The Ringer will be the new home of Bill Simmons’ writing. His upcoming TV show will remain with HBO and we’ll continue to get podcasts from him and the folks who have shows on Channel 33. This site isn’t meant to be a Grantland 2.0 according to Simmons’ latest podcast, but will employ a bunch of former Grantland writers. I previously wrote about Simmons back when he left ESPN. I’m more than excited to see what the site turns out to be. I’ve missed the witty writing from Simmons and former staff of Grantland. A few have stayed with ESPN or landed elsewhere and I’ve been trying to keep up with individual writers, so this will be a huge plus that many writers I enjoy will be in one place again.
Sean Fennessey will be the Editor-In-Chief with Bryan Curtis being the “Editor-At-Large” for The Ringer. We’ll also see the likes of Chris Ryan, Juliet Litman, and many more contributing. The site is slated to launch in late spring or early summer this year. I’m sure there will be much more to say once the site is up and running, but nonetheless, I’m looking forward to it.
The.
The Fellowship is a tailored programme of leadership development, which aims to enrich and transform cultural practice and engagement through developing the individuals’ leadership capacity. It brings together some of the most creative and dynamic cultural leaders in Britain, Ireland and beyond for a life-changing adventure - a professional and personal development experience unlike any other. The programme includes: two intensive residential leadership courses; professional development through mentoring, tuition and group learning; an in-depth research project, supervised by a Higher Education Institute; and a period of secondment, including experience of managing a challenging project. The previous recipients of this fellowship are: Niamh Lunny, Kathleen Turner, Dylan Haskins, Mags Walsh, Jo Mangan, Willie White, Sharon Murphy, Fiona Kearney and Fearghus Ó Conchúir.
To find out more and to apply click here.
An information session will be held for those considering making an application for, or those generally interested in, the Jerome Hynes Fellowship / Clore Leadership Programme 2019/2020. The session will be held on Thursday 15 November at 2.30-4pm in Draíocht (íocht.ie). Hosted by Sharon Murphy (Clore Fellow, 2008) the session will be addressed by Sharon Armstrong-Williams (Manager, Clore Fellowship) and will provide an opportunity to learn more about the fellowship in an informal atmosphere. For further details on the information session in Draíocht contact Sharon Murphy: sdrmurphy@gmail.comHonestly, that has me more pissed off than Hamburgler.  But that cop is everything that is WRONG with the police these days. Regardless of the procedure you had done, your home was broken into and vandalized. He is idiotic and miopic in the scope of his duties and should be relieved of them. Thank goodness there was one officer that had some sense. 

I'm glad you are doing as well as you are and I'm so terribly sorry for the loss of your LO. 😘Due to the 6 mm magnets, these motors have more torque and ensure optimum control for Racecopter 150...200.
Recommended propeller: 3-5"To expand slightly on the above description, the verge watch is so known from the form of its escapement. The verge (or crown wheel) escapement is the earliest known type of escapement, that is the mechanism in a mechanical clock that controls its rate by advancing the gear train at regular intervals or 'ticks'. Its origin is apparently unknown. Verge escapements were used from the 14th until the 19th century in clocks and pocket watches. The Pitt Rivers has two verge watches in its collections; one English dated 1780 (1940.7.54) and one French dated 1700-1759 (1940.7.55).
The function of the watch-cock is to protect the mechanism. They were made by specialists, called ‘cock makers’. What is not made clear in the catalogue entry is that the watch-cock is not normally visible, being part of the internal mechanism of the watch. However, this is a key aspect of Thomson’s argument in the article referred to, as we will see below.
As stated in the catalogue entry the whole collection had been owned by Arthur Thomson and it was donated to the Pitt Rivers Museum by his daughters, Mrs Richardson and Mrs Mackenzie following the death of Arthur Thomson’s widow, Mary. This examination will concentrate on the six English lever cocks, numbered 1945.5.83-88, but first it will be useful to say something about Arthur Thomson and his whole collection of watch-cocks before concentrating on the English examples.
Arthur Thomson [2] was born in Edinburgh on 21 March 1858. He studied medicine at Edinburgh University and subsequently served as a demonstrator of anatomy there. In 1885 Thomson came to Oxford, appointed to the newly created post of Lecturer in Human Anatomy in the medical school which had recently been created. When Sir Henry Acland, the driving force behind the medical school, became ill, Thomson took over from him and it was through his efforts that the school continued to flourish, although at the cost to Thomson of a great deal of administrative work that prevented his ever fulfilling his promise as an anatomist. From 1893 Thomson bore the title of Extraordinary Professor of Human Anatomy and in 1919 he became the first incumbent of Dr Lee’s Chair in Human Anatomy and a Student (i.e., Fellow) of Christ Church. He resigned from the Chair in 1833 and died on 7 February 1935 at his home, 163 Woodstock Road, Oxford.
Thomson is an important figure in the history of Oxford anthropology. [3] From 1885 anthropology had been available as a Supplementary Subject in the Natural Science Final Honour School. Tylor early on recruited Thomson to provide the lectures in physical anthropology. Then, in 1905, when the Committee for Anthropology came into existence, followed a couple of years later by the Diploma in Anthropology, Thomson became, with Henry Balfour and Ranulph Marett, part of a triumvirate that was to be ‘Oxford anthropology’ for the next three decades.
Thomson main interest outside academia was art. He was an accomplished artist and painting in watercolour was his chief recreation. Some of his works were exhibited at the Royal Academy, to which organization he regularly lectured and to which he was appointed Professor of Anatomy in 1900; he remained in this post until the year before his death. His two lives came together in a book published in 1896, entitled A Handbook of Anatomy for Art Students. [4] In Oxford as well he involved himself in art; he was a Ruskin Trustee and a member of the Oxford Art Society of which he was the President in 1922.
We can now turn to Thomson as a collector. It is not clear whether he collected objects other than the watch-cocks that are the topic of this article, but his collection of these items must have started right at the beginning of the 20th century, if not earlier. When, in 1907, he contributed to the volume of essays presented to Tylor the article already mentioned, he owned over 160 specimens of watch-cocks. It should be noted that there is a difference between the way in which the 56 examples donated to the Pitt Rivers are classified and the classification contained in the article. To repeat the entry in the Donations book, quoted above, the classification there is: Faces (15) No. 37-51; Vases (8) 52-59; 17 Floral Scrolls (60-76); 5 Bowls and Boxes (77-81); 1 Bird (82); 6 English Lever (83-88); 1 French (89); 3 Peculiar ones (90-92).
In the article, there are six classes, with illustrations of examples of each class, and a residue class which is unillustrated. The criterion employed in distinguishing between classes is the design on the watch-cock. Class 1 specimens, which represented about 50 per cent of his total collection, have grotesque heads engraved on them. The 1907 Class 2 are described as having ‘the form of a vase incorporated with the design’ and composed about 13 per cent of the collection. The 1907 Class 3 display the figures of birds and formed about 9 per cent of Thomson’s collection. The 1907 Class 4 objects exhibit baskets laden with fruit and flowers, Class 5 star-like patterns, and Class 6 is a mixture of designs including dolphins, lyres, a sacred heart, and a crescent and disk. The items in the residue class ‘do not present any features which call for special attention, the pattern being simply that of a foliated designed without any additional device’. This class composed about 12 percent of the total. We are not given the percentages for Classes 4, 5 and 6, but since the other four classes (1, 2, 3, & residue) amounted to some 84 per cent, this means that those three classes represented about 16 per cent. It should, however, be commented, which Thomson does not, that there is a certain degree of overlap between these classes; a fact revealed by examination of the illustrations provided. Thus, in Figure 3 (Plate XV), the example on the lower row, fourth from left, contains both a bird and a mask; in Figure 5, the item fourth from left exhibits both a star-shape and a mask, and in Figure 6 the first on the left has a bird as well as a dolphin.
If we turn now to the English examples the feature that immediately distinguishes them