matter how hard we worked, it seemed that our best was never good enough?! What about the husband who comes home one day to find that his wife of 30 years has left him to pursue her own interests? Or the wife who wakes up to a husband who says he doesn’t love her anymore?
But you can take heart in knowing that the One, who came to share His love and give His life for all, knew a thing or two about dealing with heart pain. The prophet Isaiah said of Him, “He is despised and rejected of men; a man of sorrows, and acquainted with grief: and we hid as it were our faces from him; he was despised, and we esteemed him not.” Can you believe this?! The world’s greatest Valentine experienced real heartache! He was rejected by His own townspeople: they knew He’d made the blind see, the deaf hear, the dumb speak and the lame walk; they were not ignorant of the miracles he’d performed; still there were those of His own family who wanted nothing to do with Him.
It’s one thing to be rejected by strangers and mere acquaintances, but when it comes from those within our inner circle of family and friends, it can be pretty devastating. But Jesus knew who He was and He knew His purpose too. That’s why in spite of it all, He was able to go on to complete His mission and become the perfect Valentine for you and for me. So don’t go throwing yourself a pity party this Valentine’s Day. Whatever your relationship status, consider yourself loved by the world’s best Valentine!
To contact Sharon, email: firstname.lastname@example.org


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We rented the film Black Death last night and loved it.The score by Christian Henson is brilliant.Click below for a track:And here for the opening titles cue.And click here for samples.
Me too! GREAT flick.Loved that scarecrow!
Really great flick. Had to check it out along with "I Saw the Devil" after reading last month's Rue Morgue and loved both of them. The inspiration the director received from "Aguirre" was so clear in "Black Death"...in fact, I'm not certain I didn't see Kinski lurking around in a few scenes, or at least someone who looked JUST like him. Very surreal!
We're planning on seeing I SAW THE DEVIL...cool to hear you dug it.Jon, the scarecrow was a great part...I saw it and gasped to Bean: "DID YOU SEE THAT?!!!" I actually did some searching online for it...nada.
well, I watched the trailer and managed to find a copy so I'll be watching it soon. (already got the soundtrack...wonderfully amazing!)
Didn't know this was out yet. Really looks good, so it's great to hear that it lives up to the expectations!
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