The National for Tuesday May 22, 2018 — Trump, Pipeline, Manchester Anniversary
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Roger Waters Us + Them | In Cinemas 2 & 6 October | Official Clip - Us + Them
Roger Waters Us + Them
A film by Sean Evans and Roger Waters
In cinemas worldwide October 2 and 6 only
Tickets on sale now
Roger Waters, co-founder, creative force and songwriter behind Pink Floyd, presents his highly anticipated film, Us + Them, featuring state-of- the-art visual production and breath-taking sound in this unmissable cinema event.
Filmed in Amsterdam on the European leg of his 2017 – 2018 Us + Them tour which saw Waters perform to over two million people worldwide, the film features songs from his legendary Pink Floyd albums (The Dark Side of the Moon, The Wall, Animals, Wish You Were Here) and from his last album, Is This The Life We Really Want?
Waters collaborates once more with Sean Evans, visionary director of the highly acclaimed movie, Roger Waters The Wall, to deliver this creatively pioneering film that inspires with its powerful music and message of human rights, liberty and love.
Remembrance Day 2019: Canada Remembers
Dawna Friesen hosts coverage of Remembrance Day ceremonies from the National War Memorial in Ottawa as Canadians pay tribute to our veterans who served and sacrificed for our country.
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Happy New Year 2020
L'UIMM La Fabrique de l'Avenir wishes a Happy New Year at power 2020
Material Matters by Gunny Harboe
The issue of materiality is central to guiding the treatment that is required in any conservation project. Whether dealing with a centuries old painting, a modern sculpture, an ancient building or a mid-century modern skyscraper, the question of what should be done to the physical fabric is at the core of the decision making process. In the United States, The Secretary of the Interior’s Standards for the Treatment of Historic Properties (Standards) were created by the National Park Service almost forty years ago to help government regulators, architects, and building owners to understand what the ground rules for interventions should be. Over time, the Standards have become widely accepted and adopted all across the U.S. as the basic rules of engagement for historic properties. Current conservation philosophy and practice continues to stress the importance of maintaining as much original historic material as possible; and when an intervention does require the replacement of historic fabric it should be as limited as possible and reversible.
With an increasing number of modern buildings entering the cycle of renewal that inevitably comes with age, the question of how to treat their materials has become even more pressing. Modern architecture was by its very nature experimental. Its architects were inventing new ideas about architecture; its form and function, as well as pushing the building industry to develop new technologies for how it could be built. This only intensified over the last half of the 20th Century as completely new ways of making buildings became standardized and economic models of “planned obsolescence” became common. Contemporary architecture has continued these trends and is more experimental than ever.
All of this leads to some perplexing questions that challenge all of us in our work. What can be done with these buildings that are now deemed to be culturally significant but were only designed to last for thirty years? What can be done with a metal curtain wall system that has begun to completely fail? How can a concrete structure be repaired that has wholesale failure of the concrete itself? When an intervention is required that results in the extensive loss of original historic fabric of a modern resource, what happens to its integrity and its authenticity? Can they remain or does the loss of material mean the loss of meaning? Does the need for a significant intervention give license to make fundamental changes to the original design? Do changing expectations of what time means to us as a society demand we change our attitudes towards our cultural heritage? Ultimately, what is it we are trying to preserve and for whom? What will all this mean for the future of our profession?
Cruise Ship Early Booking Passes Good or Bad? Cruise Ship and Travel Trivia!
Cruise Ship Early Booking Passes Good or Bad? Cruise Ship and Travel Trivia! There are 30 cities in the USA where you can take a non stop flight to London. Can you name them all? What were the names of the last 3 ships to hold the title of fastest ocean liner across the Atlantic Ocean? Is offering an early boarding pass a good thing from the cruise lines or an extra cash grab?
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Please watch: (1112) Royal Caribbean Will Use 130 Workers To Replace The Televisions On The Allure of the Seas
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The National for Sunday May 20, 2018 — Gun Debate, Brandon Fire, Stephen Fry
Welcome to The National, the flagship nightly newscast of CBC News
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The National is CBC Television's flagship news program. Airing six days a week, the show delivers news, feature documentaries and analysis from some of Canada's leading journalists.
AIR Dibrugarh Online Radio Live Stream
ALL INDIA RADIO: DIBRUGARH :
PROGRAMME SCHEDULE: For WEDNESDAY 13-11-2019 & THURSDAY 14-11-2019
M.W 529.1m/KHz.567: F.M. 101.30 MHz
PROGRAMME SCHEDULE: DAY: WEDNESDAY DATE: 13/11/2019
TRANSMISSION III (3.28 PM to 10.30 PM)
3.28 AIR Signature Tune/ Opening Announcement:
3.30 Deori Songs: Artist: Jatin Deori & Pty
3.45 Programme in Mijumishimi
4.05 Programme in Khampti
4.25 Programme in Wancho
4.45 News in Hindi
4.55 News in English
5.00 Programme in Idu
5.20 Programme in Tangsa
5.40 Programme in Nocte
6.00 Anchalik Batori
6.05 Programme Summary
6.10 Vrindagaan:
6.15GAYAN RAIJOR ANUSTHAN/Interview on “Komola Aru Chahor Sammanita Kheti Paddhati”
With Dr. Amrit Borbora. (F/B)
6.45 Sandhiyar Anchalik Batori
6.55 Ajir Prasanga
7.00 News in Hindi
7.05 News in Assamese
7.15 “Karpumpuli” Weekly News Bulletin Kunjalata Mili. (Oi- Nitom)
7.35 Ujjal Bhabishyat Talk on “Nritatwa Bijnanor Pathyakrom Aaru Niyogor Subidha”By Dr. Marami Dutta Talukdar.
7.45 Adhunik Geet: Artist: Syeda Juri Rahman
8.00 Time &Meter Reading: Quotation Parikrama
8.15 Ghazal & Quawali: Artist: Lata Mangeshkar & Jagjit Singh Kishore Kumar, Anwar, Aziz Nazam, Sholapuri
Asha Bhosle, Manna Dey
8.40 Programme Highlight
8.42 Commercial Spot
8.45 Samachar Sandhya:
9.00 News at Nine
9.15 Commercial Spot:
9.16 Bare Rahania: (Assamese Song) Artist: Khagen Mahant
9.25 Nishar Anchalik Batori:
9.30 “Kramasha”(Serial Novel Reading)“Balukat Biyali” Written by: Kailash Sharma
Production & Narration by Jayantajit Das.Part: X
10.00 Classical Music: (Sarangee) Artist: Ud. Sultan Khan Raga: Malkauns
10.30 Close Down.
PROGRAMME SCHEDULE: DAY: THURSDAY DATE: 14/11/2019
TRANSMISSION: I (5.28 AM to 9.35 AM)
5.28 AIR Signature Tune:
5.30 Vandemataram/Opening Announcement Mangal Badya
5.35 Bhaktigeeti:
6.00 News in Hindi:
6.05 Gandhi Chinta & Programme Summary
6.10 Swasthya Charcha: Interview on Congenital Malformations With Dr. Kinkor Mahanta. Interviewer Kartik Sutradhar Part: I
6.15 Teachers Broadcast
6.30 Borgeet: Artist: Geetalin Dutta.
6.45 Folk Music: (Diha Naam) Artist: Krishna Kanta Handique & Pty.
7.05 News in Assamese
7.15 Ajir Dinto (Morning Information Service)
7.30 GEETANJALI: 1.Artist: Jyotish Bhattacharya Lyc: Anuradha Das, Mosi Dia Jodi…2. Artist: Jutika Bhuyan Saikia Lyc: Nurul Haque, Nibir Bonot…3. Artist: Jayantajit Das Lyc: Satyaprabha Das, Sopunor Rupali…4. Artist: Jupitara Buzarbaruah Lyc: Monoroma Borgohain, Ejaak Dhumuha…5. Artist: Juriti Borgohain Lyc: Karabi Deka Hazarika, Mur Gaan Houk…
7.55 Commercial Spot
8.00 Samachar Prabhat
8.15 Morning News
8.30 North East News Bulletin in English
8.35 “SURAR PANCHOI” (Composite) Assamese Film Songs
8.50 Puwar Anchalik Batori
9.00 Jilar Rehrup
9.05 ANTARA (Composit) Hindi Film Songs
9.35 Close Down.
TRANSMISSION II (11.28 AM to 3.30 PM)
11.58 AIR Signature Tune/Opening Announcement
12.00 News in English
12.05 Bhajan: Artist: Mithu Bhattacharjee
12.15 Folk Music: (Lokageet) Artist: Babul Ch. Mahanta & Pty.
12.30 GHARJEUTI (Women’s Programme) Talk on “Sishur Adhikar Aru Surakhya”By Jyotshna Sonowal.
1.00 News in English
1.05 News in Hindi
1.10 Special Children Programme In Connection with Children Day
1.40 News in Assamese
1.50 Adhunik Geet: Artist: Sunil Kakoti.
2.00 Singpho Songs
2.10 Vrindagaan
2.15 Dopahar Samachar
2.30 Western Music
3.00 Close Down.
TRANSMISSION III (3.28 PM to 10.30 PM)
3.28 AIR Signature Tune/Opening Announcement
3.30 Mishing Geet: Artist: Minuta Mili Doley & Pty.
3.45 Programme in Mijumishimi
4.05 Programme in Khampti
4.25 Programme in Wanchoo
4.45 News in Hindi
4.55 News in English
5.00 Programme in Idu
5.20 Programme in Tangsa
5.40 Programme in Nocte
6.00 Anchalik Batori
6.05 Programme Summery
6.10 Vrindagaan
6.15 LAKHIMI: (Gaya Mahilar Anusthan) Interview on “Sishuk Poriskar-Porichonnotar Proti Sojaag Korat Abhibhabokor Bhumika” With Dr. Jeenamoni Saikia
6.45 Sandhiyar Anchalik Batori
6.55 Aajir Prasanga
7.00 News in Hindi
7.05 News in Assamese
7.15 “YUVABANI”: (Youth Programme) Kathare Geetere
7.45 Adhunik Geet: Artist: Sunil Kakoti.
8.00 Time & Meter Reading: Sponsored Programme: GYANMALINI: Dibrugarh University
8.30 Ghazal: Artist: Ashok Khosla
8.40 Programme Highlight
8.42 Commercial Spot
8.45 Samachar Sandhya
9.00 News at Nine
9.15 Commercial Spot
9.16 Bare Rahania: (Semoniar Geet)
9.25 Nichar Anchalik Batori
9.30 Ei Mahor Atithi
10.00 Classical Music: (Vocal) Artist: Ud. Ghulam Mustafa Khan Raga: Hansaddhwani, Basant & Dadra in Misra Pahari
10.30Close Down.
NOTE : THE PROGRAMME SCHEDULE IS SUBJECT TO LAST MINUTE CHANGE.
Words at War: Who Dare To Live / Here Is Your War / To All Hands
USS Ancon (AGC-4) was an ocean liner acquired by the United States Navy during World War II and converted to a combined headquarters and communications command ship.
Ancon anchored off Fedhala, French Morocco on November 8 and began lowering her boats at 0533. The first troops were debarked an hour later. During the course of the assault, men on the ship witnessed the sinking of four other transports, and Ancon sent out boats to rescue their survivors. On November 12 the transport headed out and, three days later, put into Casablanca harbor. She got underway on the 15th with a convoy bound for Norfolk.
After a brief pause there, Ancon traveled to Brooklyn, New York for voyage repairs. A brief period of sea trials preceded the ship's loading cargo and troops for transportation to Algeria. She sailed on January 14, 1943 as a member of the Naval Transport Service. The ship reached Oran on the 26th and spent five days discharging her cargo before heading back toward New York City, where she arrived on February 13. On that day, the vessel was reassigned to the Atlantic Fleet Amphibious Forces. On the 16th, Ancon entered the Norfolk Navy Yard, Portsmouth, Virginia, to undergo conversion to a combined headquarters and communications command ship. She was redesignated AGC-4 on February 26.
Following the completion of the yard work on April 21, Ancon held trials and exercises in the Chesapeake Bay through May and into early June when she was designated the flagship of the Commander of the Atlantic Fleet Amphibious Forces. The ship got underway for Oran on June 8 with Task Force (TF) 85. The ship had been selected to participate in the invasion of Sicily, and her preparations continued after her arrival at Oran on June 22.
Carrying Rear Admiral Alan G. Kirk, Commander, TF 85, and Lieutenant General Omar Bradley on board, Ancon sailed on July 5 for the waters off Sicily. She reached the transport area off Scoglitti on the 10th and lowered her boats early that morning. Despite enemy fire, the ship remained off Scoglitti providing communications services through the 12th and then got underway to return to North Africa. At the end of a fortnight there, she shifted to Mostaganem, Algeria, on July 29. In mid-August, the vessel moved to Algiers. During her periods in port, she prepared for the upcoming invasion of mainland Italy for which she had been designated flagship for the Commander of the 8th Fleet Amphibious Forces in Northwest African Waters.
On September 6, Ancon got underway for Salerno. During the operation, the ship carried Lieutenant General Mark Wayne Clark who commanded the 5th Army. At 0330 on September 9, the first wave of Allied troops hit the beach. Thereafter, she remained in the transport area, undergoing nearly continuous enemy air harassment, until she moved to Palermo, Sicily, to pick up ammunition to replenish her sister ships. She returned to the area off Salerno on the 15th but, the next day, arrived back in Palermo.
After two weeks in that Sicilian port, Ancon shaped a course for Algiers. She reached that port on October 2 and spent almost six weeks undergoing repairs and replenishment. In mid-November, she set sail for the United Kingdom and, on November 25, arrived in Devonport, England, where she was designated the flagship of the 11th Amphibious Force. An extended period of repairs and preparations for the impending invasion of France kept Ancon occupied through the winter and much of the spring participating in numerous training exercises with other Allied warships. On May 25, King George VI of the United Kingdom and Field Marshal Bernard Law Montgomery visited the ship.
The preparations culminated on June 5, when Ancon got underway for Baie de la Seine, France. She served as flagship for the assault forces that landed on Omaha Beach in Normandy. Throughout the invasion, the ship provided instructions for forces both afloat and ashore. She transferred various units of the Army command to headquarters ashore and made her small boats available to other ships to carry personnel and materials to the beachhead. On June 27, she got underway to return to England and, the next day, arrived at Portland.
Ancon remained in British waters through late September, when she sailed in a convoy bound for the East Coast of the United States. She reached Charleston, South Carolina on October 9 and was then assigned to the Amphibious Training Command. At the completion of repairs at the Charleston Navy Yard on December 21, the ship got underway for sea trials. Five days later, she shaped a course for the Pacific. On the last day of 1944, the ship transited the Panama Canal and joined the Pacific Fleet. She continued on to San Diego, California, where she arrived on January 9, 1945.
Auburn Coach Wife Kristi Malzahn Agrees with Match & eHarmony: Men are Jerks
My advice is this: Settle! That's right. Don't worry about passion or intense connection. Don't nix a guy based on his annoying habit of yelling Bravo! in movie theaters. Overlook his halitosis or abysmal sense of aesthetics. Because if you want to have the infrastructure in place to have a family, settling is the way to go. Based on my observations, in fact, settling will probably make you happier in the long run, since many of those who marry with great expectations become more disillusioned with each passing year. (It's hard to maintain that level of zing when the conversation morphs into discussions about who's changing the diapers or balancing the checkbook.)
Obviously, I wasn't always an advocate of settling. In fact, it took not settling to make me realize that settling is the better option, and even though settling is a rampant phenomenon, talking about it in a positive light makes people profoundly uncomfortable. Whenever I make the case for settling, people look at me with creased brows of disapproval or frowns of disappointment, the way a child might look at an older sibling who just informed her that Jerry's Kids aren't going to walk, even if you send them money. It's not only politically incorrect to get behind settling, it's downright un-American. Our culture tells us to keep our eyes on the prize (while our mothers, who know better, tell us not to be so picky), and the theme of holding out for true love (whatever that is—look at the divorce rate) permeates our collective mentality.
Even situation comedies, starting in the 1970s with The Mary Tyler Moore Show and going all the way to Friends, feature endearing single women in the dating trenches, and there's supposed to be something romantic and even heroic about their search for true love. Of course, the crucial difference is that, whereas the earlier series begins after Mary has been jilted by her fiancé, the more modern-day Friends opens as Rachel Green leaves her nice-guy orthodontist fiancé at the altar simply because she isn't feeling it. But either way, in episode after episode, as both women continue to be unlucky in love, settling starts to look pretty darn appealing. Mary is supposed to be contentedly independent and fulfilled by her newsroom family, but in fact her life seems lonely. Are we to assume that at the end of the series, Mary, by then in her late 30s, found her soul mate after the lights in the newsroom went out and her work family was disbanded? If her experience was anything like mine or that of my single friends, it's unlikely.
And while Rachel and her supposed soul mate, Ross, finally get together (for the umpteenth time) in the finale of Friends, do we feel confident that she'll be happier with Ross than she would have been had she settled down with Barry, the orthodontist, 10 years earlier? She and Ross have passion but have never had long-term stability, and the fireworks she experiences with him but not with Barry might actually turn out to be a liability, given how many times their relationship has already gone up in flames. It's equally questionable whether Sex and the City's Carrie Bradshaw, who cheated on her kindhearted and generous boyfriend, Aidan, only to end up with the more exciting but self-absorbed Mr. Big, will be better off in the framework of marriage and family. (Some time after the breakup, when Carrie ran into Aidan on the street, he was carrying his infant in a Baby Björn. Can anyone imagine Mr. Big walking around with a Björn?)