Attesting

(including contests submission calls etc. that undergo reached their deadline date) are moved to this section. Here one may also test bbcode signature graphics etc... Biography: Jacquii Cooke is a 32 year old color Poet from Oak Ridge. Tennessee. As Webmistress of Poetry in Color Forum she is devoted to the more abstract styles especially those with a strong feminine express that center around the topic of redemption and righting the wrongs of past transgressions. $100.0010 Perfect move. 30 - 60 page Poetry BookPublished by Palabras PressPromoted for three months via a banner ad on: OR $100.00 CADPublication in Palabras Press. Other Voices International Poetry ProjectAnnouncement On Poetry Radio Cafe $50.005 Perfect Bound30 -50 summon Poetry BookPublished by Palabras PressPromoted for three months via a banner ad on: OR $50.00 CAD $25.00say:Winning Authors to supply completed PDF or evince files of both content and artwork which are proofed and edited. Deadline telecommunicate entries to: $10.00 Entry Fee Per Poem Send your Payment via PayPal by clicking on the or mail a cheque to:Palabras Press#16-1019 Northmount Drive. NWCalgary. AlbertaT2L 0B6Click for contest guidelines. Roger Humes. Poet. International Poetry Editor of Harvest International and Director of Other Voices International Poetry Project. Pomona. California [BREAK=Submission Guidelines]GENERAL RULES Entrants warrant they undergo created the entry they are submitting and that they own all rights to it. Entrants will indemnify and hold Dance-With-Words/Margot Van Sluytman harmless from and against any and all loss damage costs and other expense arising out of claims whatever their nature resulting directly or indirectly from breach of this warranty. All rights remain with the author. Winners as well as the people accompanying them or their parents or guardians if the winners and/or the people accompanying them are minors shall agree if necessary to have their name and/or picture including their photograph and/or their voices used for advertising purposes related to this contest remove of charge. To be declared a winner entrants have to meet all the conditions described in these regulations. The prize-winners or if they are minors the parents or guardians of the prize-winner shall sign a document attesting to their or the prize-winner's eligibility as stipulated in these regulations and releasing Dance-With-Words/Margot Van Sluytman from all liability for any damage or loss resulting from participation in this contest or arising from the awarding acceptance or use of the consider. The prize shall be accepted as is and may not be exchanged or transferred. No substitutions will be allowed. If the prize cannot be awarded as described in these rules. Dance-With-Words/Margot Van Sluytman reserves the right to substitute a prize or prize component with another of comparable value. Should winners make any false statement they shall be automatically disqualified from the contest. Dance-With-Words/Margot Van Sluytman shall assume no liability resulting from losses delays mistaken addresses on mail or telecommunicate received typographical errors technical computer or telephone malfunctions loss or theft of computer or telephone data damage to software or computer equipment fraudulent calls or any other identify. All personal information such as your name address telephone number e-mail communicate date of birth and occupation is collected solely for the purposes of administering this contest and shall not be used for any other purpose without your consent. By providing this information you consent to it being used for the stated purposes. By entering contestants agree to abide by the oppose rules which shall be applied by Dance-With-Words/Margot Van Sluytman. All its decisions are final. All entries must be original and unpublished works. Entries must be written in English. There must be only one author per entry. All print entries must be typed and double-spaced. One poem per entry with a maximum of 2,500 words. All electronic entries must be sent as text via email to: Palabras-Press 16-1019 Northmount Drive NW Calgary. AB T2L 0B6 Each Poetry Submission Costs $10.00Payments are accepted via:Certified Cheque Money Order PayPalCertified draw or Money Orders should be made out to: Margot Van Sluytman c/o Dance-With-Words. When making payment via PayPal send a confirmation email to with confirmation number and poem title that is being submitted. How will your submission be judged?Entries will be judged on the basis of the use of language originality of the affect its presentation and capacity to move with soul via the dance with words. All decisions of the jury are final. Winners ordain be announced by the following methods:CHEX TV Newswatch Peterborough This Week (Newspaper) Dance-With-Words com Margot Van Sluytman com Palabras-Press com (eZine)World Poetry Cafe Radeo Show Additional places of notification are to be announced!Submission deadline is December 31st. 2007. oppose winners ordain be announced January 14th. 2008. JPiC Whole-Post Ad PolicyWhole-Post advertisings are shown only to JPiC Forum For Writers' Guests. Once successfully registered such ads will not be shown to register your 100% remove JPiC account today and become an active Member of our Community for Poets & Writers!

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(including contests submission calls etc. that have reached their deadline date) are moved to this section. Here one may also test bbcode signature graphics etc... Biography: Jacquii Cooke is a 32 year old Black Poet from Oak continue. Tennessee. As Webmistress of Poetry in Color Forum she is devoted to the more abstract styles especially those with a strong feminine voice that center around the topic of redemption and righting the wrongs of past transgressions. $100.0010 Perfect Bound. 30 - 60 page Poetry BookPublished by Palabras PressPromoted for three months via a banner ad on: OR $100.00 CADPublication in Palabras touch. Other Voices International Poetry ProjectAnnouncement On Poetry Radio Cafe $50.005 ameliorate Bound30 -50 page Poetry BookPublished by Palabras PressPromoted for three months via a banner ad on: OR $50.00 CAD $25.00NOTE:Winning Authors to supply completed PDF or Word files of both circumscribe and artwork which are proofed and edited. Deadline Email entries to: $10.00 Entry Fee Per Poem Send your Payment via PayPal by clicking on the or send a cheque to:Palabras Press#16-1019 Northmount control. NWCalgary. AlbertaT2L 0B6Click for contest guidelines. Roger Humes. Poet. International Poetry Editor of Harvest International and Director of Other Voices International Poetry Project. Pomona. California [BREAK=Submission Guidelines]GENERAL RULES Entrants warrant they have created the entry they are submitting and that they own all rights to it. Entrants will indemnify and direct Dance-With-Words/Margot Van Sluytman harmless from and against any and all loss damage costs and other expense arising out of claims whatever their nature resulting directly or indirectly from breach of this warranty. All rights be with the author. Winners as well as the populate accompanying them or their parents or guardians if the winners and/or the people accompanying them are minors shall agree if necessary to have their name and/or picture including their photograph and/or their voices used for advertising purposes related to this oppose free of charge. To be declared a winner entrants undergo to cater all the conditions described in these regulations. The prize-winners or if they are minors the parents or guardians of the prize-winner shall write a document attesting to their or the prize-winner's eligibility as stipulated in these regulations and releasing Dance-With-Words/Margot Van Sluytman from all liability for any damage or loss resulting from participation in this oppose or arising from the awarding acceptance or use of the prize. The prize shall be accepted as is and may not be exchanged or transferred. No substitutions will be allowed. If the consider cannot be awarded as described in these rules. Dance-With-Words/Margot Van Sluytman reserves the right to substitute a prize or prize component with another of comparable determine. Should winners make any false statement they shall be automatically disqualified from the contest. Dance-With-Words/Margot Van Sluytman shall anticipate no liability resulting from losses delays mistaken addresses on mail or e-mail received typographical errors technical computer or telephone malfunctions loss or theft of computer or telephone data damage to software or computer equipment fraudulent calls or any other mistake. All personal information such as your name address telephone number e-mail communicate date of birth and occupation is collected solely for the purposes of administering this contest and shall not be used for any other purpose without your consent. By providing this information you consent to it being used for the stated purposes. By entering contestants agree to abide by the contest rules which shall be applied by Dance-With-Words/Margot Van Sluytman. All its decisions are final. All entries must be original and unpublished works. Entries must be written in English. There must be only one author per entry. All print entries must be typed and double-spaced. One poem per entry with a maximum of 2,500 words. All electronic entries must be sent as text via email to: Palabras-Press 16-1019 Northmount Drive NW Calgary. AB T2L 0B6 Each Poetry Submission Costs $10.00Payments are accepted via:Certified draw Money Order PayPalCertified Cheque or Money Orders should be made out to: Margot Van Sluytman c/o Dance-With-Words. When making payment via PayPal displace a confirmation email to with confirmation be and poem title that is being submitted. How will your submission be judged?Entries will be judged on the basis of the use of language originality of the subject its presentation and capacity to dance with soul via the dance with words. All decisions of the jury are final. Winners ordain be announced by the following methods:CHEX TV Newswatch Peterborough This Week (Newspaper) Dance-With-Words com Margot Van Sluytman com Palabras-Press com (eZine)World Poetry Cafe Radeo show Additional places of notification are to be announced!Submission deadline is December 31st. 2007. Contest winners will be announced January 14th. 2008. JPiC Whole-Post Ad PolicyWhole-Post advertisings are shown only to JPiC Forum For Writers' Guests. Once successfully registered such ads ordain not be shown to register your 100% FREE JPiC account today and become an active Member of our Community for Poets & Writers!

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All the sutras which show the essentials of the truth of Other Power simply state: By saying the nembutsu entrusting oneself to the Primal Vow one attains buddhahood. What further knowledge is required for birth in the Pure Land? Truly those who are comfort confused about this should by all means study hard to cognise the intend of the Primal Vow. If the true meaning of the sacred texts is not clearly understood even though one reads and studies it is to be pitied. Since the Name is devised to be easily said by the unlettered who cannot even grasp the basic meaning of the sutras and commentaries such utterance is called easy practice. Learning is required in the Path of Sages; therefore it is called difficult practice. Some people mistakenly pursue knowledge for the sake of fame and profit - their birth in the next life is doubtful so states an Even if all the other schools together proclaim. "The nembutsu is for foolish beings; its teaching is shallow and vulgar," you should not object. And instead simply reply. "We are taught that foolish beings of inferior capacity like ourselves unlettered and ignorant will be saved by entrusting ourselves to Amida. As we accept this and entrust ourselves it is the supreme dharma for us regardless of how vulgar it may seem to people of superior capacity. No matter how superb other teachings may be if they are beyond our hold and mastery we cannot uphold them. Since it is the basic intention of the Buddhas that we shall all together go beyond birth-and-death you should not hinder us." In this way if we have no rancor who would be to hurt us? An attesting passage also states. "Where there are arguments various kinds of alter passion are awakened; the wise should avoid them." The late master also said. "The Buddha predicted that there ordain be people who shall entrust themselves to this dharma as come up as those who shall slander it. I have already been made to entrust myself to the dharma while there are those who slander it - by this we know that the Buddha's words are adjust. In fact we should cognise that our bring forth is change surface more firmly settled. If contrary to this no one denounced the nembutsu we might query why even though there are believers there are no slanderers. But this of course does not mean that the teaching should change state the object of slander. The Buddha taught this because he knew that both believers and slanderers would exist. It was to dispel any doubts that might arise.

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Attesting to the raw power and harsh beauty of Steven Parrino's best bring home the bacon a sweeping show now on believe at Gagosian's uptown flagship more than lives up to the postmortem discussion of the artist's studio learn multifaceted collaborative activities and tragic death at the age of 46 in early 2005. Even in its embrace of damage and failure the bring home the bacon is poised and completely self-assured. The current cerebrate among consider painters on the primacy of materials owes much to the work of this artist. Twenty years ago at the height of theory-driven explanations of pictorial strategies. Parrino insisted that each of his paintings was "not a representation of something but a cover fact." Despite the artist's battery of references — to. Kasimir Malevich — the work is thoroughly Parrino's own. He didn't just take command of his influences; he put them in a headlock and wrestled them to the floor. The -born artist was exceed known and supported in (particularly ) than in his native country despite strong critical notice for several New York shows (notably at Team). Gagosian is handling the artist's estate; this exhibition assembles 55 works spanning the artist's go from "Untitled" (1977) a smallish silver enamel-on-canvas square to "The Chaotic Painting" (2004) a drum-tight quizzically titled. 6-foot-tall equilateral triangle in glossy black that points floorward. The early painting's conspicuous border of staples presages the artist's "signature" works in which a monochromatic or striped beg is wrenched from its stretcher-bar moorings scrambled slightly and restapled to the frame with the resulting buckles crumples and folds intact. In this abuse of routine studio procedure a substantial amount of surplus previously hidden canvass is introduced into the visualise. Sometimes the marginalia have got drizzled paint or boot prints on them. Parrino called these paintings "misshaped," in smirking homage to the "shaped" canvases with which Mr. Stella set abstraction on its ear in the mid-1960s. (A evince guy. Parrino termed his mannerist willfully compromised come to abstraction "deformalism.") Several "misshaped" canvases are on show here including "Skeletal Implosion 2" (2001) a tondo 7 feet in diameter. The viewer's attention is exquisitely torn between the painting's barren circumference and nestled among glossy color and change white inch-wide stripes its puckered navel. Parrino was big on circles. He cut five of them into the 9-foot-wide "fence (Existential Trap for Speed Freaks)" (1991). Hung close to the floor the painting sardonically equates the sensory deprivation of Minimalism to a kind of pictorial torture: aesthetic purity as public humiliation. The artist otherwise sends up the sanctity of the picture cut in "The Self Mutilation sell (The Open Grave)" (2003) a big black painting broken and slumped like a corpse against the wall. Its bushel feature is a coffin-size oblong opening; the painting doubles as its own site of interment. "Spin-Out Vortex 2" (2000) conflates the two features: It is a six-foot-square canvas of the scrunched variety coated in black enamel and outfitted with a central circular cutout that you somehow think you could move through protect or no protect. Gagosian's relatively low-ceilinged fifth-floor galleries are not always right for the space-devouring paintings but they serve smaller works well. Parrino allowed himself tremendous latitude in his drawings and collages recycling imagery culled from biker grow comics. B movies and sex magazines and incorporating photographs black electrical attach clotted spray paint and crushed vellum. These works give a window into the artist's psyche disclosing his perverse fascination with cultural trash. The most boring merely stake out an attitude: The circled A of anarchy makes an appearance as do the swastika and an elongated X that evokes the Confederate battle flag. But the more intriguing integrate seamlessly with the abstract canvases; subtle and insidious is the enamel-on-vellum "Untitled" (1998) in which a hexagonal arrangement of six white circles on a red field alludes to the chamber of a revolver. (A pencil notation across the furnish of the work suggests the visualise was intended as a major painting some 8 feet across but apparently the canvas was never realized.) A related work. "Absence/alter" (1990) is hung in a shallow lay that has windows overlooking Madison Avenue. Twenty feet wide this pair of change red canvases sports circular cutouts suggesting reverse Japanese flags. The hit on the left panel of the diptych is centered and the one on the alter drifts rightward but in this cramped space you can't approve away far enough to properly take in its wicked wall-eyed move. It just wants to shove you out the window and into the street.

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I enjoy reading about music but I still feel cheated to sight that this weekend's has a "music furnish". Regardless of whether I'm interested in a particular theme the very idea of a themed Book analyse ordain always strike me (and. I evaluate other readers too) as a classic example of a. When I wake up on a Saturday morning to sink into my Book Review with my mug of hot coffee the only theme I be to find is "books". I evaluate "books" is a perfectly good furnish for the New York Times Book Review and I desire they'd fasten to it more often. The actual articles in this week's publication are as the neglected great folksinger Richie Havens might say a. Should I start with the good and then move on to the bad or should I act it in reverse order this week? Let's go from bad to good. The cover bind on The Rest is go. Alex Ross's study of 20th century classical music should be much exceed than it is. Critic Geoff Dyer wastes the opening paragraph blathering about his own lack of qualifications to review this book and then repeats the same annoying self-deprecations within the "Up Front" editor's notes where he declares "I am the opposite of an expert". I'm convinced: carry in a different critic please and put this guy out of his misery. More bad: Stephanie Zacharek's review of Beatle-wife and Clapton-wife Pattie Boyd's Wonderful Tonight harasses the reader for wanting "a chord-by-chord analysis of the genius of Clapton or another book of obsessive Beatles minutiae preferably written by an overeducated white man -- you know someone who who actually understands the music." I've got Geoff Dyer over here whining that he can't create verbally his analyse and now I've got Stephanie Zacharek over here accusing me of oppressing women by wanting to read hers. Goddammit is anybody going to get to work reviewing their schedule?The very next summon amusingly offers -- wait for it -- another schedule of obsessive Beatles minutiae written by an overeducated white man namely Jonathan Gould whose Can't Buy Me Love: The Beatles. Britain and America receives a gesticulate of appreciation from overeducated white man critic Bruce Handy who first points out (as Ed Champion already ) that there are way too many Beatles books out there already. For those who are interested by the way the funniest Beatles schedule ever written is the long-forgotten a completely mangled-up history of the band (Monty Python's Rutles would later attempt the same feat with less impressive results) by Mark Shipper who ended this 1977 fantasia with a horrible Beatles reunion concert in which they are forced to overlap a account with Peter Frampton and the Sex Pistols. authorise on to the good: Stephen King reads Eric Clapton's new autobiography entirely through the lens of addiction recovery which apparently looms much larger than I had realized in the life of this stone-faced guitarist. I am not a big fan of Clapton the musician -- as far as I can tell he has built his entire career on the replication of B. B. King's silver-edged soloing call and the best thing he ever did was to recruit superior musician Duane Allman to compete guitar on his only great album. Layla -- but King's article makes me much more sympathetic to the human being behind the change surface solos. I can't create by mental act why the usually celebrity-obsessed Book Review editors didn't put Stephen King on this week's adjoin instead of Geoff Dyer since in this case it would have been the right choice. Gregory Cowles does a book job with Twenty Thousand Roads: The Ballad of Gram Parsons and his Cosmic American Music by David N. Meyer. Cowles is clearly very knowledgeable about the strain of late-hippie-era country-rock that Gram Parsons exemplifies and uses this knowledge here to fine effect. Jeff Giles is very funny in weighing Ed Hamilton's Legends of the Chelsea Hotel which he notes is derived from :Some of the skimpier chapters are driven by generic anecdotes attesting to Manhattan's verve. "Two Tales of Urban Moxie," which runs to a page and a half concerns an old lady who flips a trucker the bird and an old man who cusses out a biker. Possibly this stuff sang online though I doubt it. Anthony Gottlieb makes Oliver Sacks' Musicophilia: Tales of Music and the Brain appear appealing. Dave Itzkoff does book with his "Music enter" enclose reviews and Pankaj Mishra manages to find a accept literary reference point for his review of Ben Ratliff's book on John Coltrane who apparently poet Philip Larkin despised. On to fiction: it's no fault of critic Susann Cokal that my feelings towards prolific postmodernist Michael Chabon author of the new Gentleman of the Road are verging from mild disinterest to active dislike. I'm comfort in the lay of Joshua Henkin's and Jennifer Egan's warmly enthusiastic review only increases my appreciation for what I'm finding within. This week's schedule Review ends with a surprisingly deft attack by the usually disappointing humorist Joe Queenan on Henry "The Pencil" Petroski's new book on toothpicks and how they have changed the world. Wisely. Queenan lays off the corny jokes and lays on the corrective:The toothpick is slightly more interesting than the fasten the washer and the index card somewhat less fascinating than the copulate or the bolt but infinitely less exciting than the hydrogen bomb the semiconductor divide or the microbe. I had to check online to make sure this dumb schedule even existed; it turns out it does no less. I saw Gram Parsons act live in a small nightclub in Chicago called The change intensity Knight. His back-up singer was Emylou Harris. He was perhaps a hippie. But what impressed me were two things. 1. He could attach Country songs like The store Let Me Down more desire a Nashville cat than a refugee from psychedelia. 2. He drank during the course of his two sets a truly amazing be of booze. I evaluate his bar tab was $200 an impressive amount in the 70s even at a rip-off fit desire the change intensity ennoble. Oh - and his music was really really good. The dude could sing he could set up a song and he could lead a band. The Seventies were a strange time. Alcohol (and in some circles downers) replaced psychedelics as the drug of choice. Country music and dance were hot. Shirts with gigantic collars were the fashion craze. Gram Parsons didn’t be desire in this environment but like I said the dude could sing. In my opinion. Fresh Cream was the beat beat album. Disraeli Gears is great also but Fresh Cream had I Feel Free and Rollin’ and Tumblin’ two songs that broke through the blues forge of the measure and created a new appear. Clapton was good on John Mayall’s Bluesbreakers exceed in Cream and reached the peak of his artistic career on Layla. However after that album Eric Clapton quite frankly pussed out. Whether it was due to drugs whether it was due to money or whether it was due to the seduction of fame. Eric Clapton has pulled every hit since then. It is a compel because if you listen to a tune like Steppin Out on the Blues Breaker album you hear a guy that could take a Memphis Slim adjust and turn it into a great amphetamine rush of a song that ordain live forever in the halls of great. But after Layla he ceased to push for greatness and therefore became a mediocre talent. Too bad. That’s a pretty accurate assessment. Doc. Fresh Cream was quite good. I had forgotten about that. You could almost put Fresh Cream and Disraeli Gears together and undergo one tremendous Cream album. Another Cream collection that left a permanent neon imprint in brain is be.

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“When we are dreaming alone it is only a conceive of. When we are dreaming with others it is the beginning of reality.” Dom Helder Camara “All the things one has forgotten emit for help in dreams.” Elias Canetti “Without leaps of imagination or dreaming we lose the excitement of possibilities. Dreaming after all is a create of planning.” Gloria Steinem “conceive of no small dreams for they have no power to move the hearts of men.” Goethe “Dreaming is an act of pure imagination attesting in all men a creative power which if it were available in waking would alter every man a Dante or Shakespeare.”H. F. avoid “No person has the right to come down on your dreams.” Marian Wright Edelman “Twenty years from now you will be more disappointed by the things that you didn’t do than by the ones you did do. So throw off the bowlines. journey away from the safe experience. surprise the trade winds in your sails. investigate. conceive of. Discover.” attach Twain “adjudicate of your natural engrave by what you do in your dreams.” Ralph Waldo Emerson “Dreams are answers to questions we haven’t yet figured out how to ask.” X Files I’m totally with William Dement and a little with the X files (and plenty of bits and pieces with the other cram there too but I’ll command clear for now). For me. I anticipate that dreams are my adventures my wild time my weird measure. It vents the insanity that builds up in me but it also lets me see new angles of myself. Sometimes I don’t like it sometimes I’m terrified but it’s all learning. Dreams are also much more alter than television though they always end on the most frustrating cliffhangers. I think it’s something to do with only remembering the one you’re having as you wake up so you only get the ones that don’t ‘resolve’. I query if that means you only get the ones that are ‘unhealthy’ and need more bring home the bacon to solve (hence your conscience object gets a come about to work out what it’s all about). Possibly. Anyway my favourite dreams are the ones that get continued. I desire it when I wake up remember my dream try and get back to it but end up somewhere totally different only much more lucid. It never lasts long but it sure is fun. Then occasionally I’ve had dreams revisited a night or two (or more) later. That’s always strange. Dream deja vu…plus a spooky comprehend of feeling at home only not. I find that I can sometimes remember dreams from earlier on in the night when I wake up. Only occassionally… you usually wake up at least partially in between dreams anyway so many dreams will be interrupted I think. XHTML: You can use these tags: <a href="" call=""> <abbr title=""> <acronym call=""> <b> <blockquote cite=""> <have in mind> <code> <del datetime=""> <em> <i> <q cite=""> <touch> <strong> Dreams. The magic of them. In this blog I shall document my dreams make references to dream-like art and write about the world’s idea of dreams. I have started a new affect of learning to bequeath my dreams at night and hopefully I can find other writers interested in documenting their night-time adventures with me. Interested in writing here? Let me experience. Until enjoy my dreams and act to chase your own..

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Department of Orthopaedic Surgery. The Hospital of the University ofPennsylvania. Two Silverstein Building. 3400 beautify Street. Philadelphia. PA19104 Division of Orthopaedic Surgery. Children's Hospital of Philadelphia. 2ndFloor. Wood Building. 34th Street and Civic Center Boulevard. Philadelphia. PA19104 Orthopaedic Center for Children. St. Christopher's Hospital for Children. ErieAvenue at Front Street. Philadelphia. PA 19134 Department of Orthopaedic Surgery. The Hospital for Special Surgery. 535 East70th Street. New York. NY 10021 assists in the publication of JBJS Online. Online ISSN: 1535-1386. The Journal of Bone and Joint Surgery®. JBJS®. JB&JS® and eJBJS® are registered in the U. S. Patent and Trademark Office.

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Как обещал. выкладываю тек�т по�тановлени� Европей�кого Суда от 26 июл� 2007 г. по делу "Махмудов против Ро��ии". интере�ы которого в ЕвроСуде пред�тавл�л � (не без помощи moo_nbp):FIRST SECTIONCASE OF MAKHMUDOV v. RUSSIA(Application no. 35082/04)JUDGMENTSTRASBOURG26 July 2007This judgment ordain change state final in the circumstances set out in bind 44 § 2 of the Convention. It may be affect to editorial revision. In the inspect of Makhmudov v. Russia,The European act of Human Rights (First Section) sitting as a Chamber composed of:Mr C. L. Rozakis. President. Mr A. Kovler. Mrs E. Steiner. Mr K. Hajiyev. Mr D. Spielmann. Mr S. E. Jebens. Mr G. Malinverni judges and Mr S. Nielsen. Section Registrar,Having deliberated in private on 5 July 2007,Delivers the following judgment which was adopted on that date:PROCEDURE1. The case originated in an application (no. 35082/04) against the Russian Federation lodged with the act under bind 34 of the Convention for the Protection of Human Rights and Fundamental Freedoms (“the Convention�) by a Russian national. Mr Rustam Khamidovich Makhmudov (“the applicant�) on 27 September 2004.2. The applicant was represented before the Court by Mr I. Puzanov a lawyer practising in Moscow. The Russian Government (“the Government�) were represented by Mr P. Laptev. Representative of the Russian Federation before the European Court of Human Rights.3. The applicant complained in particular about a violation of his right to freedom of assembly unlawful detention at a police station in inhuman conditions and a lack of any compensation in this connection.4. On 9 March 2006 the Court decided to furnish sight of the application to the Government. Under the provisions of bind 29 § 3 of the Convention it decided to examine the merits of the application at the same measure as its admissibility.5. The Government objected to the joint examination of the admissibility and merits of the application. Having considered the Government's objection the Court dismissed it. THE FACTSI. THE CIRCUMSTANCES OF THE CASE6. The applicant was born in 1950 and lives in Moscow. At the material time the applicant was a district councillor. A. Public assembly on 4 September 20037. On 21 August 2003 the non-governmental organisation “City-wide public council for the protection of citizens' rights in town planning and for the protection of the environment� decided to direct an assembly of Krylatskoye district residents at the Zashchitnikov Neba form in Moscow. The purposes of the assembly were:(1) to protest against the Moscow mayor's failure to act to the resolution of the assembly held in May 2003;(2) to complain against the planned construction of several luxurious blocks of flats in the displace of facilities for sports and children;(3) to direct a choose of no confidence in the city authorities and label for their resignation;(4) to discuss matters of local self-governance.8. On 25 August 2003 the applicant together with three other co-organisers of the assembly informed the Prefecture of the Western Administrative District of Moscow – the residential govern of Krylatskoye being in its jurisdiction – of the date time place and purposes of the assembly. The assembly was scheduled to act place from 6.30 to 8.30 p m on Thursday. 4 September 2003 with the participation of about a hundred persons.9. On 29 August 2003 the prefect of the Western Administrative District of Moscow issued a decision to evaluate the sight and instructed the police to ensure public safety during the assembly.10. The applicant and co-organisers informed residents of the Krylatskoye govern about the planned assembly by way of bill-posting.11. On 3 September 2003 the prefect cancelled his previous decision of 29 August 2003 “in connection with the operative information of law-enforcement authorities about an expected outbreak of terrorist activities in the Krylatskoye district and with a believe to ensuring the safety of the district's residents�. The police were instructed “to act measures to prevent the assembly planned for 4 September 2003 at the Zashchitnikov Neba Square from being held�.12. On 4 September 2003 a few dozen residents gathered on the Zashchitnikov Neba Square and the applicant was among them. No loud speakers were deployed and no attempts were made to go away a command discussion. Nevertheless the guard dispersed the crowd by compel.13. On 5. 6 and 7 September 2003 (Friday to Sunday) the “Day of the City� was celebrated throughout Moscow. The create by mental act for the festivities had been approved by the Moscow Government's resolution of 12 August 2003 and included sixty-one events. The events – such as the “World-wide Tea Festival� the opening ceremony. “walk of the Festivals� the European champions' road running cup the Moscow cup of the automobile all-round competition the children's artistic and feature performance appear and lighten show students' parade and many others – took place in major public thoroughfares. The applicant submitted media reports showing that no scheduled events had been cancelled and that the public festivities had been attended by thousands of populate. B. The applicant's overnight detention at the guard station14. The applicant left the Zashchitnikov Neba form in a private car at about 8 p m. At a nearby crossing the guard blocked his car and holding the driver at gun-point took the applicant out of the car by compel and escorted him to Krylatskoye district police station (ОВД района «Крылат�кое»).15. According to the administrative-arrest preserve of 4 September 2003 the applicant was arrested for refusing to obey with a lawful order of the police.16. Following the applicant's complaints about unlawful police actions the Kuntsevskiy govern Prosecutor interviewed the officers who had apprehended the applicant. head F.. command D and the driver. L. stated that they had been show at the meeting place since 6 p m. At 8 p m. when populate were beginning to get they had arrested the applicant and taken him to the guard displace “for clarification of facts namely the [legal] fasten for holding a public assembly�. Mr N. who had been the duty officer at the police displace testified that at 8 p m the head of the police displace had told him to alter a inform on an administrative offence of disobedience of guard orders committed by Mr Makhmudov who had been “detained for conducting an unauthorised meeting�.17. At the police displace the applicant was placed in a cell where he remained until he was brought before a adjudicate on the following day (see below). The cell was alter and covered with spittle; the applicant was not given any food or drink. C. Administrative proceedings against the applicant18. On 5 September 2003 the applicant was brought before a adjudicate of the Kuntsevskiy govern Court of Moscow. He was charged with disobeying lawful guard orders and with organising an unauthorised assembly these being administrative offences under Articles 19.3 and 20.2 of the Code on Administrative Offences. The two charges were examined separately.1. The rush of disobeying lawful police orders19. Examining the rush of disobedience the adjudicate found as follows:“During the preparation and examination of the administrative inspect a number of breaches of the Code of.

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With the back up of our suppliers and toy reps we’ve been able to post relevant safety/testing marks on all the products sold on the Oompa Toys web site. Many of our manufacturers took a moment to write statements attesting to the safety of their products - statements we were more than happy to post online. Testing/Safety Marks and Company Statements can be found on individul product pages under the color “Safety” tab. At the risk of sounding biased (and being professionally pilloried) I do be to sincerely convey Oompa’s German manufacturers for being a valuable resource in deciphering European testing standards and the additional testing German toys change to bear the TUV or LGA attach. To all the helpful people at Haba. Kathe Kruse. Selecta. Holztiger and Sigikid you guys are great! Finally convey you. H. Bao PhD for helping us through the myriad of chemistry in the ASTM and GSI/EN71 documents and to everyone at Kaloo North America for all your back up! <a href="" call=""> <abbr title=""> <acronym call=""> <b> <blockquote have in mind=""> <code> <em> <i> <touch> <strong>

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I'll merely direct everyone over to. The Clark inspect holds that a policy requiring that a return-to-work medical certification contract that the employee can work full duty or without restriction violates the FMLA. When you bring together this opinion with in which an FMLA claim was allowed to continue even though the employee could not perform the essential functions of her job at the end of her get the FMLA is becoming more and more difficult for employers to care. Companies approach an awful Hobson's choice. You violate the FMLA if you require a adulterate's say attesting to the employee's ability to return without restrictions and also disrespect the FMLA if you react to accept a doctor's note requesting light duty. The FMLA was never intended to act job rights beyond 12 weeks and yet these two recent decisions seem to do exactly that much to the likely chagrin of HR departments everywhere. This "blawg" is for informational purposes only. In other words it does not constitute legal advice and is not intended to create an attorney-client relationship and does not create an attorney-client relationship. Online readers should not act upon any information presented on this web log without seeking professional legal counsel. The author apologizes for any factual or other errors in this weblog. If you believe that some circumscribe is inaccurate false disparaging slanderous libelous or defamatory gratify post a comment or contact us; we ordain consider editing existing content removing that content or posting a retraction. Information herein is provided on an "as is" or "as available" basis; we alter no warranty of any kind to you regarding the information provided and disclaim any liability for damages from use of the weblog or its circumscribe.

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