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Judge threatens to strike out case if the matter not progressed by the State
Warning: Judge Mary Larkin
A JUDGE has threatened to strike out the case of a Limerick man accused of multiple sexual offences if the matter is not progressed by the State.
The 51-year-old defendant, who has an address in the city centre, is accused of raping and sexually assaulting a woman at a number of different locations in the city – including at a graveyard.
The man, who cannot be named for legal reasons, faces a total of 28 charges relating to offences which are alleged to have happened on various dates during 1994, 1995 and 1996.
During a sitting of Limerick District Court before Easter, Sergeant Donal Cronin, prosecuting, sought an adjournment of the case to facilitate the preparation of a book of evidence.
"There are quite a number of counts," he said adding that the matter is progressing.
Solicitor Tom Kiely opposed the application and expressed his concern at the continuing delay.
He pointed out that his client has been in custody for a number of weeks.
In reply, Sgt Cronin submitted the defendant has not been prejudiced as he has not not sought bail.
Judge Mary Larkin noted the concerns of Mr Kiely and she said the matter will be marked peremptory on the next occasion.
The Director of Public Prosecutions previously directed trial on indictment and the matter is likely to be heard at the Central Criminal Court.
Judge Larkin adjourned the matter to later this month.

subset: commoncrawl


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You Can't Ignore This Tobin Sprout Track
It would be easy to dismiss Tobin Sprout, not on the lack of great songs, but just as the other guy in Robert Pollard's band. But, this brand new single is pretty brilliant, and has me yearning for a more innocent period of rock n' roll, void of my meaningless words. It's built around a plodding piano backbone, though I must say that I think Sprout's vocals are what ultimately make this song so successful. Lyrically Tobin's looking back on his own life, but he could be writing about McDonald's for all I care, as this song's just stupendous. Look for it on his new album, The Universe and Me, out on January 27th via Burger Records.


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LA Clippers vs Boston Celtics - Full Game Highlights | February 9, 2019 | 2018-19 NBA Season
Boston Celtics vs LA Clippers - Full Game Highlights | February 9, 2019 | 2018-19 NBA Season
Like & Subscribe for more NBA Highlights all season long!
Ximo, Moar Highlights is stealing your videos!!!
Get rid of Brian and I will happily Sub. I can't stand that anymore! I have to skip the first 25-30 seconds every time. And if you are in full screen it is very hard to skip anything in the first 5th of a vid. P
Mother fucker
Ctibetfet Gfuudt7igtihde5 Cgccccfhthrygrt5
Their comeback against Golden State in Game 2 brought me back here.
don't sleep on my clips
i I watch Clipper games just to listen to Ralph Lawler. Best play by play announcer in any sport, not just basketball. BIINNGOOO!
About time LA gets revenge on Boston.
Anyone else noticed how they say "BINGO!" after the Clippers knock down a 3 lmao
Talk With S.e.x.y Gi RL 3xtalk.club
"go's for the 3", "bInGo!!" like holy fuck 😂
We were down by 28 and won by11 that was the biggest comeback in nba history
This dudes obsession with the word BINGO is just....you know what, BINGOOOOOO!
5:07 is that a "Double Steph Back".?
Lakers gonna regret by trading zubac 2 years from now he's gonna be a super star.
Me encanta el baloncesto
When I play my 2k gm always trade for zubac amazing he is now on the team
so much bingo
if that idiot says bingo one more time......
jerry west is a wizard
That's what Boston gets for not respecting their opponent
28 point lead? LMAOOOOOOO
I went to this game it got dead quiet at the end
It is wrong to praise man that is equal to you because youll be disappointed so much when they fail to reach youre expectation
Now say the words "We don't need Kyrie in the team". F*ck y'all.
No Kyrie? Big problem 😂 To all saying Celtics are better without Kyrie should STFU
Bingo !!!!
"Hayward for three Biiiiiiiiingo!" "Hayward for three Biiiiiiiiiigo!" "Biiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiingo!!!!!"
BIIIIIIIIIIINGOOOO 08:47 lol...
Happy for Zubac, sad he got traded, going to be a great player....
1:42 is savage.....
Bingo!! What a legend of a commentator 😂
I'm loving this camera highlights it's so amazing then the other channels
We need Isaiah back
this called team play :) good job LAC
Dear Lakers fans, stay loyal to your city. There's a reason why LA has two teams. The City of Angels will always find a way to be dominant- even in Red and Blue.
Wish Landry and Zubac the best
I won at BIIIIINGOOOOOO
That boy shamet...cold bruh 🥶
I'm 20 seconds into this video and just realized who the commentator is. I'm expecting a lot of BINGOS.
Why was Kyrie not put back in the game in the 4th quarter? Are they trading Kyrie?
Shamet trade was a steal. I knew it.
I'm just disappointed in Tatum bra like he had that potential last year idk what's going on with him but I think he should just go some where else so he can shine
Thank you!
Take care of Zubac for us. We miss him so dearly, sincerely a Laker fan....
Boston celtics got Booed off the court after disastrous L.
so glad to be a clippers fan
Please dont change the speed of the video anymore
Glad yell lost that what u get for those your team under the bus
Can't he say anything else besides bingo?
I hate that bingo
Binnnnnggggggooooo!!!! LMAo!!!
Brad "overrated" Stevens got out-coached by Doc Rivers!
Bingo !!!!!! 😂😂😂😂😂
*literally anyone scores* BINGO!!!
Happy for the clippers, they got a squad
Bingoooooooooo!! Hahahaha
Watching celtics without Kyrie on the court is like watching another team. I hope The god damn injury is healed soon. I hate watching Rozier. Celtics lost the game as a result of Kyrie beeing out. Thats shows pretty well how big difference he makes.
Celtics defense used to be one of the best but wtf is this ja st Look at the posession at 8:45 💀💀
Fuck you and this bingo shit...just fuck off you annoying bastard
flop by marcus smart at 8:45
4th Q was just the announcer saying BINGO lmao. where's oh me oh my!
Hayward is nice.. but he don't belong on the Cs
Celtics are drowning Kry-rie you are in the wrong team.
Оце так матч! Неймовірно,лос- анж. вирвали перемогу у бостона.
Brad is doing too much.
Multiple BingOrgasms in this one
As a Laker fan why did they give up on Zubac?!?!?!?!
The commentator said bingo 1000 times
The clippers remind of Detroit when they had billups and Wallace
The Lakers should trade for Doc Rivers lol they need a system to be able to trade coaches to.lol
fck this BINGO shit 🤣🤣🤣
That announcer & ' BINGO ' = STFU...........annoying
Take a shot everytime the commentator says "BIIINGOOO!"
Jerry West is a frickin genius.
I been saying since the beginning of the season Zubac needed more minutes on the Lakers, Walton is a dumbass. Kid has fantastic work ethic and only keeps improving the more he plays.


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Scott leads a LIVE panel at the AngleBrackets conference in Las Vegas. "What do Web Developers need to know in 2014? With Douglas Crockford, John Papa, Denise Jacobs, Michele Leroux, Bustamante
Performance as a Feature with Jeremy Boyd
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Privacy and Security on today's internet with Melanie Ensign
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A Programmer's Introduction to Mathematics with Jeremy Kun
Episode 666 - Game Engine Black Book: Doom with Fabien Sanglard
Regine Gilbert on the Essence of Accessibility
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Copy Tracking Code
The Victorian Transport Association is a management resource for the transport industry set up to add value to transport businesses through the provision of authoritative information and experienced professional advice. As Chief Executive Officer of the Victorian Transport Association, a role he has held since late 2014, Peter Anderson is the voice of over 800 transport and logistics operators in Victoria, with a focus on enhancing the productivity, safety, workforce development and sustainability of the industry through leadership and advocacy.
By: Peter Anderson
May 2017
The perfect storm of permanent bans on trucks using roads to get in and out of the Port of Melbourne, and grossly disproportional toll increases for heavy vehicles taking effect on Transurban's CityLink brewed in Melbourne last month, much to the distaste of the heavy vehicle industry.
By: Peter Anderson
April 2017
It is widely accepted that people are an organisation's most expensive asset, factoring in direct employment costs like salary and wages, annual, sick and other leave entitlements, and superannuation.
By: Peter Anderson
March 2017
Fairness and equity have become prominent aspects of our social, economic and political discourse, especially in the wake of the US presidential election last November, and subsequent orders that have reignited debate around ethics, morality and the notion of a fair go, as they apply to the movement of people and goods.
By: Peter Anderson
February 2017
Infrastructure planning is likely to occupy a large part of the discourse in the transport industry over the year ahead, particularly in Victoria as political parties begin to shift to an election year footing for 2018, and the State Government endeavours to make good on infrastructure commitments.
By: Peter Anderson
December 2016
The Victorian Transport Association (VTA) has a 114-year history that stems back to when freight was hauled by bullocks down the main streets of Melbourne. In fact, I can remember seeing photos of these loads in my father's transport office that showed huge boilers on drays with a team of 60 bullocks, four abreast in the lead navigating Collins Street.
By: Peter Anderson
November 2016
As the re-elected Turnbull Coalition Government gets down to business, the fall-out of its abolishment of the Road Safety Remuneration Tribunal (RSRT), and a report from Small Business and Family Enterprise Ombudsman (ASBFEO), Kate Carnell, emphasises the urgent need for a fair and independent safety umpire.
By: Peter Anderson
October 2016
Variations of the "You're only as good as your team" quote made famous by American basketball coach, Dominique Wilkins, frequently get trotted out by sporting codes and commentators in September in Australia, with footy finals in full swing and department heads reviewing seasons that perhaps left much to be desired.
By: Peter Anderson
September 2016
It was English philosopher, statesman, scientist, jurist, orator and author, Sir Francis Bacon, who first said "knowledge is power" in 1597, coining the now oft-used phrase in a book about human philosophy and meditation.
By: Peter Anderson
August 2016
Better and more efficient transport co-ordination between federal and state governments, regulators and statutory authorities has been a consistent aspiration of the Victorian Transport Association, and a message that is regularly reinforced in our dealings with governments at all levels, and of all persuasions.
By: Peter Anderson
July 2016
If ever evidence was needed that VTA members and transport operators are fully engaged on issues affecting our industry, it was shown in spades at the VTA State Conference in Lorne a few weeks ago.
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The information shared here is extracted directly from the U.S. Department of Education, Institute of Education Sciences, National Center for Education Statistics. Universities that sponsor the Online Degree Database may add other institutional details as part of their sponsorship benefits.
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View the Student Right to Know website at: www.sandiego.edu/facts/quick/current/success.php
To learn more about their policies on disabilities, go to: www.sandiego.edu/disability/


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|(Close Window)
|Topic: Shell Game Pea
I was just e-mailed this question, what is the best shell game pea?
I am not sure how to answer that because I have no idea what the goals are and what kind of routine this person is trying to do. But I will say a few things about the shells and the pea that I have learned over the years.
I feel the shell game and the thimble rig are both great routines because by doing them in a nice way it opens the opportunity to let the spectators and the audience guess where the pea is. And on top of this it opens the opportunity to have situation comedy with the spectators and the audience if done in a nice friendly way.
Another thing nice about the shells/thimble rig is that the performer can make the routine as long or short as they want to. It also is considered to be slight of hand and can help earn the respect of magicians in the audience if performed well.
Having said all that I have no ax to grind and I am not trying to sell any shell game or thimble rig products. And I have collected many shell sets over the years.
I like to use a sponge pea cut from a sponge ball. Or a small sponge ball (the smallest) by gosh sponge ball.
The reason for this is because when working large tables in restaurants and banquets people can SEE IT. This includes in very bad lighting. Another thing is that after reading many books about the shell game and using a hard pea I find that there are a lot more moves the magician can do with the sponge pea.
In starting out with the shell game many years ago the best set that was on the market was the Vernet set. This is still a good set and it comes with little black rubber peas. These peas worked well but I found the sponge pea better because of the lighting issue and being visible.
I have found for me the best hard pea is a rolled up ball of aluminum foil. This works very well and it can be made as large or as small as the magician wants and it is easy to make. It also works well with the magnetic sets of shells just load it with something small that will magnetize.
I have also used aluminum foil rolled up into a ball for some sets of cups and balls - my stage set - and for three ball routines. And I have found them to be very good balls for a mini set and it is easy to make matching load balls to.
I have also found that the audience doesn't really care what kind of a pea the magician uses to do the trick and the silver aluminum foil silver pea used to be a good lead in for lines about the old miners losing the silver when this game was played back in the old west.
These ideas are just a few ideas that I have experimented with on the shell game thimble rig. I feel that the effect as a form of entertainment should be SEEN. Should be done in a nice way. And should move with a lot of action and fun. And not bog it down with a history lesson about the shell game.
The last thing is that the routine should move along - show the highlights - and have a punch - unexpected finish.
And that is just a few observations on the pea used in the classic swindles - the shell game and the thimble rig.
One of the most effective shell games I have ever seen was one I watched from the window of a tour bus that was sitting in front of the old Lufthansa office on the Kudamm in Berlin. It was 1992, and I had just gotten through performing and lecturing at the "Let's Go Magic" convention, which was the first convention in Berlin after the reunification.
My wife and I had decided to stay on a few extra days, so we could see this wonderful town. So, there we sat in this tour bus, watching a group of Turkish swindlers running the shell game on the marks. There were three of the team visible, plus a lookout at each end of the block. The operator had a cast on his left arm. He was working on the sidewalk, on a piece of carpet about 50 cm by 30 cm. His "shells" were the drawers from matchboxes, which had been covered over with layers of what appeared to be masking tape. His "pea" was a rolled up piece of aluminum foil. He would play rapidly, and lose money to his shills. One of his bits was that he would "accidentally" hit the drawer on the left with his cast, tilting it up so the mark could see the pea. When he would finally get a mark to play, the game slowed down and then he would fleece them mercilessly.
He was quite good.
Ten years later, I was on Gellaert Hill in Budapest, on another city tour, and I saw the same game being played on the same kind of carpet, with the same props, but the fellow didn't have the cast on his arm. I guess within those 10 years, it had healed, and he hadn't gotten it broken again.
|That guy must get around! That was [i]exactly[/i] what I watched this summer on the streets of Copenhagen. I loved watching the "flash" move.
One of the things I have never been fond of with the little rubber peas with the shell sets is that they are just that - little rubber round balls. I feel that they look rather like a gimmick because they look like an odd little rubber round ball.
The sponge pea is a sponge. People know what a sponge is.
The silver aluminum foil silver pea is just that a ball of silver aluminum foil and it can be made right in front of them.
I also liked the line I used to use with it when they guessed wrong I would say "Foiled again". And often the line became a running gag because the audience will start to say it.
On 2005-08-16 23:04, Dave VanVranken wrote:
That guy must get around! That was [i]exactly[/i] what I watched this summer on the streets of Copenhagen. I loved watching the "flash" move.
When you figure that in one week of working the sidewalks in any city, these guys get more practice than most magicians get in a year, you understand why they are good. Harold Voit told me that in Munich, there was a trial of some people who were doing the shell game. Harold testified that the game was a total scam. Even showed the judge how it worked. The judge decided in favor of the shell game operators, because he said there still was an element of chance. What part of how the shell game works did he not understand. I guess in Munich, justice is not only blind, it's retarded.
I don't really consider the street hustler shell game cheat to be that great and hardly even relevant to a magician and what a magician does with the shells.
When a street con man does the shell game the psychology of how the game is played is much different than the psychology of how the magician does it. The street hustler WANTS the mark to THINK that they know where the pea is. So the mark will put their money down.
The magician doesn't want the audience or spectator to KNOW where the pea is and he wants to FOOL the audience and entertain them.
The street hustler often works with partners often called a mob. The mob often has a script and the mark is suckered in by the mob.
The magician works alone and if he does the shells well he will fool and entertain the audience.
I have seen the shell game played several times in the street but I have never seen it done with shells. Often thimbles. I would say that any magician that gets a routine together and does it say 6 nights a week in a restaurant or a night club will get the effect down very good. Would he or she be as good as a street con man?
Not important.
It is sort of like comparing a magician and a card shark - not important. Entertainment of the audience - that is important and if THE AUDIENCE FEELS YOU ARE as good as a con man doing the shells in the street.
That's a bonus!
Try the aluminum foil ball if you like a hard pea. Being silver is shows up and is more visible than the little rubber black and green balls that come with most sets!
I think the audience does want to think they know where the pea is. That is what keeps them reeled in and interested. Certainly, presentation and entertainment play a big part, but if they don't "know" where the pea is, there is certainly no mystery when they find they are mistaken.
More to the point of the thread, while anything will work, I prefer the Perfect Pea by School of Scoundrals. It looks enough like a pea to go with the title of the trick and yet doesn't get all mushy in your pocket or dried and wrinkly. I don't find the audience ascribes any "gimmick" or "prop" status to the pea anymore than they do the shells, or any less than a ball of foil.
That "foiled again" line is GREAT however. That is almost enough to get me to try it.
The psychology of gambling demonstrations, whether they are the shell game, Three Card Monte, Fast and Loose, cutting for high cards, the Ten Card Poker Deal are all basically the same. The audience has a chance to peek under the edge of the tent and see how the game is played. Of course, we don't actually show them, but we let them think we do.
Some performers obsess over the pea. Michael Weber is an excellent shell game worker. In fact, he has, as you probably know, published some material on the subject. He used to make his own peas from polyfoam and liquid latex -- a messy proposition, at best -- and he called them "Macadamia Nuts." He would bring out a jar or can of real macadamias with one of his creations on the top, put the rubber one on the table, and then offer a few nuts to the audience. It was an interesting concept. I made a couple dozen of them, but they turned brown over time, as the latex aged. I even made a few green ones.
The foil ball, when used with the matchbox drawers has the advantage of looking like something that "goes with the matchboxes." It looks like the lining of a cigarette pack.
What I really like about the Perfect Pea from the School for Scoundrels is that it does actually resemble a pea. And it comes with that nifty "switchout pea" that looks like it, so you can ring it in and let the guys who "know about the shell game" play with it to their heart's content. I don't like to let the spectators examine things, because it slows the work down, but you can leave this in their hands and they don't have a clue.
If you feel the pea needs to be justified, you can always say that you quit using the real pea years ago, when one sprouted in your pocket and took root. They KNOW the sponge rubber pea isn't a pea. They also know the tinfoil ball isn't a pea.
And the nice thing about the S4S pea is that it works with any shell game on any surface.
"If you feel the pea needs to be justified?"
I think the pea NEEDS TO BE SEEN!
Depending on where the magician works good lighting outside at a fair or a festival or in a dark night club at a large table.
The audience NEEDS TO BE ABLE TO SEE THE PEA.
Green and black little round rubber balls don't show up that great under many performing lighting conditions. A silver pea made of aluminum foil might show up better and does because it is SILVER! And I know a sponge pea shows up much better because I have used them for years.
The aluminum foil pea can be made right and front of them - the little round rubber little balls are just that - fake pea's and (I have used them over the years) I have found that some spectators think that the fake pea little round balls were made special for the shell trick and often think that they are magnetic. If they think this or even if there is a chance of them thinking this - I feel that it could weakens the effect and the magicians level of skill as an audience might judge a magician by while in performance.
I have never had the need to do this effect without a close up mat. So the fact that the black, yellow, green little round rubber balls can be done without a mat or on any surface is rather silly. As a close up magician the close up mat is my performing stage.
I have no ax to grind I am not trying to sell shell products.
I speak as a performer that has road tested the effect using many different props and doing it for many years. On many different performing stages and in many different venues.
Absolutely right on all counts, Glenn. You need to select your performing surface to suit the working conditions you want to establish. And the pea must be seen, that's for sure.
But to say that the idea that a worker wants to be able to do the routine on a hard surface is silly is really condescending. That means "talking down to someone."
There are performers who pride themselves in being able to do the routine on any surface. To each his own.
On 2005-08-17 13:57, Bill Palmer wrote:
But to say that the idea that a worker wants to be able to do the routine on a hard surface is silly is really condescending. That means "talking down to someone."
As a sales tool and as a feature to increase sales of a product it is rather silly.
But if a magician wants to perform on a hard surface - to each their own. But I do not because I perform in bars, night clubs, restaurants etc. And most tables and bars are a mess with drink rings left by glasses and in restaurants - all sorts of mess on the table.
The mat is a clean performance stage and needs to be replaced once and a while. It is needed and it helps to keep the performers hands and props clean.
|I don't think that advertising ANY characteristic of a product is silly. Besides, "Tastes Great -- Less Filling" was already taken.
On 2005-08-17 14:24, Bill Palmer wrote:
I don't think that advertising ANY characteristic of a product is silly.
Speaking as a customer and owner of just about every kind of little rubber balls these magic manufactures try to pass off as "quality shell peas". I feel it is silly and almost useless information - and just another magic business trying desperately to get my money!
I think S4S gave up long ago on trying to get your money, Glenn.
You already have tried everything, you know what you need and you use whatever you want. That's your privilege and your right.
And S4S has every right to advertise their products any way they want, as long as they don't make any false claims -- just as you have the right to publicly endorse any set of crudely finished, badly made brass knockoff cups that you feel are wonderful.
|I think I just got a peek under the tent.
|It's not a pretty sight.
On 2005-08-17 18:46, Bill Palmer wrote:
I think S4S gave up long ago on trying to get your money, Glenn.
Yes they made quite a sale with me. Two sets of copper shells and two sets of brass thimbles. Pea's included!
When starting out in close up I used both kinds of pea's the sponge and the little rubber little ball pea's. The little rubber little ball pea I would keep in the small pea can. This was the bar (gag) trick of a pea placed into a little container with a cork and then the pea turned to water.
Basically most magicians perform this over a bar.
In performance I have had more problems with the little rubber ball pea's than the sponge rubber pea's. When performing outside at a festival or a fair I have found that you have to work around the weather and the wind. Both pea's can be blown away if the performer is not careful on some days depending on the wind.
Also close up magic can often be a contact sport with spectators grabbing props and bumping into or leaning on street tables. If by chance the sponge pea or the aluminum foil pea gets lost in the grass while performing at an open fair ground I have found them easier to find.
And this is also true in the dim lighting of some restaurants and bars and night clubs. Those little rubber ball pea's can bounce and roll and are easily lost if something unexpected happens. I would think that because they are rubber that at some time some magic manufacturer would make them glow in the dark.
At least that way they might be easier to find if something happens and they roll off the table by accident.
Because in live performance of close up magic and contact with the live audience - close up - the unexpected can happen!
|That pea can. That's high class magic, for sure.
Yes the pea can can be high class magic if it is performed that way. The magician does not have to change the pea to water and can use other things.
What I used to do was to put the pea in back into the can after the shell routine and then change the pea into sugar. And my line for this was "That is why they call them "Sweet Pea's".
I agree with Bish that the pea needs to be seen. That is part of the spectator knowing where the pea is so they can be fooled. I think it is obvious to everyone that to use a black pea under low light conditions is ill advised. To do it on a black close up mat would be stupid(not to say Bish does this).
That is another reason I like the S4S "perfect pea." It shows really well and is the proper porportioned item for use with the walnut shell type shells I use. I am not saying you can't use other items, or shouldn't, just that this is preference for me and many others. I have no business link to S4S so I am not trying to sell anything. I simply enjoy the look, feel, tacktileness and the ability to work on any surface as that gives a more impromptue feel to the trick.
I think if the audience suspects magnets, you are probably making far too many mistakes in the routine to give them that idea. Of course there are some who suspects magnets and wires in any trick, but if just a general audience member is lead to believe there may be magnets in use, it is probably a prblem in routining.
I would recommend watching and rethinking the act to see why.
S4S doesn't get a lot of my money, but that doesn't detract from my appreciation of the products they make and those that I use.
I have no ax to grind or product to sell. I have been doing the shell game for a very long time. 20 years or more. Many magicians that have been considered to be "Magic's Greats" have seen me do the shell game. To list them would be to much but many of them are pictured at my web site.
I have performed the shell game inside and outside at almost every show I have ever done. And the point of this thread is to just give some observations about the pea in the shell game. That is little talked about and it is an important part of the effect.
It is just some ideas and information that I have gone through while using this effect over many years.
On 2005-08-18 07:50, bishthemagish wrote:
Yes the pea can can be high class magic if it is performed that way. The magician does not have to change the pea to water and can use other things.
Glenn is absolutely right. Ken Brooke used to teach/sell a routine where the "final load" was a miniature bottle of whiskey. I still use this routine - the magic is strong and the kind that people will remember and talk about.
A "vulgar" premise and presentation can and should be changed, unless of course, you work in vulgar places for vulgar people. :)
|I believe that Scotty York does the pea can as the hershey kiss machine...it is very commercial.
|I had bought the Vernet shells to play with and hated the pea. It was too slippery. (Did not like the shells either.) I just bought the S4S Street Shells and the shells are great. The pea, though, is fabulous. I do find myself practicing on different surfaces (I am no where near ready to perform yet,) and I appreciate the fact that it will work on any surface and that it has such a nice tacky feel. I don't understand why they should not advertise those facts. It is not like they are telling us their pea is great because it is a chick-magnet or something. How it works on different surfaces is obviously relevant. It is no different than advertising that a set of cups is great for the street--and having someone get annoyed with that because they do not do a street routine.
I would like to mention that I own s4s products - have voiced a positive opinion about it many many times here in the Café and other places.
And in fact I was not the one in this thread that brought up s4s products and my observations are about little rubber ball pea's in general and how well the work under real world performing conditions.
What I say about little rubber ball pea's is from performing the effect over years and years in real shows at different places. That is a lot different than buying any shell game set and playing around with it.
Or doing the shell trick for friends a few times.
I suggest that people use them in real shows over years and then give their observations.
I was under the impression that the S4S peas had and are used on a day to day basis in thousands of shows, by many professionals.
Since I do not perform the shells, I reserve my statements to the simple fact that I found them easy to use, right from the beginning. That at least has some relevance for someone else who is new to the shells.
How they work for a long time pro, I will listen to the long time pros, many of whom do like the peas.
People use what works for them. I appreciate discussions like this when they focus on WHY something works for them. That's when I learn something. Sometimes I even change what I do.
I learned something here. The discussions of the pea can (which I haven't used in years) got me thinking that I should keep my pea in it and put it back at the end of the routine. If they want to try the game themselves, (I work a LOT of fairs with kids) I can open the can and pour out the hard pea. Perfect invisible switch.
It seems obvious in retrospect. I feel like an idiot for not considering it before.
Bill, I do agree with you that when we do the shell game (or any con or swindle demonstration that is "real" as far as the audience is concerned), it is precisely that look under the tent flap they are expecting. And if you don't meet that expectation, you run a big risk of disappointing them.
On the other hand, if you are presenting such things as magic tricks to begin with, you are creating a whole different set of expectations. I present the shells as an inside look at a con game. If I were then to turn it into a magic trick with final loads or such, I might get a big reaction, but I have just violated my character and it doesn't ring true.
As for hard surface vs. closeup mat, I always prefer a mat but I don't always have the luxury of choice. I have performed the shells kneeling in the dirt on old west boardwalks. Even if I had a mat on me, it would have been very out of place. A hard surface pea IS a selling point for me. To say that such things are silly or unimportant because it is not for you ignores the diverse needs of our entire community.
Glenn, I love your idea of the foil pea (and the line to go with it, but then you know my fondness for good puns). I wonder if you could make a foil ball "just" too big to work and then, after you've let them play with the toys and move them around for themselves, you take the pea back (compressing it enough to now do the move). Hmmmmm. Going to have to play with that.
Hi Erik Anderson great post that pea switch idea with the pea can is a great idea. As is your idea with the foil ball.
I hope you are doing well!
Hi Glenn,
I'm doing great. Just got done doing the shell game at the Iowa State Fair. I probably did it upwards of 500 times over the seven days I was there. Doing it under those conditions was really an education.
Hope all is well with you.
Thanks Erik Anderson
I hope work for you continues to be great.
On 2005-08-21 21:54, Erik Anderson wrote:
Just got done doing the shell game at the Iowa State Fair. I probably did it upwards of 500 times over the seven days I was there. Doing it under those conditions was really an education.
There is nothing like "real world" practice to make a routine solid. I used to do the July 4 celebration for Shell Oil at the Plaza Club in Houston. This club is on the top floor of 1 Shell Plaza. To get to the club, you have to take an elevator to the 48th floor, then change to a second elevator to go to the club.
This was a three hour gig. For the first two hours, I would stand near the elevators on the 48th floor and do rapid-fire magic for the people who were waiting for the elevator. This was the ideal place to practice any very short routine.
Karl Norman came to our magic club, and during his lecture he taught the card under the glass. This is a routine that many magicians will not attempt for various reasons. But I was determined to learn it. I practiced the necessary technical parts at home until they were smooth. Then I decided that the 48th floor would be the ideal place to work on this. It was. By the time the two hours by the elevators was up, I had performed the card under the glass about 50 times. I never once got caught. But at the end of those two hours, it was as smooth as glass.
I'll bet your shell game looks great!
On 2005-08-20 10:46, twistedace wrote:
I believe that Scotty York does the pea can as the hershey kiss machine...it is very commercial.
That is a neat idea and might work well with the foil pea. Thank you for sharing that.
On 2005-08-24 22:15, bishthemagish wrote:
On 2005-08-20 10:46, twistedace wrote:
I believe that Scotty York does the pea can as the hershey kiss machine...it is very commercial.
That is a neat idea and might work well with the foil pea. Thank you for sharing that.
Yes, it is Scotty. He even had a special brass pea can made for it. It is a great routine.
|Scotty's "Candy Kiss Machine" routine was actually developed for Ken Brooke's Pea Can. At the time, Ken was selling a large pea can with a routine involving a tiny bottle of scotch and sales were slow. The "...Kiss..." routine was an attempt to give Ken a more commercial routine to improve the sales of his pea can. The can marketed by FYEO Productions was an exact copy of Ken's pea can (with his permission of course) and was made by Viking Magic. Although the routine was performed by Scotty at the bar, it is also a great routine for kids.
|Is this pea can still on the market?
|Coming back to the "accidental" move which Bill and Dave mentioned seeing in Berlin, Budapest and Copenhagen, couldn't this move be incorporated in a magician's routine? Has anyone tried this? (without a cast :) )
On the Pea Subject.
I use Bob Swadling's Shells in My bar, These are more like rounded caps than walnut shells, The sort of things a gentleman con man might have used in some colonial bar. They look great and handle well. I use SFS Street shells elswhere because they work anywhere on any surface. I use Whit's perfect Pea in both of them. I'm not a fan of Sponge peas because I like to feel exactly where th pea is, and I can control it better with Whit's pea. But I am fully aware that this is purely a personal choice, and I have no objection to sponge peas in other people's hands.
I am on a break from the bar now, but I will be back over there rolling silver foil balls to try.
My thoughts
In the meantime I did some experimenting. With a matchbox the "accidental" flash move is not so difficult but with our 'walnut' shells . . . . I don't know if it is feasible.
It CAN be done but it will take some practice. On the other hand if the move doesn't succeed either the pea isn't seen or the shell is turned over, in both cases no big deal.
On 2005-08-27 17:51, Andy Charlton wrote:
On the Pea Subject.
I use Bob Swadling's Shells in My bar, These are more like rounded caps than walnut shells, The sort of things a gentleman con man might have used in some colonial bar. They look great and handle well. I use SFS Street shells elswhere because they work anywhere on any surface. I use Whit's perfect Pea in both of them. I'm not a fan of Sponge peas because I like to feel exactly where th pea is, and I can control it better with Whit's pea. But I am fully aware that this is purely a personal choice, and I have no objection to sponge peas in other people's hands.
I am on a break from the bar now, but I will be back over there rolling silver foil balls to try.
My thoughts
I purchased a set of those from Bob at the Centenary. They are really nice shells. I like the case they come in.
On 2005-08-28 05:01, leko wrote:
In the meantime I did some experimenting. With a matchbox the "accidental" flash move is not so difficult but with our 'walnut' shells . . . . I don't know if it is feasible.
It CAN be done but it will take some practice. On the other hand if the move doesn't succeed either the pea isn't seen or the shell is turned over, in both cases no big deal.
"Flash" moves can easily be incorporated. As you just learned though, this particular matchbox move is much more easily done with matchboxes than shells.
|I do accidental flashes in my routine. I only do it one time during the routine but it really fries people.
On 2005-08-26 22:53, bishthemagish wrote:
Is this pea can still on the market?
Glenn -
I don't believe the "Candy Kiss Can" is still on the market. Denny (Denny & Lee Magic) used to have some but I think he is sold out. One may pop up on e-Bay from time to time.
|You might check with George Robinson. I think he was making them at one time.


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LegCo Paper No. CB(2)2607/96-97
(These minutes have been seen
by the Administration)
Ref: CB2/PL/WS
Members present:
Members absent:
Public officers attending:
Defining a poverty line
Rent Assistance Scheme
Samaritan Fund
Student Financial Assistance
Clerk in attendance :
(Paper Nos. CB(2)1577/96-97 (01), (02), (03) and (04))
Mr NG Wai-tung of the Society for Communication Organisation (SOCO) stated that the report under discussion was based on a survey conducted at the end of 1996 on the living conditions of low income tenants of public housing estates who were not receiving the Comprehensive Social Security Assistance (CSSA). A total of 45 such households had been surveyed. Mr NG highlighted that -
The survey had found that the living standards of these low income tenants of public housing estates were no better, if not worse, than the CSSA recipients.
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3.The representatives considered that the Long Term Housing Strategy Review Consultative Document (1997), which proposed to increase public housing rents so that the median rent would constitute 15% or 18.5% of median income by 2006, was unacceptable. They were also of the view that the Document had no concrete proposals in offering help to the low income groups.
4.In response, the Assistant Director of Housing (Policy) (AD(P)) indicated that HA had also been very concerned about the small number of applications received for RAS. Therefore, HA had stepped up publicity efforts for the Scheme and the number of applications had increased by 50% since September 1996.
5.As regards the requirement for tenants to transfer to cheaper accommodation after receiving RAS for two years, the Principal Assistant Secretary for Housing (PAS(H)) explained that the objective of RAS was only to provide assistance to those with short-term financial problems. Tenants in long-term financial hardship should apply for CSSA. He added that the household required to transfer to a cheaper flat would be granted a removal allowance and a one-month rent free period. It would also be relocated to another flat unit in the same district. Elderly households and households with disabled members were exempted from this requirement. He added that the period for rent assistance had been extended from one to two years only since September 1996, and so far only one household had been required to transfer to a cheaper flat unit.
9.A member pointed out that the Government had earlier made a commitment in the Long Term Housing Strategy 1987 that waitlistees for public housing would only need to wait for two years for allocation of public housing. However, this target had now been extended to six and a half years. He suggested that HA should consider subsidizing those eligible waitlistees who had been kept on the waiting list for two years. The subsidy should be in the amount of the difference between their current rent and the rent that they would have to pay if they had been allocated public housing. In reply, AD(P) referred to the earlier reply given by the Secretary for Housing who had indicated that the proposal was not acceptable. The Assistant Director ( Social Security) (AD(SS)) suggested that people with long-term financial difficulties should apply for CSSA. Short-term temporary assistance could only be considered on a case-by-case basis.
10.The representatives of SOCO criticised HA for using double standards in defining rich and poor households. They found that rich households had been defined only by measuring the households incomes against the Waiting List Income Limit without applying the rent-to-income ratio, which was, however, used as an additional criterion in defining poor households. They also queried the need to divide these low income tenants into households with long-term financial difficulties and households with short-term financial problems and that RAS only applied to the latter. They pointed out that such graded concept was not applied to the rich households in the assessment of rent. They further pointed out that the criteria imposed for RAS had been so stringent that some households who were eligible for CSSA were found ineligible for RAS.
11.The representatives of SOCO criticised that the medical subsidies offered by the Hospital Authority (HOA) through the Samaritan Fund had been ineffective in helping the needy as most of them remained unaware of such assistance. Based on the two surveys conducted in 1995 and 1997, about 90% of the respondents were not aware of the medical subsidies. The representatives also criticised that some of the eligibility criteria imposed were even more stringent than those of CSSA.
12.In response, the Senior Executive Manager (Professional Services)2 (SEM) of HOA reported that most of the applications for the Samaritan Fund were approved, and the number of successful applications had increased from 667 in 1995/96 to 1,423 in 1996/97 (up to 20 March 1997). It was estimated that there would be 1,500-plus successful applications before end of the current year.
14.The representatives of SOCO pointed out that SEMs explanation on the criteria for applying subsidised medical items contradicted the official information given by HOA in its publicised leaflets, which stated that applicants had to meet both the monthly median household income requirement and the specified level of household savings in order to be eligible. These requirements had rendered some households ineligible for the subsidies, even though they might qualify for CSSA.
15.In response to the requests from SOCO and members, the Controller of the Student Financial Assistance Agency (the Controller) explained that the Textbook Assistance Scheme (TAS) could be considered for extension to provide assistance to needy students from Form four to Form seven subject to availability of funds. The extra cost incurred would be about $0.1 billion. Members considered the extra cost of $0.1 billion minimal as compared to the annual subsidies of $1.4 billion on university students. Since undergraduates had been given textbook assistance through the grant and loan scheme, members considered that the Government should extend TAS at least to senior secondary pupils of low income families who were eligible for the Fee Remission Scheme.
17.Responding to the Chairmans request to define the concept of "poverty", the Principal Economist (PE) pointed out that there was no objective definition of "poverty". Neither could relative poverty line be accurately defined given that it would vary from economy to economy and would also tend to change over time in line with economic growth. The phenomenon of income disparity existed in every society. She pointed out that the rapid economic restructuring of Hong Kong had accounted for the widening income disparity. However, it was more important to see whether over a period of time the median household income had increased or not, and there were opportunities for people in all income groups to improve their living conditions. Similar experience was found in some foreign countries such as the United States, United Kingdom, Australia and Taiwan where the Gini Coefficients had been rising in the past years. In response to the Chairmans enquiry about whether CSSA recipients could be regarded as "poor" people in Hong Kong, PE explained that CSSA recipients were those who had difficulties in satisfying their basic needs.
18.A member asked what opportunities had been given to help the low income people who had lost out in the economic transition to improve their living conditions. PE replied that the re-training service being provided would equip them with the skills to adapt to the economic re-structuring and to re-enter the job market. The member opined that people in the process of re-training would need more financial support since they would suffer from temporary loss in income and would incur extra expenses in the course of finding jobs. She referred to a recent survey conducted at the retailing sector showing that the employees concerned had suffered from continued negative salary increase and reduction in their median income. She criticised the Government for not doing enough to help the poor in the past ten years and that it was still avoiding the issue. In response, PE explained that CSSA and a number of other social welfare subsidies had been in place to provide assistance to the needy for any support they required.
19.Mr NG Wai-tung of SOCO stated that about 410,000 to 830,000 non-CSSA recipients were living in abject poverty. He urged the Government to draw a "poverty line" to see how many people failed to meet the threshold and review its policy on the poor.
20The Chairman concluded that the Administration should develop a comprehensive scheme in helping the low income groups to cope with the economic restructuring which had a great impact on these peoples livelihood.
21.The meeting ended at 4 pm.
Legislative Council Secretariat
11 June 1997


text:
Lostprophets frontman unveils DJ/remix side project called L'Amour La Morgue.
Ian Watkins of Lostprophets has started a DJ/remix side project called L'Amour La Morgue.
The vocalist has been DJing for a while and has begun to create his own remixes with writer/producer Sammy Jay, you can listen to his take on Britney Spear's track 'Womanizer' by clicking here.
Watkins is currently putting the finishing touches on vocals for Lostprophets fourth studio album.
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How is wyrd used in beowulf?
Wyrd - Wikipedia, the free encyclopedia
** Wyrd **
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Wyrd (disambiguation).
Look up /*wyrd*/ in Wiktionary, the free dictionary.
*Wyrd* is a concept in Anglo-Saxon culture roughly corresponding to fate or
personal destiny. Their concept of fate, /wyrd/, was stronger than that of
the Classical Pagans as there was no resisting it. The word is ancestral to
Modern English /weird/, which retains its original meaning only
The cognate term in Old Norse is /urðr/, with a similar meaning, but
also personalized as one of the Norns, Urðr (anglicized as /Urd/) and
appearing in the name of the holy well Urðarbrunnr in Norse mythology.
· 1 Etymology
· 2 Fate in Germanic mythology
· 3 Modern usage in Satanism and Paganism
· 4 See also
· 5 References
The Old English term /wyrd/ derives from a Common Germanic term
/*wurÄÃz/.^[1]/Wyrd/ has cognates in Old Saxon /wurd/, Old High
German /wurt/, Old Norse /urðr/, Dutch /worden/ (to become), and German
/werden/. The Proto-Indo-European root is /*wert-/ "to turn, rotate", in
Common Germanic /*wirþ-/ with a meaning "to come to pass, to become, to
be due" (also in /weorþ/, the notion of "origin" or "worth" both in the
sense of "connotation, price, value" and "affiliation, identity, esteem,
honour and dignity.)^[/citation needed/]
Old English /wyrd/ is a verbal noun formed from the verb /weorþan/,
meaning "to come to pass, to become".^[/citation needed/] The term
developed into the modern English adjective /weird/.^[/citation needed/]
Adjectival use develops in the 15th century, in the sense "having the power
to control fate", originally in the name of the /Weird Sisters/, i.e. the
classical Fates, in the Elizabethan period detached from their classical
background as /fays/, and
Source: en.wikipedia.org/wiki/Wyrd
© 2005-2019 HaveYourSay.org


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text: 2019-04-23T11:41:58+04:30 http://journals.modares.ac.ir/browse.php?mag_id=663&slc_lang=fa&sid=11 663-10362 2019-04-23 10.1002 Culture and Folk Literature CFL 2345-4466 2423-7000 2015 3 6 Double Contrasts in Folk Stories Maryam Sharif nasab Folk stories have come from the ventricle of populace, because they are comprehensive mirror of habits, manners and tempers of populace. Then we could barely observe living culture of people. One of the ways for reading texts (among them folk texts) is the discovery of hidden reciprocities in the texts. Extracting reciprocities make the texts, hidden layers accessible. According to Drida, this oppositeness is in hierarchy and step – by- step form. In other words, one part is considered superior, and is not only "natural and apparent" but also totally "cultural". Therefore, we could attain important points about supportive ideology of text through getting the inner reciprocities of any text and distinction of the superior part. In this essay, the inner texts of two folk and famous stories (Shangool and Mangool and Bewildered Nightingale) are contrastively considered on the base of the most famous and detailed narrations. This consideration indicates that folk stories are truthful to the inner contrasts, and recognizing each part of the contrasts leads to better comprehension of the opposite part positions and traits (for example, woman's position against that of man or mother against stepmother, etc.). In these stories, the narrator mobilizes all story parts to provide the addressee with his desired result, and stimulate cultural and cogitative beliefs to make it evident and logical Folk stories؛ Double contrasts؛ Drida؛ deconstruction؛ Shangool and Mangool؛ Bewildered Nightingle 2015 11 01 1 21 http://journals.modares.ac.ir/article-11-10362-en.pdf 663-1101 2019-04-23 10.1002 Culture and Folk Literature CFL 2345-4466 2423-7000 2015 3 6 The Place of Family and Woman in Bakhtiari Proverbs Hamid Rezaee Ebrahim Zaheri Abdevand Examining proverbs can be influential to know different aspects of every culture because the culture of every nation and group is illustrated in its proverbs. The goal of this research is to study the position of family and woman in Bakhtiari proverbs with Feminism critical view. The research methodology is to analyze qualitative content. In these proverbs, women have supreme, inferior and equal position with men. When we talk about private matters, women are holy creatures and superior to men. In public and social proverbs, women are inferior to men. In general proverbs, women's positions are equal to those of men. In most proverbs, men are dominant, and desirable ideas in the society are institutionalized for men. Marriage, criticizing polygamy, knowledge before marriage, ways to know spouse, and family related subjects are reflected in these proverbs. Bakhtiari culture؛ Proverb؛ Feminism؛ Woman؛ Family 2015 11 01 21 43 http://journals.modares.ac.ir/article-11-1101-en.pdf 663-2400 2019-04-23 10.1002 Culture and Folk Literature CFL 2345-4466 2423-7000 2015 3 6 The Color Displays in Southern Taleshi Folk Songs Moharam Rezayati kishekhaleh Fereshteh Aliani In modern psychology, "colors" are considered among the standards for evaluating personalities. They could be regarded a great and significant source for subjective readings and the analysis of mental characteristics, both national and ethnical. From the psychology of the applied colors in different literary works in every ethnicity, delicate and spectacular points could be gained and in this way, a bridge, about the characteristics of the same people between psychology knowledge and folklore literature could be created. In this article, along with studying the aesthetical and artistic characteristics of the love songs of Talesh ethnicity, we try to analyze its colors with the eight functional colors of Max Lüscher's color tests in order to realize some of the psychic-mental characteristics of the people of this region (Talesh) from the words of the unknown composers of their songs. The research method is descriptive-analytic, and the information gathering method is both field- and library- based. In this study around 50 Taleshian love songs in which different kinds of colors are used, from the most frequent colors to the least used ones, were analyzed. The results indicated the psychic-mental characteristics of the people of the region in exposing beliefs and emotions, pressures, sensibilities, disappointments, joys, etc Song؛ Talesh ethnicity؛ Color؛ Psychology؛ Max Lüscher 2015 11 01 43 75 http://journals.modares.ac.ir/article-11-2400-en.pdf 663-9046 2019-04-23 10.1002 Culture and Folk Literature CFL 2345-4466 2423-7000 2015 3 6 Charbeyti; the Continuation of Traditional Oral Poems Gholamreza Bahrampoor Tetrastichous is a sort of common oral poetry in the villages of Khorasan, which can be considered the developing form of those three hemistich or tetrastichous of Sassanian's periods. This paper, by searching different evidences, indicates, that this type of poem in its early stages has been only a syllable, and by emergence of iambic poetry has enjoyed rhythm. By comparing 2000 of written Tetrastichous and variety of recorded cases in the villages of Khorasan, the structure of repeating this type of poem has also been specified that we will point to some of these evidences. Also, we will discuss about the structure of these Tetrastichouses and specify the reason of this oral tradition's continuity; a tradition that still exists among the rural poets and musicians. At the depth of the discussion, we will discuss indissoluble link of this type of poem with music. In the section of outside form, we will indicate the variation of rhyme in this type of popular poem, and finally, we will point, in the domain of thought and emotion, to the reasons of shaping this type of poem, especially among the villagers and the masses poem؛ music؛ Tetrastichousis؛ Distich؛ Ancientsiran؛ Shape؛ Form؛ structure 2015 11 01 75 113 http://journals.modares.ac.ir/article-11-9046-en.pdf 663-10754 2019-04-23 10.1002 Culture and Folk Literature CFL 2345-4466 2423-7000 2015 3 6 Analysis of Form of Naghize in Aghayed al Nesa Zeinab Arabnejad Mohammad Reza Nasr Isfahani Gholam Hossein Sharifi Valdani Mohsen Mohammadi Fesharaki Aghayed al Nesa written by Agha Jamal Khansari is one of the precious works pertaining to the folk literature. This book is regarded as one of the important sources to know about women in the Safavid period. Not only This book reflects women's beliefs and behavior but also the relation among women and others in the society. Regardless of its conceptual importance, the book has a major structural feature. It has been composed in parodic form. Parody is one of the neglected satire forms and needs to be studied more. Study and analysis of this text will be done by reference to the first and second sources, and will show its value and importance aghayed Al Nesa؛ structure؛ Concept؛ Parody 2015 11 01 113 137 http://journals.modares.ac.ir/article-11-10754-en.pdf 663-10497 2019-04-23 10.1002 Culture and Folk Literature CFL 2345-4466 2423-7000 2015 3 6 The Folk Words and the Contemporary Poetry Issa Amankhani Mona AliMadadi One of the stylistic featuers of contemporary poetry is usage of local and folk words. We can say that in the contemporary poetry, the difference between the literary and non-literary words has been eliminated. Most of contemporary poets (Nima, Shamloo, Forooq,….) used these words in their poetry, and showed that the words are equal, and putting them in unequal category is not correct. The most important reason of this exchange is the modern discourse placed in the contemporary period. In the pre- modern period that its pre-supposithon is unequality, the language is unequale too (literary and non-literary words), and just the word's can enter the poetry that are known appropriate in the top of the word's pyramid. So the folk and local words can not enter to poetry. But when the modern discourse and its presupposithon, (equality) was placed in the contemporary period, the difference between the literary and non-literary words was eliminated too. So the words (folk and literary) found equal value, and the poets as Nima and others used theme in their poetry Folk words؛ contemporary poetry؛ Pre modern and modern discourse؛ Unequality؛ Equality 2015 11 01 137 155 http://journals.modares.ac.ir/article-11-10497-en.pdf 663-1809 2019-04-23 10.1002 Culture and Folk Literature CFL 2345-4466 2423-7000 2015 3 6 Linguistic Features of Jebheh Frontwar (Iraq and Iran) Subculture Mahboobe Shamshir- garha Persian language is not used in the same way in different geographical areas, historical periods & social contexts as other languages are. So always Persian language has had some varieties with some difference in words, sounds and grammars. Stable and unstable sub-cultures that are formed in the scope of Persian language are the most important factors to the occurrennce of the social varieties. War front in Iran, as an example of small community, is a particular sub-culture with behavioral, written and oral dimensions, and most significant part of it is collected in the book named "An Encyclopedia of the war front''. This descriptive analytical article tries to present a slight part of oral culture of the war front with emphasise on the linguistic aspect of contemporary Persian language. The most important section of oral cultures are the idioms, explanations and proper names that many of them have been collected in the first volume of the mentioned book. As we know, the features of this language are mainly related to the vocabulary level; so in this paper, our consideration is to the first volume of this book, and after a brief speech about the varieties of Persian language and common language in the culture of war front in Iran, some examples are taken briefly Persian language؛ Sociolinguistics؛ Culture of war front؛ Iran-Iraq war؛ Spoken language 2015 11 01 155 182 http://journals.modares.ac.ir/article-11-1809-en.pdf


text:
New Rebuild Officer Gets To Work in the Hurunui
The council's new Rebuild Officer gets to work, helping out Waiau resident Lindsay Clemens with an ongoing insurance claim
The council's new Rebuild Officer, Chris King, has hit the ground running in the district and the community is already seeing the benefits of his presence.
The council has committed to helping support individuals and communities adapt to their changing environments following the November 2016 earthquake. The recently established Rebuild Officer role contributes to this by providing individualised support to home owners as they navigate the demolition, design, consenting, repair and rebuild of their homes.
Chris says he is really enjoying getting out and about in the district and providing one on one support to home owners to get the right results when it comes to crucial matters such as connecting people with the right contractors.
"The role is proving to be really rewarding and I'm looking forward to continuing to get fair and reasonable outcomes when it comes to earthquake-related issues, in order to make a real difference."
Chris' role is already proving to be a vital one for the district due to the high demand for his services and the results he is getting for residents when it comes to things like insurance settlements and navigating consenting processes.
Community Team Leader, Rochelle Faimalo, says it is extremely valuable for the Hurunui to have someone out there connecting people with appropriate contractors, designers, other support agencies and council services.
"Chris's work acting as an advocate for those struggling to navigate the complexities of their home repairs and rebuilds is paying off for our people. I look forward to seeing the results of this being continued," she says.
Residents who are in need of guidance on home repair and rebuild processes are encouraged to get in touch with Chris on 027 808 7006 or at email@example.com.
The Rebuild Officer role is 12 month full-time position, funded by the Department of Internal Affairs Hurunui Kaikoura Marlborough Earthquake Relief Fund.