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This book explores a complex relational assemblage, a collection of 1481 Pacific artefacts brought together by Captain Edward Henry Meggs Davis, during the three voyages of HMS Royalist between 1890-1893. The collection is indicative not just of a period of colonial collecting in the Pacific, but also the development of ethnographic collections in the UK and Europe. This period of history remains present in the social and cultural lives of many Pacific Islanders today.Using the collections as a starting point the book is divided into two parts. The first provides the historical background to the three voyages of HMS Royalist, discussing each voyage, its aims and outcomes, and the role that Davis played within this. Davis' motivations to collect and the various means of collecting that he employed are then explored within this historical context. Finally the first part considers what happened to the collection once it was sent from the Pacific to England, where and how it was sold, and how the collection was a part of and subject to the networks of museums, and private collectors in the UK and Europe during the end of the 19th century beginning of the 20th century. It offers a detailed view of the contents and development of the collection, and what the collection can tell us about British ethnographic collecting at the end of the nineteenth century.The second part of the book explores the traces left by the ship amongst the Pacific Islands communities it visited. Focusing on three Pacific Islands- Vanuatu, Solomon Islands and Kiribati- the chapters in this section interrogate the contemporary relevance of this period of colonial history for Islanders today, exploring current social, political and environmental issues.

Was Miliband successful at turning the page on New Labour and at re-imagining social democracy for the post-global financial crisis era? This study maps the ideas - old and new - that were debated and adopted by the Labour Party under Miliband and shows how they were transformed into policy proposals and adapted to contemporary circumstances. It seeks to demonstrate that the Labour Party under Miliband tried but failed to renew social democracy. This failure is one of the several reasons why 'Milibandism' was so overwhelmingly rejected by voters at the 2015 general election. Goes offers a thought-provoking perspective on how political parties develop their thinking and political blueprints that will appeal to scholars and students of British politics and ideologies and to anyone interested in contemporary debates about social democracy.

The story of Ed Miliband's attempt to put Labour back into power after just five years in opposition: the challenges he has faced, the difficulties - and the colleagues - he has had to deal with, some of the mistakes he has made, and the successes he has occasionally enjoyed along the way.

\"The key truth of the gospels is that if you're a human being, you're of immeasurable worth,\" he said. \"The reality is we are all broken.\" Inspired by the Beatitudes (eight 'blessings' in the account of Jesus' Sermon on the Mount in the Gospel of Matthew), Celebrate Recovery's approach recognizes that every human being can be subject to \"hurts, habits and hang-ups\" and in need of the nurturing that mercy, love and humility can provide.

Founded in 1960, Rogers Communications is Canada's leading wireless, cable, and media company that provides connectivity services and entertainment to consumers and businesses across the country. From cable and wireless services to news, sports, entertainment, and its award-winning credit card, the company reaches Canadians from coast to coast. It connects about 11.7 million mobile subscribers in over 2,200 communities on the country's largest and most reliable 5G network, and its cable service territory covers approximately 10 million homes. In addition, it also operates a transcontinental fiber-optic network that provides voice and data communications and advanced services, including data centers and cloud computing, to the enterprise, public sector, and carrier wholesale markets.

  The Columbia Montour Chamber of Commerce is offering a $1,000 cash reward to anyone who provides information that leads to the apprehension and conviction of the person who robbed FNB Bank, on Mill Street, Danville, on June 30.

\"I swapped a Cardiff City shirt for a Cardiff City cushion when I was seven years old and I still have it today. It's the best pillow ever.\" \"I swapped a very common Neville Southall sticker for a rare shiny Norwich City sticker for my football album. The person I swapped it with didn't have a clue how rare it was!\"

The Curzon Soho and its audience aren't taking the threat lying down. Last year, a protest was fired off to Crossrail by Save Soho, an organisation devoted to halting the encroaching blandification of the West End's cosmopolitan core, and founded in response to the closure of cabaret venue Madame Jojo's ; it was signed by Save Soho's committee, including chairman Stephen Fry and Benedict Cumberbatch. Eddie Marsan tweeted \"I didn't go to film school, I went to the Curzon Soho\", and other celebrities have rallied to the cause on video. On curzonblog.com, you can find Matt Smith babbling excitedly, writer-director Charlie Kaufman musing ruefully and High-Rise director Ben Wheatley grumbling that he can't see the point of Crossrail 2 anyway: \"It's not that far to walk ... to Tottenham Court Road ... I'm getting heavier as I get older and I kind of need the exercise.\" As for the ripe, pithy cursing I mentioned earlier, that's the brashest, most singular weapon in the Save Curzon Soho arsenal. Earlier this year, the campaign put out a call for ideas to raise awareness, and the winning concept came from producer-director duo Sam and Ed Edwards. The result was Curse for [Curzon], a 90-second film you can watch online, in which a mix of volunteers -- some professional actors, some Curzon staff and film industry people -- fulminate with relish, reworking vibrant profanities from assorted movies, some with a familiar ring, others less so. It starts gently enough -- \"Listen you fuckers, you screwheads, here is a man who would not take any more...\" -- then gets saltier and angrier. The sources include Withnail and I, Pulp Fiction, The Exorcist, Melissa McCarthy vehicle The Heat, and -- not that you'd expect this to be the richest vein of obscenity -- Bridget Jones's Diary. \"We shot about three minutes worth of great swearing,\" says Ed Edwards, who directed it. [Ally Clow] himself delivers Ewen Bremner's line from Mike Leigh's Naked -- \"I'll tear your fuckin' heed open, eh!\"-- from a scene shot just up the road at a local landmark, the Lina Stores deli in Brewer Street. Before it finally folded in 1993, the Scala embodied wilder, more unpredictably diverse days. \"You'd have a drag queen all-nighter, then a few minutes later, all-day Tarkovsky,\" says the BFI's Jane Giles, who used to programme the Scala, and is currently writing a book about the venue. But she recognises that the particular cultural climate that fuelled such haunts -- a mixture of intellectual cinephilia, political dissent and rock'n'roll raciness -- has waned since then. \"There was a time when, intellectually and culturally, it was a way of expressing your discernment to go and see a Robert Bresson triple bill at the Everyman, drink a certain type of coffee and eat a certain type of cake. It was just the thing to do, but tastes change. It stopped being cool.\" Besides, the rising price of film-going -- up to [pound]15 at Curzon Soho, up to [pound]18 at its Bloomsbury sister cinema and Picturehouse Central -- mean that the fancy-free omnivorous browsing my generation practised is no longer so easy. Today, Giles says, \"cinema-going has become a wealthy person's occupation. You can't afford to take a risk on a film any more.\"

The Curzon Soho and its audience aren't taking the threat lying down. Last year, a protest was fired off to Crossrail by Save Soho, an organisation devoted to halting the encroaching blandification of the West End's cosmopolitan core, and founded in response to the closure of cabaret venue Madame Jojo's ; it was signed by Save Soho's committee, including chairman Stephen Fry and Benedict Cumberbatch. Eddie Marsan tweeted \"I didn't go to film school, I went to the Curzon Soho\", and other celebrities have rallied to the cause on video. On curzonblog.com, you can find Matt Smith babbling excitedly, writer-director Charlie Kaufman musing ruefully and High-Rise director Ben Wheatley grumbling that he can't see the point of Crossrail 2 anyway: \"It's not that far to walk ... to Tottenham Court Road ... I'm getting heavier as I get older and I kind of need the exercise.\" As for the ripe, pithy cursing I mentioned earlier, that's the brashest, most singular weapon in the Save Curzon Soho arsenal. Earlier this year, the campaign put out a call for ideas to raise awareness, and the winning concept came from producer-director duo Sam and Ed Edwards. The result was Curse for [Curzon], a 90-second film you can watch online, in which a mix of volunteers -- some professional actors, some Curzon staff and film industry people -- fulminate with relish, reworking vibrant profanities from assorted movies, some with a familiar ring, others less so. It starts gently enough -- \"Listen you fuckers, you screwheads, here is a man who would not take any more...\" -- then gets saltier and angrier. The sources include Withnail and I, Pulp Fiction, The Exorcist, Melissa McCarthy vehicle The Heat, and -- not that you'd expect this to be the richest vein of obscenity -- Bridget Jones's Diary. \"We shot about three minutes worth of great swearing,\" says Ed Edwards, who directed it. [Ally Clow] himself delivers Ewen Bremner's line from Mike Leigh's Naked -- \"I'll tear your fuckin' heed open, eh!\"-- from a scene shot just up the road at a local landmark, the Lina Stores deli in Brewer Street. Before it finally folded in 1993, the Scala embodied wilder, more unpredictably diverse days. \"You'd have a drag queen all-nighter, then a few minutes later, all-day Tarkovsky,\" says the BFI's Jane Giles, who used to programme the Scala, and is currently writing a book about the venue. But she recognises that the particular cultural climate that fuelled such haunts -- a mixture of intellectual cinephilia, political dissent and rock'n'roll raciness -- has waned since then. \"There was a time when, intellectually and culturally, it was a way of expressing your discernment to go and see a Robert Bresson triple bill at the Everyman, drink a certain type of coffee and eat a certain type of cake. It was just the thing to do, but tastes change. It stopped being cool.\" Besides, the rising price of film-going -- up to [pound]15 at Curzon Soho, up to [pound]18 at its Bloomsbury sister cinema and Picturehouse Central -- mean that the fancy-free omnivorous browsing my generation practised is no longer so easy. Today, Giles says, \"cinema-going has become a wealthy person's occupation. You can't afford to take a risk on a film any more.\"

As community foundations, both offer individuals, corporations and others the opportunity to establish a named fund within the foundation and to help determine how the principal or interest is distributed. One or both of the foundations offer donor-designated funds in which the donors choose where the money goes, donor- advised funds in which donors have a voice in the grant making, and field-of-interest funds in which donors establish general uses for the money. Its grant recipients include groups such as the Association of Baptists for World Evangelism, Bethany Christian Services, Focus on the Family, Nativity Jesuit Middle School, Parklawn Assembly of God, Shiloh Missionary Baptist Church, YMCAs and relief agencies. Most grants are within the four-county area. Its donors include business owners, corporate executives and professionals. Two donors were featured in its newsletter: Pat Peery, senior vice president of real estate at Kohl's Department Stores and a member of the United Methodist Church of Whitefish Bay; and Ralph Cavaiani, former owner of a medical cost management firm and a member of St. Bruno's Catholic Church in Dousman.