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Frame Page 2 Y EM R E N E T T . N C A O M R A ¶∞ƒ√π∫π∞∫∏ U ¶POO¢EYTIKH EºHMEPI¢A ™THN Y¶HPE™IA TH™ KY¶PIAKH™ ¶APOIKIA™ ¶∂ª¶Δ∏ 5 π√À¡π√À 2014 ● XPONO™ 39Ô˜ ● AÚÈıÌfi˜ ʇÏÏÔ˘ 2055 ● PRICE: 75 pence ™Δ√ ∫√∫∫π¡√ Δ√ ¶√§πΔπ∫√ £∂ƒª√ª∂Δƒ√ ∏ ¢¤ÛÔÈÓ· μ·Ó‰‹ ÛÙË °ÈÔÚÙ‹ ÙÔ˘ ∫Ú·ÛÈÔ‡ ¶˘Ú ÔÌ·‰fiÓ Î·Ù¿ ΢‚¤ÚÓËÛ˘ ∞΢ÚÒÓÂÙ·È Ë ÂÌÊ¿ÓÈÛË ÙÔ˘ ¡›ÎÔ˘ √ÈÎÔÓÔÌfiÔ˘ÏÔ˘ ÁÈ· ÙÔ Ó¤Ô ªÓËÌfiÓÈÔ «¶·ÚÔÈÎȷ΋» ÌÂÙ¿ χ- Úȷ΋ 29 πÔ˘Ó›Ô˘, ·¤‚Ë- ∏˘ ·Ó·ÎÔÈÓÒÓÂÈ fiÙÈ Ïfi- Û·Ó Ì¿Ù·È˜. §∂À∫ø™π∞ – ∞ÓÙ·fiÎÚÈÛË Ù˘ ÔÔ›·˜ ¤Ù˘¯·Ó ·fi ÙÔÓ √È ·ÓÙȉڿÛÂȘ ÙˆÓ ÎÔÌÌ¿- ΢‚¤ÚÓËÛË «Á‡ÚÈÛ» ÙËÓ Ï¿ÙË. Áˆ ·ÚfiÔÙˆÓ Û˘ÓıËÎÒÓ, ∂ÎÊÚ¿˙Ô˘ÌÂ Î·È ‰ËÌfiÛÈ· ¶∂Δƒ√™ ¶∞™π∞™ ÀÔ˘ÚÁfi √ÈÎÔÓÔÌÈÎÒÓ, Ù· ÙˆÓ ÛÙ¤ÏÏÔ˘Ó ÙÔ Ì‹Ó˘Ì· ÛÙËÓ ∂ÌÌÔÓ‹ ÛÙËÓ ÔÏÈÙÈ΋ Ô ¡›ÎÔ˜ √ÈÎÔÓÔÌfiÔ˘ÏÔ˜ ÙËÓ ·ÔÁÔ‹ÙÂ˘Û‹ Ì·˜ ÁÈ’ ÎfiÌÌ·Ù· ÎÚÔ‡Ô˘Ó ÙÔÓ ÎÒ‰ˆ- ΢‚¤ÚÓËÛË ÁÈ· ‰È¿ÏÔÁÔ, ¤ÛÙˆ Ù˘ ÛÎÏËÚ‹˜ ÏÈÙfiÙËÙ·˜ ‰ÂÓ ı· ÌÔÚ¤ÛÂÈ Ó· ÂÌÊ·- ·˘Ùfi Ùo ÚˆÙÔÊ·Ó¤˜, ÛÙËÓ ˆÚ›˜ ¤ÏÂÔ˜ ΢‚¤ÚÓËÛË Ó· ÙÔ˘ ÎÈÓ‰‡ÓÔ˘ ÁÈ· ÛÂÈÚ¿ ıÂ- Î·È ÙËÓ ˘ÛÙ¿ÙË, ÁÈ· ¤ÍÔ‰Ô ·fi ÓÈÛÙ› ÛÙË °ÈÔÚÙ‹ ÈÛÙÔÚ›· Ù˘ °ÈÔÚ- ∞Ó·ÛÙ·ÛÈ¿‰Ë – ¢∏™À Ì¿ÙˆÓ, fiˆ˜, ÍÂۛو̷ ÓÔÈ- Ù· Û˘Ó¯‹ ·‰È¤ÍÔ‰· ˆ˜ ·Ô- ΔÔ ∞∫∂§ ηٷÁÁ¤ÏÏÂÈ fiÙÈ Ë ÙÔ˘ ∫Ú·ÛÈÔ‡ Î·È Ù‹˜, ÁÂÁÔÓfi˜. ÃÎ·È ΔÚfiÈη ÚÔ¯ˆÚÔ‡Ó Ó¤· Û˘Ìʈӛ· ÁÈ· ÙÔ ÌÓËÌfi- ∂ÌÔÚÈ΋ ∞ÔÏÔÁԇ̷ÛÙ ÛÙËÓ ÂÈ‚ÔÏ‹ ·ÎfiÌË ÈÔ Â·- ÓÈÔ ÌÂٷ͇ Ù˘ ΢‚¤ÚÓËÛ˘ ŒÎıÂÛË, ÙÔ Û·‚- ÚÔ˜ fiÛÔ˘˜ ¯ıÒÓ fiÚˆÓ Û ‚¿ÚÔ˜ ÙˆÓ Ï·˚- Î·È Ù˘ ΔÚfiÈη˜ ·ÎÔÏÔ˘ı› È- ‚·ÙÔ·ÚÈ·ÎÔ 28 ¤¯Ô˘Ó ·ÁÔÚ¿ÛÂÈ ÎÒÓ Ì·˙ÒÓ. ΔÔ «ÂÈηÈÚÔÔÈË- ÛÙ¿ ÙËÓ Â·ÙË̤ÓË Ù˘ ÛÎÏË- Î·È 29 πÔ˘Ó›Ô˘ ÂÈÛÈÙ‹ÚÈ· ÁÈ· ÙÔ Ì¤ÓÔ» Ó¤Ô, ÛÙËÓ Ú·ÁÌ·ÙÈ- Ú‹˜ ÏÈÙfiÙËÙ·˜ Î·È ÙˆÓ ‚·ıÈ¿ 2014, ÛÙÔ Alexan- ÛfiÔ˘ Î·È ÙÔ˘˜ ÎfiÙËÙ·, ªÓËÌfiÓÈÔ Ô˘ Û˘Ì- ·ÓÙÈÏ·˚ÎÒÓ ÌÂÙ·ÚÚ˘ı̛ۈÓ, dra Palace ÙÔ˘ ·Ú·Î·Ïԇ̠ӷ ÊÒÓËÛÂ Ë Î˘‚¤ÚÓËÛË Ì ÙÔ˘˜ Î·È Î·Ù·ÁÁ¤ÏÏÂÈ ÙËÓ Î˘‚¤Ú- §ÔÓ‰›ÓÔ˘. ÂÈÎÔÈÓˆÓ‹ÛÔ˘Ó ΔÚÔ˚ηÓÔ‡˜ ÎÚ·Ù‹ıËΠˆ˜ ÓËÛË ˆ˜ ·ÓÙ› Ó· ‚¿˙ÂÈ ˆ˜ ¶·Ú¿ ÙËÓ ˘Ô- Ì·˙› Ì·˜ ÛÙÔ 020 ÂÙ·ÛÊÚ¿ÁÈÛÙÔ Ì˘ÛÙÈÎfi Î·È ÚfiÛ¯ËÌ· ÙËÓ ΔÚfiÈη ÁÈ· ο- ÁÚ·Ê‹ ·fi ηÈÚfi 8341 5853 ÁÈ· ·ÚÔ˘ÛÈ¿ÛÙËΠÛÙ· ÔÏÈÙÈο ı ÌÂÙ·ÚÚ‡ıÌÈÛË Ô˘ Ë ›‰È· Û˘Ì‚ÔÏ·›Ô˘ Î·È ÙËÓ Î·Ù·- ÂÈÛÙÚÔÊ‹ ÙˆÓ ¯ÚËÌ¿ÙˆÓ ÎfiÌÌ·Ù· ÌÂÙ¿ ÙȘ ÂÎÏÔÁ¤˜, ÂÈı˘Ì› Ó· ÂÊ·ÚÌfiÛÂÈ, ÔÊ›- ‚ÔÏ‹ Ù˘ Û˘ÌʈÓË̤Ó˘ ÙÔ˘˜. ÚÔηÏÒÓÙ·˜ ÙËÓ ¤ÓÙÔÓË ·ÓÙ›- ÏÂÈ Ó· ÂȉÈÒÍÂÈ Ó· Á›ÓÂÙ·È ÏÈ- ÚÔηٷ‚ÔÏ‹˜ ÁÈ· ÙË ‰È‹- ∂ÓËÌÂÚÒÓÔ˘Ì ‰Â ÙÔ ÎÔÈ- ‰Ú·ÛË fiψÓ, ÏËÓ ÙÔ˘ ΢‚ÂÚ- ÁfiÙÂÚÔ ·ÚÂÛÙ‹ ÛÙËÓ ΔÚfiÈη ÌÂÚË ÂÌÊ¿ÓÈÛË ÙÔ˘ ηÏÏÈ- Ófi fiÙÈ ÙË ı¤ÛË ÙÔ˘ ¡›ÎÔ˘ ÓÒÓÙÔ˜ ÎfiÌÌ·ÙÔ˜ ÙÔ˘ ¢∏™À. Î·È ÂÚÈÛÛfiÙÂÚÔ ˆÊ¤ÏÈÌË ÁÈ· Ù¤¯ÓË ÛÙË °ÈÔÚÙ‹, Ô ¡›ÎÔ˜ √ÈÎÔÓÔÌfiÔ˘ÏÔ˘ ˆ˜ ·ÚÈ· √È fiÚÔÈ ÙÔ˘ Ó¤Ô˘ ªÓËÌÔÓ›Ô˘ ÙËÓ ÎÔÈÓˆÓ›·. √ÈÎÔÓÔÌfiÔ˘ÏÔ˜ ›¯Â Î·È Î·ÏÏÈÙ¤¯Ó˘ ÛÙË °ÈÔÚÙ‹ ÙÔ˘ ÎÚ›ÓÔÓÙ·È ·fi Ù· ÂÚÈÛÛfiÙÂÚ· ∂›Ó·È ϤÔÓ ÍÂοı·ÚÔ Î·È ‰Â‡ÙÂÚË ÎÚ¿ÙËÛË ÁÈ· ÙÔ ∫Ú·ÛÈÔ‡ ı· ¿ÚÂÈ Ë ‰È¿ÛË- ÎfiÌÌ·Ù· ·¯ı¤ÛÙÂÚÔÈ ÙˆÓ ÛÙÔ˘˜ ÈÔ Î·ÏfiÈÛÙÔ˘˜ ÎÚÈ- ™¿‚‚·ÙÔ 28 πÔ˘Ó›Ô˘. √È ÌË ÙÚ·ÁÔ˘‰›ÛÙÚÈ· ¢¤ÛÔÈ- ÚÔËÁÔ‡ÌÂÓˆÓ, ÁÂÁÔÓfi˜ Ô˘ ÎÔ΢ÚÈÒÓ, Ì·˙ÈΤ˜ ˆÏ‹ÛÂȘ Ù¤ÏÂÛÌ· Ù˘ ÌË Â·Ó·‰È·- Ù¤˜ Ù˘ fiÙÈ Ô ÛÙfi¯Ô˜ Ù˘ ΢- ÚÔÛ¿ıÂȘ Ù˘ «¶·ÚÔÈ- Ó· μ·Ó‰‹. ªËÓ ÙËÓ ¯¿ÛÂÙÂ! ·Ó¤‚·Û ÙÔ ÔÏÈÙÈÎfi ıÂÚÌfi- ‰·Ó›ˆÓ Û ÂÂÓ‰˘ÙÈο Ù·Ì›·, Ú·ÁÌ¿Ù¢Û˘ ÙÔ˘ ÌÓËÌÔÓ›Ô˘ ‚¤ÚÓËÛ˘ ¢∏™À-∞Ó·ÛÙ·ÛÈ¿- Îȷ΋˜» Î·È ÙˆÓ Show Pro- ∏ ›ÛÔ‰Ô˜ ·Ú·Ì¤ÓÂÈ ÌÂÙÚÔ, ·ÊÔ‡ ÙÚ·ÁÈ΋ Â›Ó·È Ë È‰ÈˆÙÈÎÔ› ÏÂÈÛÙËÚÈ·ÛÌÔ›, ‰È- Î·È ‚·ÛÈÎÒÓ ÚÔÓÔÈÒÓ ÙÔ˘, ı¤- ‰Ë ‰ÂÓ Â›Ó·È Ô‡ÙÂ Ë ÎÔÈÓˆÓÈ΋ ductions Ltd Ó· ÔÚÁ·ÓÒ- í7.00 ÁÈ· ÂÓ‹ÏÈΘ Î·È í5 ‰È·›ÛÙˆÛË fiÙÈ ÂÓÙ›ÓÂÙ·È ÙÔ Î·›ˆÌ· ÛÙÔ Δ∂¶ Ó· ‰ÂÛ̇ÂÈ ÛË ÙËÓ ÔÔ›· ÙÔ ∞∫∂§ η٤- ¢ËÌÂÚ›·, Ô‡ÙÂ Ë ÚÔÛÙ·Û›· ÛÔ˘Ó ÙË ÌÂÙ¿‚·ÛË ÙÔ˘ ÁÈ· Û˘ÓÙ·ÍÈÔ‡¯Ô˘˜ Î·È ‚¿ÚÔ˜ Ô˘ ˆ̛˙ÂÙ·È Ë ÎÔÈ- ÙÚ·Â˙ÈÎÔ‡˜ ÏÔÁ·ÚÈ·ÛÌÔ‡˜ ıÂÛÂ Â‰Ò Î·È Ì‹Ó˜, ÂÓÒ ÛÙËÓ ÙˆÓ ÂÚÁ·ÛÈ·ÎÒÓ ‰ÈηȈ̿وÓ, ηÏÏÈÙ¤¯ÓË ÛÙÔ §ÔÓ‰›ÓÔ ÁÈ· ÊÔÈÙËÙ¤˜. ¶·È‰È¿ οو ÙˆÓ ÓˆÓ›·, Û ¤Ó· ‹‰Ë ‚‚·Ú˘Ì¤- ÁÈ· ÂÍfiÊÏËÛË ÔÊÂÈÏÒÓ ·fi ÚfiÙ·Û‹ ÙÔ˘ ÁÈ· ‰È¿ÏÔÁÔ Î·È Ô‡Ù ‚¤‚·È· Ë Ô˘ÛÈ·ÛÙÈ΋ Ì›· ÌfiÓÔ ÂÌÊ¿ÓÈÛË, ÙËÓ ∫˘- 11 ¯ÚfiÓˆÓ, ‰ˆÚ¿Ó. ÓÔ ÔÈÎÔÓÔÌÈο ÂÚÈ‚¿ÏÏÔÓ. ÙÔ˘˜ ÊÔÚÔÏÔÁÔ˘Ì¤ÓÔ˘˜, ¯ˆ- Û˘˙‹ÙËÛË Ù˘ ÚfiÙ·Û‹˜ ÙÔ˘ ªÂÙ¿ ·fi ÙËÓ ÂÓË̤ڈÛË Ú›˜ ‰ÈηÛÙÈÎfi ‰È¿Ù·ÁÌ· Î.¿. ÁÈ· ¤ÍÔ‰Ô ·fi ÙÔ ÌÓËÌfiÓÈ·, Ë ñ ™À¡∂Ã∂π∞ ™Δ∏ ™∂§. 23 ÙË ‚‚·ÚË̤ÓË ÈÛÙÔÚ›· ÎÔ‡, ÙˆÓ ÂÔ›ÎˆÓ Î·È ÙˆÓ ÂÁ- ÙÔ˘ ∫˘ÚÈ·ÎÔ‡ Ê·›ÓÂÙ·È ªfiÓÈÌÔ˜ Úfi‰ÚÔ˜ - ·ÓÙÈÚfi‰ÚÔ˜, Ô ¤Ó·˜... Á˘‹ÛˆÓ, «Ô‰ËÁ› Û ۷ٿÏË ™Ó· ÚÔÛÙ›ıÂÙ·È ÙÔ ·Î¤- ÔχÙÈÌÔ˘ ¯ÚfiÓÔ˘ Î·È ·ÚÂ- ÙÔ ÚfiÙ·Û˘ Ì ÙËÓ ÂÎ ÂÚÈ- ÌÔ‰›˙ÂÈ ÙËÓ Ô˘ÛÈ·ÛÙÈ΋ Úfi- ÙÚÔ‹˜ ÚÔ‰ڛ· Î·È ÙË ‰È·- Ô‰Ô ÛÙËÓ ÙÚ¿Â˙· ÙˆÓ ‰È·- ÛÙ·˘ÚÔ‡ÌÂÓË „‹ÊÔ, ηıÒ˜ Ë ∂Î ÂÚÈÙÚÔ‹˜ ÚÔ‰ڛ·, Ô ¿ÏÏÔ˜ Ú·ÁÌ·Ù‡Ûˆӻ. Â/Î ÏÂ˘Ú¿ ÚÔ¯ÒÚËÛ ÛÙËÓ ∂ÎÙÈÌÒÓÙ·˜ fiÙÈ Ù· ·ÔÙÂϤ- ηٿıÂÛË ÚfiÙ·Û˘ ÁÈ· Ìfi- ÛÈ¿‰Ë, fiÙÈ «Ë Â/Î ÏÂ˘Ú¿ ‰È·- Ï‹» ÙËÓ ÚfiÙ·ÛË Ô˘ ˘¤‚·- ÛÌ·Ù· Ù˘ Û˘Ó¿ÓÙËÛ˘ ∞Ó·- ÓÈÌÔ Úfi‰ÚÔ Î·È ÌfiÓÈÌÔ ·ÓÙÈ- ʈÓ› Ì ÙË ÊfiÚÌÔ˘Ï· Ô˘ ÏÂ Ë Â/Î ÏÂ˘Ú¿ ÁÈ· ÙË ‰È·Î˘- ÛÙ·ÛÈ¿‰Ë - ∂ÚÔÁÏÔ˘ «‰ÂÓ Úfi‰ÚÔ. ∞Ó Î·È Ô Î. ∂ÚÔÁÏÔ˘, Û˘ÌʈӋıËΠ̠ÙÔÓ ¢ËÌ‹- ‚¤ÚÓËÛË, ˘ÔÛÙËÚ›˙ÔÓÙ·˜ fiÙÈ ‹Ù·Ó ÂÓı·ÚÚ˘ÓÙÈο», Ô Δ. Û‡Ìʈӷ Ì ÏËÚÔÊÔڛ˜ ÙÚË ÃÚÈÛÙfiÊÈ· ·Ó·ÊÔÚÈο Ì ·Ú¤¯ÂÈ ÙË ‰˘Ó·ÙfiÙËÙ· Ó· ΔÛÈÂÏ‹˜ ÂÈÛ‹Ì·Ó ˆ˜ «Ô Ì·˜, ‰ÂÓ ¤¯ÂÈ ··ÓÙ‹ÛÂÈ ·Îfi- ÙË ‰È·Î˘‚¤ÚÓËÛË Î·È ÙÔ ‰È·- ˘¿ÚÍÔ˘Ó Û˘ÁÎÏ›ÛÂȘ Î·È Ó· Î. ∂ÚÔÁÏÔ˘ ·ÊÂÓfi˜ ‰È·ÎËÚ‡Ù- Ì·, ÂÓÒ Ë ÚfiÙ·Û‹ ÙÔ˘ ÁÈ· ÙÔ ÌÔÈÚ·ÛÌfi ÂÍÔ˘ÛÈÒÓ». ‰ËÌÈÔ˘ÚÁËı› ¤‰·ÊÔ˜ ÁÈ· ÛÌ›- ÙÂÈ fiÙÈ Â›ÁÂÙ·È ÁÈ· χÛË Î·È Û˘ÁÎÂÎÚÈ̤ÓÔ ı¤Ì· ÎÈÓÂ›Ù·È Û √ Î. ∂ÚÔÁÏÔ˘ ·ӤϷ‚ ÎÚ˘ÓÛË Ù˘ ‰È·ÊÔÚ¿˜ ÌÂٷ͇ ·ÊÂÙ¤ÚÔ˘ ‰ÂÓ ÂÓÓÔ› Ó· ·ÓÙÈ- Ôχ ÁÂÓÈΤ˜ ÁÚ·Ì̤˜, ‰ËÏÒ- fiÙÈ Ë ÂÎ ÂÚÈÙÚÔ‹˜ ÚÔ‰ڛ· ÙˆÓ ‰‡Ô Ï¢ÚÒÓ, ÒÛÙ ӷ ÏËÊı› ÙÔ ·˘ÙÔÓfiËÙÔ: fiÙÈ, ‰Ë- ÓÂÈ ÚÔÙ›ÌËÛË ÛÙËÓ ÂÎ ÂÚÈ- Â›Ó·È ··Ú·›ÙËÙË ÁÈ· ÙËÓ Ù/Î ·Ú¯›ÛÂÈ Ë ÙÚ›ÙË Ê¿ÛË Ì ÙË Ï·‰‹, ÁÈ· Ó· ÌÔÚ¤ÛÂÈ Ë ‰È·- ÙÚÔ‹˜ ÚÔ‰ڛ·, ¯ˆÚ›˜ ÏÂ˘Ú¿ Î·È ˆ˜ ‰ÂÓ ÌÔÚ› ‰È·‰Èηۛ· ÙÔ˘ ¿Ú - ‰ÒÛÂ. Ú·ÁÌ·Ù¢ÙÈ΋ ‰È·‰Èηۛ· Ó· fï˜ ÛÙ·ıÌÈṲ̂ÓË Î·È ‰È·- Ó· ·Ú·¯ˆÚËı›. ÀÔÛÙ‹ÚÈÍ ÚÔ¯ˆÚ‹ÛÂÈ ÛÙËÓ ÙÚ›ÙË Ê¿- ¢ÂÓ ‹Ù·Ó ÂÓı·ÚÚ˘ÓÙÈο Ù· ÛÙ·˘ÚÔ‡ÌÂÓË „‹ÊÔ. fiÙÈ Ë Â/Î ÏÂ˘Ú¿ ÂÈı˘Ì› ÛË, ı· Ú¤ÂÈ ÚÔËÁÔ˘Ì¤Óˆ˜ ·ÔÙÂϤÛÌ·Ù· Ù˘ Û˘Ó¿ÓÙË- ΔËÓ ÂÎ ÂÚÈÙÚÔ‹˜ ÚÔÂ- ÂÓÈ·›Ô „ËÊÔ‰¤ÏÙÈÔ Î·È fiÙÈ Ô «¶Ôχ ηϋ Ë Û ‰ËÏÒÛÂȘ ÙÔ˘ ÛÙÔ ÎÚ·ÙÈÎfi Ó· Û˘˙ËÙËıÔ‡Ó ‰ÈÂÍÔ‰Èο fiÏ· Û˘ ‰Ú›· ·ӤÊÂÚ ÛÙÔ ÙÚ·¤˙È ›‰ÈÔ˜ ‰ÂÓ ·Ô‰¤¯ÂÙ·È Î¿ÙÈ Ù¤- ÂÏÏËÓÔ΢Úȷ΋ ÚfiÙ·ÛË» Ú·‰ÈfiʈÓÔ ÂȂ‚·›ˆÛ fiÙÈ Ë Ù· ÎÂÊ¿Ï·È· Î·È fiϘ ÔÈ Ù˘- Ù˘ ‰ËÌfiÛÈ·˜ Û˘˙‹ÙËÛ˘ Ô ÙÔÈÔ Î·È ÚfiÛıÂÛ ˆ˜ ÔÈ ‰‡Ô ÁÈ· ‰È·Î˘‚¤ÚÓËÛË ÂÏÏËÓÔ΢Úȷ΋ ÏÂ˘Ú¿ ‰ÂÓ √ Δ. ΔÛÈÂÏ‹˜ ¤ÎÚÈÓ ÙÔÓ ¯¤˜ ÙÔ˘˜, ÂÚÈÏ·Ì‚·ÓÔÌ¤ÓˆÓ Δ/Î ËÁ¤Ù˘, Ì ÙÔÓ ÈÛ¯˘ÚÈÛÌfi Ï¢ڤ˜ ı· Û˘˙ËÙ‹ÛÔ˘Ó ·˘- η٤ıÂÛ ÚfiÙ·ÛË ÁÈ· ÂÎ Î. ∂ÚÔÁÏÔ˘ ÁÈ·Ù› Ì ÙËÓ ÂÈ- ÙÔ˘ ‰·ÊÈÎÔ‡, ÙˆÓ ÂÔ›ÎˆÓ Ô˘ ‰È·Ù‡ˆÛ ÌÂÙ¿ ÙË Û˘Ó¿- Ù¿ Ù· ı¤Ì·Ù· ÛÙÔ ÙÚ·¤˙È ÙˆÓ √ ΢‚ÂÚÓËÙÈÎfi˜ ÂÎÚfiÛˆ- ÂÚÈÙÚÔ‹˜ ÚÔ‰ڛ·. ÛÌ·ÙÈ΋ ÙÔ˘ ¿ÚÓËÛË Ó· Û˘˙Ë- Î·È ÙÔ˘ ı¤Ì·ÙÔ˜ Ù˘ ·ÛÊ¿ÏÂÈ- ÓÙËÛ‹ ÙÔ˘ Ì ÙÔÓ Î. ∞Ó·ÛÙ·- ‰È·Ú·ÁÌ·Ù‡ÛˆÓ. Ô˜, ¡›ÎÔ˜ ÃÚÈÛÙÔ‰Ô˘Ï›‰Ë˜, ÷ڷÎÙ‹ÚÈÛ fï˜ «Ôχ η- Ù‹ÛÂÈ Ù· ÎÂÊ¿Ï·È· ÙÔ˘ ‰·ÊÈ- ·˜». √ Î. ∂ÚÔÁÏÔ˘, ˆÛÙfiÛÔ, ˙Ë- ÙÔ‡ÛÂ Î·È Ù· Ú¤ÛÙ·, ··ÈÙÒ- ÓÙ·˜ Ó· ¤¯ÂÈ ÌÚÔÛÙ¿ ÙÔ˘ «ÚÂ- ·ÏÈÛÙÈΤ˜ ÚÔÙ¿ÛÂȘ». ™ËÌ›ˆÛ ‰Â fiÙÈ ÛÙȘ ÂfiÌÂ- Maximising your home’s rental potential with Ó˜ 3-4 Û˘Ó·ÓÙ‹ÛÂȘ ËÁÂÙÒÓ «ı· ηٷϿ‚Ô˘ÌÂ Â¿Ó ÌÔ- Personal shopping - Lettings pack from Úԇ̠ӷ ÊÙ¿ÛÔ˘Ì ‹ fi¯È Û John Lewis partnership. ÌÈ· Û˘Ìʈӛ·». ∫·Ù¿ ÙËÓ ¤ÎÊÚ·Û‹ ÙÔ˘, ÔÈ Manager Paraskevi Kassapis commented, “our free Lettings service offers advice Δ/Î ‰ÂÓ ı· Ì›ÓÔ˘Ó ·Î¿Ï˘ÙÔÈ, on how to prepare your home and maximise rental potential”.
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    C. P. Cavafy Music Resource Guide: Song and Music Settings of Cavafy’s Poetry Researched by Vassilis Lambropoulos Compiled by Peter Vorissis, Haris Missler, and Artemis Leontis* Modern Greek Program & C. P. Cavafy Professorship in Modern Greek Departments of Classical Studies and Comparative Literature University of Michigan Version 2: January 14, 2020 Please send additions and corrections to [email protected] * with gratitude to Dimitris Gousopoulos for major additions of the melopoiesis of Cavafy’s poetry in rock, pop, hip hop, metal, indie, and punk Cavafy Music Resource Guide 1 Cavafy Song Settings: A Music Resource Guide Adamopoulos, Loukas (Αδαμόπουλος, Λουκάς). 1981. «Επέστρεφε» (Come back). Κέρκυρα ’81: Αγώνες ελληνικού τραγουδιού—Τα 30 τραγούδια (Kerkyra ’81: Greek song contest). Αthens: Minos. Setting: «Επέστρεφε» (Come Back). Anabalon, Patricio. 2003. Itaca. Poetas griegas musicalizados. Santiago: Alerce Producciones Fonograficas S.A. Includes the songs “Itaca” (Ithaka), “Regresa” (Come back), “Una Noche/Las Ventanas” (One night / Windows). Anagnostatos, Yiannis (Αναγνωστάτος Γιάννης, also known as Lolek). 2010. «Κεριά». In the compilation Ποιήματα του Κ.Π. Καβάφη (Poems of C.P. Cavafy). Athens: Odos Panos 147 (January–March). (See “Lolek” below). Anestopoulos, Thanos (Ανεστόπουλος, Θάνος). 2001. «Κεριά» (Candles). In Οι ποιητές γυμνοί τραγουδάνε (Poets sing naked). Athens and Patra: Κονσερβοκούτι. For voice and electronic accompaniment or guitar. Composed and sung by Thanos Anestopoulos (Θάνος Ανεστόπουλος) under the pseudonym ΑΣΘΟΝ ΣΑΠΤΟΥΣ ΛΕΟΝΟΣ, an anagram of his name. First released as a cassette by the magazine «Κονσερβοκούτι» (Tin can, the magazine of OEN, Οργάνωση Επαναστατικής Νεολαίας, Organization of Revolutionary Youth). Setting: «Κεριά» (Candles). Angelakis, Manolis (Αγγελάκης, Μανώλης) & τα Θηρία (and the Beasts).
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  • Shortwave-Listener's
    skï.. Radio lhaek TWO DOLLARS AND TWENTY—FIVE CENTS 62-2032 Shortwave Listener's Guide by H. Charles Woodruff Howard W. Sams & Co., Inc. 4300 WEST 62ND ST. INDIANAPOLIS, INDIANA 46268 USA Copyright 0 1964, 1966, 1968, 1970, 1973, 1976, and 1980 by Howard W. Sams & Co., Inc. Indianapolis, Indiana 46268 EIGHTH EDITION FIRST PRINTING-1980 All rights reserved. No part of this book shall be reproduced, stored in a retrieval system, or transmitted by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from the publisher. No patent liability is assumed with respect to the use of the information contained herein. While every pre- caution has been taken in the preparation of this book, the publisher assumes no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of the information contained herein. International Standard Book Number: 0-672-21655-8 Library of Congress Catalog Card Number: 79-67132 Printed in the United States of America. Preface Every owner of a shortwave receiving set is familiar with the thrill that comes from hearing a distant station broadcasting from a foreign country. To hundreds of thousands of people the world over, short- wave listening (often referred to as swl) represents the most satisfy- ing, the most worthwhile of all hobbies. It has been estimated that more than 25 million shortwave receivers are in the hands of the American public, with the number increasing daily. To explore the international shortwave broadcasting bands in a knowledgeable manner, the shortwave listener must have available a list of shortwave stations, their frequencies, and their times of trans- mission.
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  • 3 DX MAGAZINE No. 2
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  • Selected Papers of William L. White
    Selected Papers of William L. White www.williamwhitepapers.com Collected papers, interviews, video presentations, photos, and archival documents on the history of addiction treatment and recovery in America. Citation: White, W. (2017). Addiction treatment and recovery mutual aid in Greece: An interview with Dr. Phoebus Zafiridis. Posted at ww.williamwhitepapers.com Addiction Treatment and Recovery Mutual Aid in Greece: An interview with Dr. Phoebus Zafiridis William L. White Emeritus Senior Research Consultant Chestnut Health Systems [email protected] Phoebus Zafiridis, M.D., is a social psychiatrist and founder of the Therapeutic Community “ITHACA” (1983), the Therapy Center for Dependent Individuals (KETHEA, 1987), and the Self-Help Promotion Program of the Department of Psychology at the Aristotle University of Thessaloniki (2000), where he currently serves as a scientific supervisor. From 1995 to 2013, he served as associate professor of the Department of Psychology of 'Aristotle University of Thessaloniki' (AUTh), where I taught the courses of 'Clinical Psychology of Addictions' and 'Humanistic Psychology Psychotherapy'—the first time these courses were taught at a Greek university. He was the founder and director (1997) of the first postgraduate program (Master’s Degree) in Greece in the field of addictions—a program of AUTh entitled 'Social Clinical Psychology of Addictions'. He has served on the Executive Council of World Federation of Therapeutic Communities (WFTC) and the Board of Directors of European Federation of Therapeutic Communities (EFTC). Dr. Zafiridis is the author of From Daytop to Ithaca (1990) and Addictions and Society: Therapeutic Communities, Self Help Groups (2009) [in Greek]. In early 2017, I had the opportunity to interview Dr.
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  • 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27
    Case3:12-cv-00559-RS Document110 Filed11/26/14 Page1 of 33 1 DANIEL L. WARSHAW (Bar No. 185365) [email protected] 2 PEARSON, SIMON & WARSHAW, LLP 15165 Ventura Boulevard, Suite 400 3 Sherman Oaks, CA 91403 Telephone: (818) 788-8300 4 Facsimile: (818) 788-8104 5 JAMES J. PIZZIRUSSO (admitted pro hac vice) [email protected] 6 HAUSFELD, LLP 1700 K Street NW 7 Washington, DC 20006 Telephone: (202) 540-7200 8 Facsimile: (202) 540-7201 9 Attorneys for Plaintiffs and the Class 10 [Additional counsel listed on signature pages] 11 UNITED STATES DISTRICT COURT 12 NORTHERN DISTRICT OF CALIFORNIA 13 14 IN RE: WARNER MUSIC GROUP CORP. CASE NO. 12-CV-0559-RS DIGITAL DOWNLOADS LITIGATION 15 NOTICE OF MOTION AND MOTION FOR FINAL APPROVAL OF CLASS 16 ACTION SETTLEMENT SAN FRANCISCO, CALIFORNIA 94104 17 44 MONTGOMERY STREET, SUITE 2450 Date: January 8, 2015 PEARSON, SIMON & WARSHAW, LLP Time: 1:30 p.m. 18 Crtrm.: 3, 17th Floor Judge: Hon. Richard Seeborg 19 20 21 22 23 24 25 26 27 28 861239.3 1 12-CV-0559-RS NOTICE OF MOTION AND MOTION FOR FINAL APPROVAL OF CLASS ACTION SETTLEMENT Case3:12-cv-00559-RS Document110 Filed11/26/14 Page2 of 33 1 TO THE COURT AND TO ALL PARTIES AND THEIR ATTORNEYS OF RECORD: 2 PLEASE TAKE NOTICE that on January 8, 2015, at 1:30 p.m. or as soon thereafter as the 3 matter may be heard in the Courtroom of the Honorable Richard Seeborg, United States District 4 Court, Northern District of California, San Francisco Division, Plaintiffs Kathy Sledge Lightfoot, 5 Ronee Blakley, and Gary Wright (collectively, “Plaintiffs”) will and hereby do move the Court, 6 pursuant to Federal Rule of Civil Procedure 23(e), for an order finally approving the class action 7 settlement in this case.
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  • An Audit of London Burial Provision
    An Audit of London Burial Provision A report for the Greater London Authority by Julie Rugg and Nicholas Pleace, Cemetery Research Group, University of York 1 Contents List of tables 3 List of figures 3 1 Introduction 4 2 The demand for and supply of space for burial 6 Introduction 6 Demand for burial space 6 Supply of burial space 12 Conclusion 21 3 Reclamation and re‐use 22 Grave reclamation and re‐use 22 Re‐use under faculty jurisdiction 23 Conclusion 25 4. Recommendations 26 Borough summaries 27 Table conventions 27 Owner 27 Name 27 Date 27 Area 27 Status 95 27 Status 10 28 Total burials 95 28 Total burials 09 28 Capacity 28 Barking and Dagenham 29 Barnet 30 Bexley 31 Brent 32 Bromley 33 Camden 34 Croydon 35 Ealing 36 Enfield 37 Greenwich 38 Hackney 39 Hammersmith & Fulham 40 Haringey 41 Harrow 42 Havering 43 2 Hillingdon 44 Hounslow 45 Kensington and Chelsea 46 Kingston upon Thames 47 Lambeth 48 Lewisham 49 Merton 50 Newham 51 Redbridge 52 Richmond upon Thames 53 Southwark 54 Sutton 55 Waltham Forest 56 Wandsworth 57 List of tables Table 2.1: Projected total burials and required burial space for inner London boroughs for the period 2010/1‐2030/1 11 Table 2.2: Projected total burials and required burial space for outer London boroughs for the period 2010/1‐2030/1 12 Table 2.3: Operational capacity of private and borough cemeteries, 1995 and 2009 13 Table 2.4: Borough capacity status 17 Table 2.5: Additional burial grounds 20 Table 2.6: London Borough provision outside Greater London 21 Table 3.1: Reclamation and re‐use summary 24 Table 3.2: Grave types and re‐use applicability 25 List of figures Figure 2.1: Projected death rates in London, 2010/11‐2030/31 6 Figure 2.2: Cremation numbers in London 8 Figure 2.3: London boroughs by the projected proportion of all estimated burials that will be Muslim people, 2010/11‐2030/1.
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  • TOMASZ FRASZCZYK Greeklish – on the Influence of New
    TOMASZ FRASZCZYK Greeklish – on the Influence of New Communication Technologies and New Media on the Development of Contemporary Greek KEY WORDS Greeklish, Greece, language, writing, media ABSTRACT The growing importance of English in the Western cultural circle is also an issue in the countries of the Mediterranean Sea. Research in the region shows that with the increasing popularity of electronic communication, especially with the use of SMS, the development of new media and the market offensive of social media like Facebook and Twitter, Greek is influenced not only by English, but also by Latinization, a process which has been termed Greeklish. The article presents a short history of Greek, as an introduction to its current development in the context of Greeklish. Its characteristics and origins in Greek writing are illustrated with the most representative examples from press, television and internet sites, along with typologies. The research outcome of documenting different aspects of using Greeklish have been discussed, as well as the most important issues in discussions taking place in Greece on possible consequences of this phenomenon on the development of Greek. The growing importance of English in countries of the Western culture is a phenomenon, which has also influenced the region of the Mediterranean Sea, among it Greece and Cyprus. The Anglicisation of the Greek language, but also of Polish, takes place by including English words in common, everyday use (e.g. weekend, lunch), structural borrowings1 or giving proper names in English (e.g. “Sea Towers” in Gdynia or “Wiśniowy Business Park” in Warsaw), and is only a certain element of the transformation process of contemporary Greek.
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  • We Remember Those Members of the Lloyd's Community Who Lost Their
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  • Old Greek Folk Stories Told an Ew
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  • Music 6581 Songs, 16.4 Days, 30.64 GB
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  • Uefa Champions League
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  • Kiosk Wars/CD Review
    December 1, 2010 Hi John- Here are the CD reviews for the Januaary 2011 issue. I'll be by your office later today to give you the CD covers for scanning. Sending file as back up. Talk soon, Perri Kiosk Wars: The Big Guns Battle for Minimarket Shelf Space Perri Pagonis [email protected] The music industry has gone through such dramatic changes in the past twenty years, that it’s hard to keep track of what’s happening with the record companies at any given moment. Vinyl records, although widely accepted by audiophiles as the most satisfying way to hear recorded music, is for collectors and DJs only. CDs are still the storage medium being most widely manufactured and distributed, however, they are becoming more technologically passé on a daily basis. Downloading digital music off of the Internet in MP3 and other forms is the current youth rage, but kids seem to download scads of stuff on a whim, often times an artist’s entire oeuvre in one fell swoop, and then forget to listen to it. The MySpace phenomenon on the web has made any band’s music, I mean any band’s music, from Micronesian punk rock goofball stuff to selected arias from monumental Italian opera stars, available to download into your computer’s hard disk in seconds. As the age of global stadium stars has dwindled down to a mere handful of selected acts: Rolling Stones, Madonna, U2, AC/DC, Metallica etc, so too has the Greek music scene splintered into a few revered giants and hordes of mewling newbies.
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