DOCSLIB.ORG

SFB the Farthest Star Campaign 2008 October

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SFB the Farthest Star Campaign 2008 October SFB The Farthest Star Campaign Archive 2008 October -December By Glenn Hoepfner (Ikabar) on Wednesday, October 01, 2008 - 01:27 am: Edit Rich, I thank you for making me go back to my therapist. I had hoped I'd forgotten. By Sean O'Carroll (Terryoc) on Wednesday, October 01, 2008 - 02:06 am: Edit Glenn, what I was trying to say (which I should have made explicit) is that IF the death probe were to be used in future, then some of the changes given to the probe might help weaken it a bit, if that's considered desirable by the GM. By John Smith (Johnsmith) on Wednesday, October 01, 2008 - 03:04 am: Edit Sheap: I disagree. That level of firepower is equivalent to what 3 NCLs carry, or possibly even a bit better. Furthermore, it has NO power balance problems. It goes plasma speed and rearms all weapons (if I'm reading the description right). If you're talking about being able to move and arm that many weapons each turn, you're really talking more like 5 or so NCLs. Coupled with the fact that there's no degradation of combat ability until 600 points have damage have been recieved, I'd say that it'd take more like 1000+ BPV to be even. More if it was stationary or relied on spd 20 drones. Because flying around at spd 32 means that you can pretty much ignore spd20s, and not having shields means that you don't have to protect a down shield and are free to use that speed to it's fullest to avoid seeking weapons. Let me put it this way, which would you say is more powerful, a ship with 6 shields of 30 points each, or a ship with a single 180 point shield? Not to mention that a 2x2 board has at least 3x the running room of a 1x1 board. With that kind of regenration and speed, he can dance around as long as he wants and come back in to force a confrontation on the last turn or two before the stalemate clock ends. Now, if the origional scenario had automatated rules for the probe, then yes, it's probably balanced vs. 600 BPV. But a human behind the wheel will at least double the effectiveness of any monster. Re: stalemate and planetary damage, I believe it requires 50 points of damage on a planet to reset the clock. That'd require a fairly close-range pass to do in one turn. And after a certain amount of damage is scored (50 per side?), that won't reset the clock any more. Disclaimer: none of this is intended to criticize Dale (or anyone else) for sending the monster. In the absence of any direct experiance, I think it's perfectly reasonable to assume that a given scenario is balanced and could be used as such in a campaign. By Glenn Hoepfner (Ikabar) on Wednesday, October 01, 2008 - 10:04 am: Edit Sean, after re-reading your first post, I see your point. I apologize for assuming what I assumed. By Dale McKee (Brigman) on Wednesday, October 01, 2008 - 12:08 pm: Edit It has also been brought to my attention that the Death Probe scenario (as published) is fought on a 1x1 map. Our campaign uses a 2x2 map. This gives the beast a LOT more running room, which may be what "breaks" it in the game. Normally I prefer to handle these things behind the scenes. I believe that the hand of a good GM, like that of God, should be invisible. But, since it's all out in the open now, here's what I'm going to rule: Rich, you have a choice. A) The Death Probe happened. NCL crippled, BATS gone, 2x GBDP destroyed. The planet is NOT permanently destroyed BUT all its development IS. Therefore you will need to RE-develop the planet with freighters. B) The Death Probe didn't happen. Instead you get to deal with a Juggernaut. You and Jon (or whomever) will fly that battle and the results stand. In EITHER case, the Death Probe, at least until I "patch" it for the campaign, is gone and will be removed from my encounter tables. It's way down on a third-tier branch anyway, but if it's unbalanced on a 2x2 map, it shouldn't be available. By Peter Thoenen (Eol) on Wednesday, October 01, 2008 - 12:11 pm: Edit The main issue I seen was how fast firepower goes down. The Fed's can do about (off the cuff here) 250 points per two turns .. so 8 turns to kill the Death probe and 6 turns to cripple. Problem is attrition: T1: DP cripple Fed, DP 200 T2: DP kill Fed T3: DP crippled Fed, DP 150 (as fed dead) T4: DP kill Fed T5: repeat The Fed's have more FP but also have it reduce. Also not sure DP rules but shouldn't it have simply charged the planet shooting ships in range and then concentrated on the plan running away afterward? I don't have SM9 handy or CL37 but is the DP smart or dumb? By Peter Thoenen (Eol) on Wednesday, October 01, 2008 - 12:28 pm: Edit Also here is how you play this smartly: 1: Charge in kill base to stop repair ... play the 8 turns repair, 2 break stalemate. DP only loses v. fixed assets if they let the fixed assets keep repair capabilities. I do think though had the Fed's not had those bases and had that BPV is ships they would have taken this. I am also not a SFB master and reading Sheap's plan it might have been plausible. By John Trauger (Vorlonagent) on Wednesday, October 01, 2008 - 12:57 pm: Edit Another alternative is to put the probe under a requirement to engage. If not the fleet, engage the planet. Outside some pre-determined range, say 30, it must seek the planet like a seeking weapon. That limits the Probe to more or less a 30-hex radius around the planet and it is forced to close to get within that radius. By Ted Fay (Catwhoeatsphoto) on Wednesday, October 01, 2008 - 01:05 pm: Edit Turn 3 of Requiem completed. I hit with a bunch of QWTs (very long range weapons), though Tom blunted their effect by eliminating the splash from most of them. Phasers were lackluster - particuarly the ph-4's. The #1, 2, 5, 6 shields of the CA are roughly at 50% (a little more). PPDs stripped the left side shields off the DW(L). Combined with phasers and a lucky range-18 bolt from the CA, the DW(L) is now crippled with only about a half-strength #4 left. However, the DW(L) will be docking to something. I'm pretty sure it will be the LCD, though there's some question out there. That will keep Tom from shooting it again. Battle to continue with turn 4 sometime soon. By Glenn Hoepfner (Ikabar) on Wednesday, October 01, 2008 - 02:14 pm: Edit John, Peter, Modifications in a campaign don't work unless perfected. Dale's solution is best. The rules in S1 are quite clear as to how the probe works. If the death probe doesn't work well in this campaign, then it shall be removed, not modified. This is a bad time to playtest new rules. By John Trauger (Vorlonagent) on Wednesday, October 01, 2008 - 03:01 pm: Edit Glenn, I'm not trying to second-guess Dale or suggest that he change his ruling. All I'm suggesting is a way to fix the Probe for next time. By Michael C. Grafton (Mike_Grafton) on Wednesday, October 01, 2008 - 04:29 pm: Edit Means to balance the Death Probe could also REQUIRE the Death Probe to not fire at the planet until it is in "facility targeting range" (5 hexes) of the planet. Thus the darn probe has to come to the planet to avoid stalemate. Or giving the defender reinforcements every 6 turns or so. By Dale McKee (Brigman) on Wednesday, October 01, 2008 - 04:57 pm: Edit HIJINKS AROUND THE HYPERMASS In a system dominated by a black hole, a Peladine DD is confronted by an Orion CR, who attempts to drive the Peladine off and raid the system! PELEADINE FLEET: DD+. ORION FLEET: CR+ (3x PL-F; no cloak). Both sides WS-III, starting in the center of their opposite maps (about 50 hexes apart on the diagonal). Black Hole in the "true center" of the 2x2 map. Speed max. By Dale McKee (Brigman) on Wednesday, October 01, 2008 - 05:00 pm: Edit BATTLES ANNOUNCED: Intercept! Counting Coup at Colony-7 The Peladine Press On The Tortoise and the Hellcat Between a Rock and a Hard Place Cartman's Probe Hijinks Around the Hypermass BATTLES IN PROGRESS: Requiem for a Homeworld BATTLES COMPLETED: Ruin at Remus-3 No Sanctuary By Dale McKee (Brigman) on Wednesday, October 01, 2008 - 05:02 pm: Edit Obviously, I have decided not to end the campaign at this time. I do appreciate the support from several of you and am glad that you're enjoying the game that much. I am probably taking a few days off from the BBS and game in an effort to recharge my batteries, so replies to any questions may be slow in coming. I ask you all to remember: THIS IS A GAME. We play for fun. PLEASE do not get so spun up as to take things personally.
Load more

Recommended publications
  • The Rolling Stones Live at the Tokyo Dome Mp3, Flac, Wma
    The Rolling Stones Live At The Tokyo Dome mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Live At The Tokyo Dome Country: US Released: 2015 Style: Classic Rock MP3 version RAR size: 1230 mb FLAC version RAR size: 1982 mb WMA version RAR size: 1982 mb Rating: 4.8 Votes: 512 Other Formats: VQF MP4 MMF WAV VOC VOX AUD Tracklist DVD-1 Continental Drift DVD-2 Start Me Up DVD-3 Bitch DVD-4 Sad Sad Sad DVD-5 The Harlem Shuffle DVD-6 Tumbling Dice DVD-7 Miss You DVD-8 Ruby Tuesday DVD-9 Almost Hear You Sigh DVD-10 Rock And A Hard Place DVD-11 Mixed Emotions DVD-12 Honky Tonk Women DVD-13 Midnight Rambler DVD-14 You Can't Always Get What You Want DVD-15 Can't Be Seen DVD-16 Happy DVD-17 Paint It Black DVD-18 2000 Light Years From Home DVD-19 Sympathy For The Devil DVD-20 Gimme Shelter DVD-21 It's Only Rock 'N Roll DVD-22 Brown Sugar DVD-23 (I Can't Get No) Satisfaction DVD-24 Jumpin' Jack Flash CD1-1 Continental Drift CD1-2 Start Me Up CD1-3 Bitch CD1-4 Sad Sad Sad CD1-5 The Harlem Shuffle CD1-6 Tumbling Dice CD1-7 Miss You CD1-8 Ruby Tuesday CD1-9 Almost Hear You Sigh CD1-10 Rock And A Hard Place CD1-11 Mixed Emotions CD1-12 Honky Tonk Women CD1-13 Midnight Rambler CD1-14 You Can't Always Get What You Want CD2-1 Can't Be Seen CD2-2 Happy CD2-3 Paint It Black CD2-4 2000 Light Years From Home CD2-5 Sympathy For The Devil CD2-6 Gimme Shelter CD2-7 It's Only Rock 'N Roll CD2-8 Brown Sugar CD2-9 (I Can't Get No) Satisfaction CD2-10 Jumpin' Jack Flash Companies, etc.
    [Show full text]
  • American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
    American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world.
    [Show full text]
  • Guitar Magazine Master Spreadsheet
    Master 10 Years Through the Iris G1 09/06 10 years Wasteland GW 4/06 311 Love Song GW 7/04 AC/DC Back in Black + lesson GW 12/05 AC/DC Dirty Deeds Done Dirt Cheap G1 1/04 AC/DC For Those About to Rock GW 5/07 AC/DC Girls Got Rhythm G1 3/07 AC/DC Have a Drink On Me GW 12/05 ac/dc hell's bells G1 9/2004 AC/DC hell's Bells G 3/91 AC/DC Hells Bells GW 1/09 AC/DC Let There Be Rock GW 11/06 AC/DC money talks GW 5/91 ac/DC shoot to thrill GW 4/10 AC/DC T.N.T GW 12/07 AC/DC Thunderstruck 1/91 GS AC/DC Thunderstruck GW 7/09 AC/DC Who Made Who GW 1/09 AC/DC Whole Lotta Rosie G1 10/06 AC/DC You Shook Me All Night Long GW 9/07 Accept Balls to the Wall GW 11/07 Aerosmith Back in the Saddle GW 12/98 Aerosmith Dream On GW 3/92 Aerosmith Dream On G1 1/07 Aerosmith Love in an Elevator G 2/91 Aerosmith Train Kept a Rollin’ GW 11/08 AFI Miss Murder GW 9/06 AFI Silver and Cold GW 6/04 Al DiMeola Egyptian Danza G 6/96 Alice Cooper No More Mr. Nice Guy G 9/96 Alice Cooper School's Out G 2/90 alice cooper school’s out for summer GW hol 08 alice in chains Dam That River GW 11/06 Alice in Chains dam that river G1 4/03 Alice In Chains Man in the Box GW 12/09 alice in chains them bones GW 10/04 All That Remains Two Weeks GW 1/09 All-American Rejects Dirty Little Secret GW 6/06 Allman Bros Midnight Rider GW 12/06 Allman Bros Statesboro Blues GW 6/04 Allman Bros Trouble no More (live) GW 4/07 Allman Bros.
    [Show full text]
  • Something Happened to Me Yesterday © Felix Aeppli 12-2019 / 09-2020
    SPARKS WILL FLY 2018 Something Happened To Me Yesterday © Felix Aeppli 12-2019 / 09-2020 “UK, IRE and EU No Filter Tour” APRIL 30 – MAY 4 Rehearsals, Omnibus Theatre, Clapham, London MAY 7-11 Rehearsals, Unidentified venue, London 14 Rehearsals, Croke Park, Dublin (Entry 1.229) 15 Rehearsals, Croke Park, Dublin (Entry 1.230) 17 Croke Park, Dublin (Entry 1.232 – complete show listed) 22 London Stadium, London (Entry 1.234 – complete show listed) 25 London Stadium, London (Entry 1.235 – complete show listed) (joined by Florence Welch) 29 St Mary’s Stadium, Southampton (Entry 1.236 – complete show listed) JUNE 2 Ricoh Arena, Coventry (Entry 1.237 – complete show listed) 5 Old Trafford Football Stadium, Manchester (Entry 1.238 – complete show listed) 9 BT Murrayfield Stadium, Edinburgh (Entry 1.239 – complete show listed) 15 Principality Stadium, Cardiff (Entry 1.240 – complete show listed) 19 Twickenham Stadium, London (Entry 1.242 – complete show listed) (joined by James Bay) 22 Olympiastadion, Berlin (Entry 1.243 – complete show listed) 26 Orange Velodrome, Marseille (Entry 1.244 – complete show listed) 30 Mercedes-Benz Arena, Stuttgart (Entry 1.245 – complete show listed) JULY 4 Letnany Airport, Prague (Entry 1.247 – complete show listed) 8 PGE Narodowy, Warsaw (Entry 1.248 – complete show listed) Backing: Chuck Leavell: keyboards, back-up vocals, percussion; Darryl Jones: bass, occasional back-up vocals; Karl Denson: saxophone; Tim Ries: horns, occa- sional keyboards; Matt Clifford: keyboards, occasional percussion and French horn; Sasha
    [Show full text]
  • The Rolling Stones
    Chart - History Singles All chart-entries in the Top 100 Peak:1 Peak:1 Peak: 1 Germany / United Kindom / U S A The Rolling Stones No. of Titles Positions The Rolling Stones are an English rock band formed in Peak Tot. T10 #1 Tot. T10 #1 London in 1962. The first stable line-up consisted of 1 46 16 7 500 149 22 bandleader Brian Jones (guitar, harmonica, keyboards), 1 56 21 8 425 109 18 Mick Jagger (lead vocals, harmonica), Keith Richards 1 57 23 8 585 130 17 (guitar, vocals), Bill Wyman (bass guitar), Charlie Watts (drums), and Ian Stewart (piano). Stewart was removed 1 81 32 15 1.510 388 57 from the official line-up in 1963 but continued to work with the band as a contracted musician until his death in 1985. ber_covers_singles Germany U K U S A Singles compiled by Volker Doerken Date Peak WoC T10 Date Peak WoC T10 Date Peak WoC T10 1 Come On 07/1963 21 14 2 I Wanna Be Your Man 11/1963 12 16 3 Not Fade Away 02/1964 3 15 7 05/1964 48 13 4 It's All Over Now 09/1964 14 13 07/1964 1 1 15 9 07/1964 26 10 5 Tell Me (You're Coming Back) 01/1965 24 4 07/1964 24 10 6 Time Is On My Side 01/1965 28 4 10/1964 6 13 6 7 Little Red Rooster 02/1965 14 7 11/1964 1 1 12 6 8 Heart Of Stone 01/1965 19 9 9 The Last Time 05/1965 1 4 22 1603/1965 1 3 13 703/1965 9 10 2 10 Play With Fire 05/1965 96 1 11 (I Can't Get No) Satisfaction 09/1965 1 7 19 1108/1965 1 2412 706/1965 1 14 9 12 Get Off Of My Cloud 12/1965 1 2 17 1510/1965 1 3212 610/1965 1 12 6 13 As Tears Go By 12/1965 6 9 3 14 19th Nervous Breakdown / As Tears Go By 03/1966 1 2 13 1102/1966 2 8 402/1966
    [Show full text]
  • Track Title Artist It's Now Or Never Acoustic Moods Ensemble Stranger
    Track Title Artist It's Now Or Never Acoustic Moods Ensemble Stranger on the Shore Acoustic Moods Ensemble Love Is a Losing Game Acoustic Moods Ensemble As Tears Go BY Acoustic Moods Ensemble Martha's Harbour Acoustic Moods Ensemble Guantanamera Acoustic Moods Ensemble Golden Brown Acoustic Moods Ensemble Because The Night Acoustic Moods Ensemble Make It Easy on Yourself Acoustic Moods Ensemble Walk on By Acoustic Moods Ensemble Something Stupid Acoustic Moods Ensemble Cavatina Acoustic Moods Ensemble Summer Breeze Acoustic Moods Ensemble Miss You Nights Acoustic Moods Ensemble Save the Last Dance For Me Acoustic Moods Ensemble Hotel California Acoustic Moods Ensemble Wonderful Tonight Acoustic Moods Ensemble Something Acoustic Moods Ensemble While My Guitar Gently Weeps Acoustic Moods Ensemble Lay Lady Lay Acoustic Moods Ensemble Fields Of Gold Acoustic Moods Ensemble The Wind Beneath My Wings Acoustic Moods Ensemble Wonderful Land Acoustic Moods Ensemble Time In a Bottle Acoustic Moods Ensemble And I Love Her Acoustic Moods Ensemble Yesterday Acoustic Moods Ensemble Here, There and Everywhere Acoustic Moods Ensemble Moon River Acoustic Moods Ensemble Nights In White Satin Acoustic Moods Ensemble Blue Moon Acoustic Moods Ensemble Wonderwall Acoustic Moods Ensemble La Isla Bonita Acoustic Moods Ensemble The Sound of Silence Acoustic Moods Ensemble Time After Time Acoustic Moods Ensemble I Don’t Want to Talk About IT Acoustic Moods Ensemble I'll Stand By You Acoustic Moods Ensemble In Sleep I Dream Of You Acoustic Moods Ensemble In The
    [Show full text]
  • Barcelona 1990 (2CD) (-).Pdf
    Bootleg CDs B Title: Barcelona 1990 (2CD) TRACKLISTING: CD One: 1. Intro / Continental Drift ............................................... 1'02 2. Start Me Up (**) ......................................................... 3'47 (Jagger/Richards) 3. Sad Sad Sad (**) ........................................................ 3'32 (Jagger/Richards) 4. Tumbling Dice (**) .................................................... 4'21 (Jagger/Richards) 5. Miss You (**) ............................................................. 6'44 (Jagger/Richards) 6. Almost Hear You Sigh (**) (a) ................................. 4'58 (Jagger/Richards) 7. Ruby Tuesday (**) ..................................................... 3'16 (Jagger/Richards) 8. Terrifying (**) ............................................................ 4'44 (Jagger/Richards) 9. Rock And A Hard Place (*) ........................................ 4'46 (Jagger/Richards) 10. Honky Tonk Women (*) ............................................ 4'39 Front with copy number sticker (Jagger/Richards) 11. Happy (*) .................................................................... 3'58 (Jagger/Richards) Total time disc one: 46'59 CD Two: 1. Paint It Black (**) ...................................................... 4'04 (Jagger/Richards) 2. 2000 Light Years From Home (*) .............................. 6'43 (Jagger/Richards) 3. Sympathy For The Devil (**) ..................................... 7'11 (Jagger/Richards) 4. Street Fighting Man (**) ............................................ 4'25 (Jagger/Richards)
    [Show full text]
  • HONK in March, 2019 Tobias Hall Announced the Stones New Compilation When He Tweeted the Following
    HONK In March, 2019 Tobias Hall announced the Stones new compilation when he Tweeted the following: The album was released April 19. On November 27, 2019 Tobias Hall was still grinning when he Tweeted, “2019 highlights part 2: Illustrating the cover of a @therollingstones album will go down as a career highlight for me, thanks again to the guys at @studiofury for getting me on board .” (That is a raised hands emoji.) HONK appeared 2,349 days after Grrr!, the Stones grand 50th anniversary compilation. It’s fun to see this young artist’s enthusiasm. Let’s take a dive into its story. Asked how he got involved with the HONK project. Hall said, “I was commissioned by Studio Fury, who art directed and designed the sleeve artwork.” Studio Fury has worked on Blue and Lonesome as well as HONK. Where did the name come from? Title Studio Fury was asked: “How did the album get the name HONK? Do you know how or why it was so named?” They replied, “Yes, but it’s not public knowledge so no comment I’m afraid.” The origins of this title remain a mystery at this point, in fact that has become the Holy Grail of Stones album titles. It was already determined when Tobias Hall, artist and designer began his work. That leaves us room to speculate and who speculates better than fans? Discussion at popular sites like iorr.or and SteveHoffman offered some ideas. Negative comments are always in more abundant supply that positive ones and this holds true with the title.
    [Show full text]
  • The Rolling Stones Complete Recording Sessions 1962 - 2021 Martin Elliott Live Tracks in Date Order Index
    THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962 - 2021 MARTIN ELLIOTT LIVE TRACKS IN DATE ORDER INDEX All officially released live, and significant live tracks are listed. * Indicates the track has not been released officially. The number following in brackets is where to find the entry in the 2012 book should it have changed. A new entry following the book release will not have a number in brackets. 1964 7 February 1964 – ABC Elstree TV Studios, London, England. L0001. I Wanna Be Your Man (1.42) L0002. You Better Move On (2.40) 19 March 1964 - Camden Theatre, London, England. L0003. Route 66 (2.30) (91) L0004. Cops And Robbers (3.43) (92) L0005. You Better Move On (2.45) (93) L0006. Mona (2.57) (94) 10 April 1964 - Playhouse Theatre, London, England. L0007. Not Fade Away (2.04) * (95) L0008. High Heeled Sneakers (1.56) (96) L0009. Little By Little (2.30) (97) L0010. I Just Want To Make Love To You (2.16) (98) L0011. I'm Moving On (2.06) (99) 26 April 1964 - NME Poll Winners Concert, Empire Pool Wembley, London, England. L0012. Not Fade Away (2.01) (109) L0013. I Just Want To Make Love To You (2.19) (110) L0014. I'm Alright (2.07) (111) 27 April 1964 (Show One) - The Royal Albert Hall, London, England. L0015. Walking The Dog * L0016. You Can Make It If You Try * L0017. Beautiful Delilah * (2.14) (84) 27 April 1964 (Show Two) - The Royal Albert Hall, London, England. L0018. Not Fade Away * (112) L0019. High Heeled Sneakers * (113) L0020.
    [Show full text]
  • Between a Rock and a Hard Place How Parents Deal with Children Who Use Substances and Perpetrate Abuse
    Between a rock and a hard place How parents deal with children who use substances and perpetrate abuse Project report Produced with funding support from the Department of Health Acknowledgements Contents This report has been written by Adfam and Against Violence and Abuse Acknowledgements 2 (AVA) and covers the processes and findings of a joint project carried out Foreword 3 by the two organisations in 2011/12. Executive summary 4 The project would not have been possible without the kind cooperation of 88 parents who agreed to take part. This report reflects their collective Setting the scene experiences, makes suggestions for improvements in services and will be Introduction 7 used as the basis for future training and resource development by Adfam and AVA. Given the inevitable sensitivity of the topics covered in the focus Definitions 8 groups the sessions were at times demanding and all attendees were courageous and forthright in sharing their experiences. Thank you. What we know from research 9 Policy context 13 Adfam and AVA would also like to thank the family support groups which coordinated the focus groups with their service users– without their The project contacts and dedication in coordinating the groups the project would not Aims 14 have been possible. Methodology 14 The groups involved were: ESCAPE Family Support in Northumberland; RODA (Relatives of Drug Abusers) and SPODA for the Sheffield group; Findings 16 Welcome (part of Solihull Integrated Addiction Services) in Solihull; Conclusions 25 Hetty’s in Mansfield; Manchester Carers, Hands, Smart Group and Greater Manchester Alcohol and Drug Carers Focus Group in Manchester; Parents Recommendations 26 Support Link in Southampton; DHI in Warmley; and PATCHED in Brighton.
    [Show full text]
  • 1612855111-Get-Liteeric-Gross.Pdf
    Get Lite Written by Eric Gross VERVE/LIT We hear the sounds of a train coming to a stop. And read: If we’re not supposed to dance, Why all this music? Greg Orr 2. OVER BLACK. A stampede. The rush of commuters as they board a train. CONDUCTOR (O.S.) (intercom) Stand clear of the closing doors. As we hear the doors close, we open to -- INT. TRAIN - EARLY MORNING. Summer. New York City. The morning commute. 149th St. station left in the dust as the 2/3 heads downtown. The train is crowded, airless, miserable. CREDITS ROLL AS WE SEE -- A banker playing Candy Crush, a pregnant woman rubbing her belly, a Sikh with a Chihuahua in his kaftan, a construction worker reading the Wall Street Journal, triplets with a Trinidadian caretaker, a homeless man combing his beard. The MTA subway. The great democratizer. We end on a lanky black teen wearing khaki pants, Penny Loafers, and a button down which blooms sweat patterns. This is SAUNDERS BELL (17). His head is tilted at 45 degrees, ear buds are in, IG feed scrolls across his tired eyes. Bored as can be. But after checking his Casio watch, he smiles. And like clockwork, here they come. Right through the inter train doors. In SLOW MOTION. All wearing the same uniform: black track pants, wife beaters, flat brimmed Mets hats. And on their feet? Air Force 1’s with leather wings protruding from the heel, the Greek Gods of the subway. The leader of the crew is an enthusiastic though chubby black man with three days of stubble sprinkled on his tired face.
    [Show full text]
  • Steel Wheels They're Back the Rolling Stones Incorporated
    Steel Wheels They’re Back The Rolling Stones Incorporated Reunion could have been the title for this album and tour. Keith Richards said, “The Stones are bigger than any of us when it comes down to the nitty gritty,” and they were. This is also when the Stones became a commercial force to deal with by launching their largest worldwide tour ever on the biggest stage ever constructed. The Stones changed the concert business for the biggest acts in the world. They sold their entire tour including concerts, merchandising, TV and films rights to Michael Cohl of Toronto’s Concert Productions International for about $70 million. Cohl was backed by Budweiser money. Most tickets sold for $28.50. Through it all, ran the Steel Wheels album art. This is the story of that art. This art was created not just for the album art but for merchandaise and the tour as well. Albums, Tours, and the Digital Age Nothing reinvigorates Sixties icons like having something to prove. After Undercover and Dirty Work, not to mention Mick Jagger’s solo recordings, the reverence ordinarily shown to the Stones had worn dangerously thin. The Stones were, once again, a band with something to prove. Steel Wheels was a self-styled reunion album released 29 August 1989. It marked a return to a more classic style of music and it launched the band's biggest world tour to date. It was Bill Wyman's final full-length studio album with the Stones and it was the first album that did not feature the sixth Rolling Stone, Ian Stewart.
    [Show full text]