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Statewide Habitat Management FY2018
IDAHO DEPARTMENT OF FISH AND GAME Virgil Moore, Director Annual Statewide Report Wildlife Restoration Grant Report WILDLIFE HABITAT MANAGEMENT July 1, 2017 to June 30, 2018 Prepared by: Dave Leptich ............................................................................................ Panhandle Region Don Jenkins ............................................................................................. Clearwater Region Brad Lowe ................................................................................................ Southwest Region Mark Fleming...................................................................................... Magic Valley Region Anna Owsiak ............................................................................................. Southeast Region Rob Cavallaro ...................................................................................... Upper Snake Region Jesse Shallow ................................................................................................ Salmon Region David Smith ............................................................................................... Grants Specialist Compiled and edited by: Martha Wackenhut, Habitat Program Coordinator and Don Kemner, State Habitat Manager September 2018 Boise, Idaho Idaho Department of Fish and Game (IDFG) adheres to all applicable state and federal laws and regulations related to discrimination on the basis of race, color, national origin, age, gender, disability or veteran’s status. If you feel you have been discriminated -
Guardian and Observer Editorial
Monday 01.01.07 Monday The year that changed our lives Swinging with Tony and Cherie Are you a malingerer? Television and radio 12A Shortcuts G2 01.01.07 The world may be coming to an end, but it’s not all bad news . The question First Person Are you really special he news just before Army has opened prospects of a too sick to work? The events that made Christmas that the settlement of a war that has 2006 unforgettable for . end of the world is caused more than 2 million people nigh was not, on the in the north of the country to fl ee. Or — and try to be honest here 4 Carl Carter, who met a surface, an edify- — have you just got “party fl u”? ing way to conclude the year. • Exploitative forms of labour are According to the Institute of Pay- wonderful woman, just Admittedly, we’ve got 5bn years under attack: former camel jockeys roll Professionals, whose mem- before she flew to the before the sun fi rst explodes in the United Arab Emirates are to bers have to calculate employees’ Are the Gibbs watching? . other side of the world and then implodes, sucking the be compensated to the tune of sick pay, December 27 — the fi rst a new year’s kiss for Cherie earth into oblivion, but new year $9m, and Calcutta has banned day back at work after Christmas 7 Karina Kelly, 5,000,002,007 promises to be rickshaw pullers. That just leaves — and January 2 are the top days 16 and pregnant bleak. -
BISHOP FAMILY PRG 1123 Series List
BISHOP FAMILY PRG 1123 Series List Photographs of the Bishop family (Series 1-43) Photographs of the Bishop family 1 ca.1855-1900. 13 photographs, 9 copies. [Daguerreotypes and 1 ambrotype of members of the Bishop family including Captain John Bishop and his wife Esther Elizabeth Bishop, and three of their children: Mary Vale Bishop, Amelia Helen Bishop and John Frederick Bishop, as well as two unidentified men. Also includes photographic copies of the daguerreotypes and ambrotype. Glass plated photograph of Captain John Bishop, and three opalotypes of Amy Helen Bishop, Ethel Mary Wollaston (nee Bishop) and Theodore Edwin Ekers]. Photograph album of Ethela Bishop 2 ca.1911-1912. 1 volume, 93 photographs. [Photograph album belonging to Ethela Bishop comprising 93 small black and white photographs, most of landscapes, of Mount Barker, landscapes and workers at Wellington Lodge, landscapes and workers at Koonamore Station near Yunta, various locations in Port Lincoln including Mill Cottage owned by Joseph Kemp Bishop, the Adelaide Hills, Adelaide including Glen Osmond and the zoo, and two of Ethela and Joseph’s grandchildren, Jack (John) and Mary Bishop, children of Sidney J.F. Bishop. See special list for Series 2 for details.] Photograph albums of the Bishop, Broadbent and Johnson families 3 ca.1912-1953. 5 volumes. 1. Port Lincoln landscapes, including Mill Cottage, ca.1912. 2. Broadbent and Claxton families of Port Lincoln. Marjorie Broadbent married Myles Kemp Bishop in 1923. Most photographs include captions. ca.1917-1918. Includes loose sheet of photographs of Esther and Ann Bishop ca.1926, 1940. 3. Family holiday in Victoria and South Australia, including commercial photographs and postcards, ca.1935. -
BBC Radio 2 Beatles BBC Radio 2 Beatles
RADIO MUSIC BBC Radio 2 Beatles BBC Radio 2 Beatles Last September BBC Radio 2 produced a spin off four-day Beatles Pop-Up DAB service marking the 50th anniversary of the release of the iconic Abbey Road album, broadcast from Abbey Road Studios, and celebrating the Fab Four as a group, as individual artists, and as songwriters, with a mix of live shows, simulcasts (with the parent network), and classic content from the extensive R2 & Apple Records archive. This was a partnership between R2 and Apple/Universal Music, and because of the place the band hold in the hearts of the public, it was an opportunity to invite talent from right across BBC Radio (Scott Mills, Lauren Laverne, Zoe Ball, Nicky Campbell and Greg James), and the music and entertainment industries (Dave Grohl, Gary Barlow, Grace Dent, Jack Savoretti, Paul Merton, John Bishop, Katie Melua and Guy Garvey), to share their love of the band, and their music catalogue. By utilising these names, alongside radio brands like Desert Island Discs, Mastertapes & Sunday Love Songs, we could not only target the band’s evergreen fans, but also a new younger 25-44 demographic. We also weaved complimentary simulcasts into the schedule, kicking off with the UK’s most popular radio programme, the Ken Bruce Show, live from Abbey Road, and then a special live concert from Studio 1, featuring presenter Guy Garvey (who also performed), the BBC Concert Orchestra, Rick Astley, Mark King from Level 42, Ruby Turner and Cerys Matthews, all interpreting classic Beatles songs in front of a small audience of competition winners. -
The Meaning of Katrina Amy Jenkins on This Life Now Judi Dench
Poor Prince Charles, he’s such a 12.09.05 Section:GDN TW PaGe:1 Edition Date:050912 Edition:01 Zone: Sent at 11/9/2005 17:09 troubled man. This time it’s the Back page modern world. It’s all so frenetic. Sam Wollaston on TV. Page 32 John Crace’s digested read Quick Crossword no 11,030 Title Stories We Could Tell triumphal night of Terry’s life, but 1 2 3 4 5 6 7 Author Tony Parsons instead he was being humiliated as Dag and Misty made up to each other. 8 Publisher HarperCollins “I’m going off to the hotel with 9 10 Price £17.99 Dag,” squeaked Misty. “How can you do this to me?” Terry It was 1977 and Terry squealed. couldn’t stop pinching “I am a woman in my own right,” 11 12 himself. His dad used to she squeaked again. do seven jobs at once to Ray tramped through the London keep the family out of night in a daze of existential 13 14 15 council housing, and here navel-gazing. What did it mean that he was working on The Elvis had died that night? What was 16 17 Paper. He knew he had only been wrong with peace and love? He wound brought in because he was part of the up at The Speakeasy where he met 18 19 20 21 new music scene, but he didn’t care; the wife of a well-known band’s tour his piece on Dag Wood, who uncannily manager. “Come back to my place,” resembled Iggy Pop, was on the cover she said, “and I’ll help you find John 22 23 and Misty was by his side. -
Setting Its Own Agenda for Growth
manchesTer City Region TheBusinessDesk.com supplemenT | norTh WesT | ocToBer 2013 FEATURING Top 25 high growth companies. 9 A city united by sport. 13 US graphene firm sets up European HQ. 19 Setting its own agenda for growth in association with manchesTer City Region 2 Confidence north West Supplement editoR FoReWoRd october 2013 is key HeRe is a real belief among contents businesses in the Manchester City sponsor forewords: T Tim newns of MidAS; mike rose of Region that better times are around the Santander Corporate & Commercial; corner. After five years of uncertainty Gary houghton of Baker tilly and confidence is returning, be it through stephen chalcraft of Pannone. 3 & 4 ➔ increased M&A activity, investment, job Giving wings to creation or physical development. manchester’s business growth. global connectivity The city region has a number of major strengths: its strong leadership; its is vital to the continued rise business support ecosystem, with the biggest regional legal and financial of the country’s fatest services community outside London; its entrepreneurial culture; diverse growing city. 5 ➔ business sectors and of course the airport. Business appetite for finance returning. Manchester Airports group continues to drive economic growth and is this a sign that broader business out-perform other regional airports. The multi-milllion pound Airport City confidence is on the up? 8 ➔ enterprise Zone development has the potential to be a real game-changer for the city and wider region in terms of wooing international investment. Top 25 high growth companies in Greater manchester. our data table, produced with in property, the Co-operative group’s new flagship headquarters at one experial Corpfin, details the high growth Angel Square completed this year, while number one St Peters Square companies across the ten local authorities of and the Central Library and town Hall redevelopments are to follow the city region. -
1 Culture, Tourism, Europe and External Relations Committee
Culture, Tourism, Europe and External Relations Committee Scotland’s Screen Sector Written submission from Patricia Duncan I am writing in relation to your open call for written evidence to the above inquiry, in particular the subject of studios and of ‘Infrastructure, Intelligence and Maximising Benefit to Scotland’. In this document, I will initially summarise UK studio development trends, and in context of this analysis, evidence why state aid has become a perceived, rather than actual, barrier to state or local authority investment in screen infrastructure in Scotland. I will subsequently discuss how we can take advantage of present and forthcoming opportunities in the screen and creative industries sector, and propose a viable model for the development of the type of physical space the industry requires. 1. UK studio development trends Studio facility development for the creation of film and television content broadly falls into two categories - new build, or the refurbishment or repurposing of vacant industrial space. 1.1. New build From a new build perspective, UK studio development seems (which I will disprove later in this document) to be private sector driven. Typically, the developer may be an existing studio provider looking to expand their offer using debt or equity financing, or indeed their own resources. Alternatively, it may be a new entrant to the sector speculatively building facilities, and presenting a business proposal that will interest investors on the promise of an attractive yield. The obvious UK industry leader, Pinewood Group Ltd, has an existing global reputation and critical mass in Buckinghamshire on which to build upon, and as an investable entity is very strong, hence the ongoing new build expansion of their site1. -
1 Culture, Tourism, Europe and External Relations Committee
Culture, Tourism, Europe and External Relations Committee Scotland’s Screen Sector inquiry Supplementary written evidence from Film City Glasgow On behalf of our tenants, please accept my thanks to you and the Committee for taking the time to visit Film City Glasgow. The ongoing work of the Committee has been conspicuous and well received by the industry, and I look forward to hearing how your inquiry is progressing. In terms of the discussion we had in relation to infrastructure, despite the challenges the sector has faced in resolving the ‘studio’ question, I believe more now than ever there is a confluence of opportunity that will allow us to create the foundation on which the sector can build. The SSLG report; the creation of the Screen Unit; the doubling of Creative Scotland’s screen budget; the NFTS’s flag in the ground in Scotland; and the FOCUS business development project which Film City is managing; all initiatives that will lead to what I see are the two overriding ambitions for the sector - growth and volume. As you will recall, my presentation to the Committee paid particular attention to infrastructure and the success of Manchester City Council in their delivery of production facilities for the screen and creative industries, primarily through an arms- length organisation MCDA Ltd, which is 100% owned by the local authority. I also drew parallels with Film City Glasgow, and how both our respective projects in Glasgow and Manchester have been founded on the principles of ‘sectoral clustering’ and ‘attracting both indigenous and international productions’ – and both very successfully. -
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28th January 2016 For up-to-the-minute updates from the challenge including images and video content follow Twitter and BBC Live Jo’s on the homestretch! Final day of Jo Brand’s BT Sport Relief Challenge and trainer Greg Whyte says it will be “a brute of a day” Jo Brand is going to have to dig deep to keep battling those blisters and aching limbs, as today she struggles through to the finish line on the final leg of her BT Sport Relief Challenge. After a week full of wind, rain, blisters and ice baths, Jo aims to reach her final destination in Liverpool tonight (Thursday 28 January). The challenge has seen the 58-year-old comedian walk east to west across the width of the country in just seven days, starting at the Humber Bridge last Friday. The challenge is sponsored by BT, a long- term supporter of Comic Relief challenges since 2009. Her day started at 5.30am this morning from Warrington, and by 7.30am this morning she had already walked 10,000 steps. The final leg of Jo’s mammoth challenge will see her walk through Widnes, Hale, Allerton, Sefton Park, Toxteth, finishing up in Liverpool at approximately 7pm. Jo will be joined today by celebrity friends including BBC Breakfast’s Louise Minchin, BT Sport Relief Challenge champion John Bishop and comedy legend Ricky Tomlinson. Trainer Greg Whyte said, “It’s the last day and Jo is absolutely battered. Today is going to be an absolute brute. We’ve had an extremely early start today because we need to make sure we have an on time delivery into Liverpool”. -
Robert I. Lerman
CURRICULUM VITAE Robert I. Lerman Director, Labor and Social Policy Center Urban Institute 2100 M Street, NW Washington, D.C. 20037 202-261-5676, e-mail: [email protected] Professor of Economics American University Department of Economics Washington, DC 20016 202-885-3761, e-mail: [email protected] Education: A.B., Brandeis University, 1965 Magna Cum Laude with Honors, Valedictorian, Phi Beta Kappa Ph.D., M.I.T., 1970 Thesis: An Analysis of Youth Labor Force Participation, School Activity, and Employment Professional Awards: First Prize, National Essay Contest on An Implementation Strategy for Reforming the Nation's Welfare Programs, Sponsored by the Institute for Socioeconomic Studies: November 1985 American University Award for Outstanding Contributions to Academic Development, May 1994 Elected to Phi Kappa Phi Honor Society, February 1995 Co-recipient of Howard Rosen Award for Best Article in the 1997 Monthly Labor Review by an author outside the Bureau of Labor Statistics. Professional Employment: Senior Fellow in Labor and Social Policy, Urban Institute, January 2004 to present Professor, Department of Economics, The American University, September 1989 to present. (Chair of Department, September 1989 to June 1995) Director, Labor and Social Policy Center, Urban Institute, July 1995 to December 2003 Director of Research and Senior Research Associate, Center for Human Resources, Heller School of Social Welfare, Brandeis University: June 1980-August 1989. 1 Economist, Special Assistant for Youth and Welfare Policy, Office of Assistant Secretary for Policy, Evaluation and Research, U.S. Department of Labor: June 1977-May 1980. Research Associate, Institute for Research on Poverty, Lecturer, Department of Economics, University of Wisconsin at Madison: September 1976-May 1977. -
A Conversation About King Rocker Between the Quietus, Stewart Lee, Michael Cumming and Robert Lloyd
No Image: A conversation about King Rocker between the Quietus, Stewart Lee, Michael Cumming and Robert Lloyd. It looks like a music documentary. Look, there’s a famous person [Stewart Lee] walking out of a train station telling viewers where they are and why it’s important. Now they’re telling us what is going on and why we’re here. It feels like a music documentary. And King Rocker, Michael Cumming and Stewart Lee’s film about Robert Lloyd and The Nightingales is one. It’s also not. You’d expect a film by the director of Brass Eye and Toast of London, and the comedian behind some of the most brilliant stand-up ever to come from these shores to be funny and smart but the experience of King Rocker explodes those expectations. It’s not hyperbole to say this is one of the best music documentaries of all time. Hilarious and brilliantly knowing about the form of music documentaries and caustic about the music industry and fame, at its moving heart it’s a wonderful homage to and portrait of a true outsider artist and inspiring comeback story that in the already boiling maelstrom of 2021 feels profoundly necessary. The film follows Stewart Lee and Robert Lloyd as they talk about Lloyd’s life as front-man and creative driver of post-punk favourites The Prefects and latterly The Nightingales. Through a series of funny and insightful conversations as they hunt down a famous 1970s public art sculpture of King Kong that is central to both men’s stories, the pair and assorted friends, acolytes and naysayers including the rest of the band and family members plus Frank Skinner, John Taylor (yep, of Duran Duran), Nigel Slater (!) and Robin Askwith (!!) discuss the past, the ups, the downs and the hazy memories of it all. -
Analyse the Extent to Which Controversial Theatre Can Be Accommodated on a West End Stage
Analyse the Extent to Which Controversial Theatre can be Accommodated on a West End Stage. Olivia Rook Jane Milling asserts that London’s West End (WE) is familiar to tourist audiences for its ‘remarkably stable’ repertoire, consisting largely of ‘literary musical adaptations’, ‘musical adaptations of films’ and ‘compilation musicals of popular musical trends’.1 This suggests that the WE is almost entirely motivated by the commercial successes of the megamusical. Audiences have a ‘horizon of expectations’ when they visit a WE theatre, as they associate the area with a particular cultural experience.2 New work is measured against the audience’s expectations and ‘The closer it correlates with this horizon, the more likely it is to be low, pulp, or ‘culinary’ art’.3 This disparaging perspective is shared by many in the industry; indeed, Peter Brook argues that during the mid-twentieth century, shows had become ‘weak, watery, repetitive, drab and silly’.4 However, there have been challenges to these long-running musical productions, leading to the development of more innovative theatre. This essay will focus on the work of the Royal Court (RC), in particular, Jez Butterworth’s Jerusalem, and the journey of Jerry Springer, The Opera from scratch theatre to the WE. Citing Frank Parkin’s model of ‘social democracies’, it will be explored how far and in what ways these examples of controversial theatre abide by the ‘dominant system’ established in the WE: of palatable, long-running musicals.5 By focusing on modes of controversy, the idea of celebrity, processes of production and critical response, this essay will determine whether Springer and Jerusalem abide by a ‘subordinate system’, and thus comprehend and comply with the dominant, or whether they are being ‘radical’ and oppose any sense of a normative status, deviating too far from audiences’ ‘horizon of expectations’.