The European Anti-Fraud Office is a body mandated by the European Union with protecting the Union's financial interests. It was founded on 28 April 1999, under the European Commission Decision 1999/352, its tasks are threefold: to fight fraud affecting the EU budget. OLAF achieves its mission by conducting, in full independence and external investigations, it coordinates the activities of its anti-fraud partners in the Member States in the fight against fraud. OLAF supplies EU member states with the necessary support and technical know-how to help them in their anti-fraud activities, it contributes to the design of the anti-fraud strategy of the European Union, takes the necessary initiatives to strengthen the relevant legislation. OLAF conducts administrative investigations, it has no judicial powers to oblige national law enforcement authorities to act on its follow-up recommendations. Regulation No 883/2013, governing the work of OLAF, entered into force on 1 October 2013; this Regulation builds on the experience gained by OLAF since its creation.
It provides a clear statutory basis that codifies past practice and reinforces the effectiveness of OLAF's investigative activities. The Regulation sets the basis for a better exchange of information between OLAF and its partners. OLAF has a hybrid status. On the one hand, it is a Directorate General of the European Commission, under the responsibility of the Vice-President in charge of Budget and Human Resources. On the other hand, it is independent for its investigative activities. OLAF has a staff of about 420: police and legal experts from the member states of the European Union. Ville Itälä was appointed OLAF Director-General by the European Commission, following consultation with the European Parliament and Council, he took up his functions on August 1, 2018. OLAF was created in 1999. Following the events that led to the resignation of the Santer Commission, its predecessor UCLAF was replaced with a new anti-fraud body with stronger powers; these included conducting investigations within EU institutions.
Between 2010 and 2018, OLAF: Concluded over 1900 investigations Recommended the recovery of over €6.9 billion on the EU budget Issued over 2500 recommendation for judicial, financial and administrative action to be taken by the competent authorities of the Member States and the EUAs a results of OLAF's investigative work, sums unduly spent were returned to the EU budget, criminals faced prosecution before national courts and better anti-fraud safeguards were put in place throughout Europe. OLAF's concluded investigations included cases relating to EU staff, direct expenditure, external aid and cigarette smuggling; this section will present two major successful investigations. Another investigation led to OLAF putting an end to an intricate fraud scheme through which more than EUR 1.4 million worth of European Union funds, meant for emergency response hovercraft prototypes, had been misappropriated. OLAF uncovered the fraud pattern as part of its investigation into alleged irregularities in a Research and Innovation project granted to a European consortium.
The Italian-led consortium, with partners in France and the United Kingdom, was tasked with creating two hovercraft prototypes to be used as emergency nautical vehicles able to reach remote areas in case of environmental accidents. During on-the-spot checks performed in Italy by OLAF and the Italian Guardia di Finanza, OLAF discovered various disassembled components of one hovercraft, as well as another hovercraft, completed after the deadline of the project, it became evident that, in order to obtain the EU funds, the Italian partners had falsely attested to the existence of the required structural and economic conditions to carry out the project. Investigative activities carried out by OLAF in the UK revealed that the British partner only existed on paper and that the company was in fact created and owned by the same Italian partners. To simulate the actual development of the project and to divert funds, fictitious costs had been recorded. In practice, once the EU funds were obtained, the Italian grantees used accounting artifices to syphon off money, forging documents attesting false expenses.
A thorough analysis of more than 12 000 financial transactions and payments made in the project showed that part of the EU funds received by the Italian and UK partners had been used to pay off a mortgage on a castle facing foreclosure. OLAF concluded its investigation in 2017 with two judicial recommendations - to the Public Prosecutor’s Office of Genoa and to the City of London Police in the UK – and a financial recommendation to the Directorate- General for Research and Innovation of the European Commission to recover the defrauded funds; the Italian authorities are following up on OLAF’s recommendations and investigating the persons concerned for embezzlement and fraud against the EU, false accounting, fraudulent bankruptcy and fraudulent statements. In 2017 OLAF investigated a major case involving the evasion of anti-dumping and countervailing duties imposed on solar panels originating in, or consigned from, the People’s Republic of China, it was alleged that solar panels were incorrectly declared on importation into the European Union as being of Taiwanese origin.
In the framework of this investigation, OLAF, in cooperation with representatives of the Dutch and French customs agencies and the competent Taiwanese authorities, carried out joint enquiries in Taiwan. Further checks took place in cooperation with Belgian customs. OLAF collected
"Hear My Train A Comin'" is a blues-based song written by Jimi Hendrix. Lyrically, it was inspired by earlier American spirituals and blues songs which use a train metaphor to represent salvation. Hendrix recorded the song in live and impromptu settings several times between 1967 and 1970, but never completed it to his satisfaction; the documentary film Experience features the only version released during Hendrix's lifetime. Hendrix played the song solo as an acoustic guitar country-style blues and it is considered one of his most memorable performances. In 1973, it was included in the film the accompanying soundtrack album; the song was released as a single in the UK. Hendrix played "Hear My Train A Comin'" in concert using a blues rock arrangement with accompaniment, he developed it into an extended improvisational guitar piece comparable to "Voodoo Child". There are several live performances in release. Recent Hendrix compilation albums, such as People and Angels and the Miami Pop Festival, include additional studio demo versions along with other live recordings.
"Hear My Train A Comin'" is one of several blues-oriented songs that were in Hendrix's repertoire throughout his career. One of his earliest recordings with the Experience was his composition "Red House", a blues song inspired by Albert King, included on the 1967 UK Are You Experienced debut album. In their early years, the Experience adapted and performed other blues songs, including Howlin' Wolf's "Killing Floor", B. B. King's "Rock Me Baby", Elmore James' "Bleeding Heart", "Catfish Blues", a medley of songs by Muddy Waters, they played Muddy Waters' "Hoochie Coochie Man" in 1967 with BBC Rhythm and Blues radio show host Alexis Korner accompanying the group on slide guitar. Hendrix biographer John McDermott calls "Hear My Train A Comin'" "a powerful blues prayer based on the salvation-train metaphor running through American folklore of every color and faith". An 1897 manuscript by Richard Spurling describes the gospel train as "built by God to carry redeemed sinners safely from this'wilderness'... to heaven".
The late-1800s spiritual "The Gospel Train" uses the lyrics "I hear the train a-comin'" and associated songs reference a train station. Hendrix researcher Harry Shapiro adds the song "delves deep into the well of blues history, recalling one of the classic motifs of the genre" and compares it to "Jim Crow Blues" and "Make My Getaway", two earlier blues songs about "escap trouble, be it political, social or personal". "Jim Crow Blues", recorded in 1929 by Cow Cow Davenport, deals with getting away from racial segregation in an American town: In "Make My Getaway", recorded in 1951, Big Bill Broonzy sings of leaving Arkansas to get over a broken relationship: Biographer Steven Roby sees a parallel in Hendrix's early life, reflected in the lyrics for "Hear My Train A Comin'". When he left home at 18, Hendrix departed by train for U. S. Army basic training in California. "Jimi's confusion about leaving those he cared about coexisted with his eagerness to put his nightmarish existence in Seattle behind him", writes Roby.
Hendrix's earliest recorded version in 1967 includes the verses After an energetic guitar solo, Hendrix announces "Can you dig that, you see me gettin' it together, I'm tryin' to get my heart together that's all" and concludes by singing He nearly always introduced the song as "Getting My Heart Back Together Again" or "Get My Heart Back Together", the latter of, used for the first release of the song in 1971. In his August 1970 handwritten notes for the track listing of his proposed fourth studio album, Hendrix listed the song as "Getting My Heart Back Together", it is unknown why it was renamed "Hear My Train A Comin'" for subsequent releases, although Hendrix sometimes introduced songs in concert using alternate names. He added a train reference to the song title, such as "Lonesome Train", "I See My Train", "Waitin' Down at the Train Station"; as Hendrix developed the song, he added to the lyrics and included "I'm gonna be a voodoo child", a reference to his 1968 composition "Voodoo Child".
However, he stayed with the same theme and prefaced his performances with a short commentary, such as at one of his best-known performances in Berkeley, California, in 1970: Here's a story that a lot of us have been through... About a cat runnin' around town and his old lady, she don't want him around and a whole lot of people from across the tracks are puttin' him down, and nobody don't want to face up to it but the cat might have somethin', only everybody's against him because the cat might be a little different. So he goes on the road to be a Voodoo Child, come back to be a Magic Boy. "Hear My Train A Comin'" was performed at a slow to andante tempo centered on one chord with breaks. The first known recordings were made by the BBC on December 15, 1967, with Noel Redding on bass and Mitch Mitchell on drums. Redding and/or Mitchell provide backing vocals during Hendrix's vocal. In contrast to the subdued vocal sections, the middle section features charged guitar soloing and accompaniment. Two takes were recorded, both lasting about five minutes.
The second take was broadcast on December 1967, for the Top Gear radio program. The first take recorded was released in 1988 on the Radio One album. Around the same time, Peter Neal was making a short film documentary about the Experience, titled Experience. On December 19, 1967, he captured He
Sylvia Li-chun Lin is a Taiwanese-born Chinese–English translator and a former associate professor of Chinese at the University of Notre Dame. She has translated over a dozen novels with her husband Howard Goldblatt. 2000 – National Translation Award for translation of Notes of a Desolate Man by Chu T’ien-wen 2011 – Man Asian Literary Prize for Three Sisters by Bi Feiyu Representing Atrocity: The 2/28 Incident and White Terror in Fiction and Film. Columbia University Press. 2007. ISBN 978-0-231-14360-8. Documenting Taiwan on Film: Issues and Methods in New Documentaries. Routledge. 2012. ISBN 978-0-415-68511-5. Cohorst, Kate. "Chinese Professors Make Winning Translation Team". University of Notre Dame. "Sylvia Li–chun Lin, Assistant Professor". University of Notre Dame. Archived from the original on 2008-04-13
Anthony Powell is an English costume designer for stage and screen. He has won three Academy Awards, for Travels with My Aunt, Death on the Tess, he has worked with directors such as George Cukor, Roman Polanski, Steven Spielberg, Robert Altman and David Lean. Among the stars who have worn his creations are Dame Maggie Smith, Dame Angela Lansbury, Paul Newman, Bette Davis, Warren Beatty, Steve McQueen, Sean Connery, Dustin Hoffman, Roger Moore, Harrison Ford and Johnny Depp. Powell is a cousin of Sandy Powell. Raised in Yorkshire and Dublin, Powell began his professional career as a teenager touring with his handmade marionettes. While serving as a wireless operator in the military, he mistakenly lead the British Army of the Occupation in Germany into the Russian zone. After graduating from the Central School of Art and Design in London, he was apprenticed as an assistant to designers including Oliver Messel and Cecil Beaton. Powell served as a lecturer at his alma mater, his costume designs for John Gielgud's production of The School for Scandal earned him a Tony Award, he received a second nomination for his scenic design.
He was consulted as a designer fashioning men's sportwear during the, as well as working as a design consultant for hotels and restaurants. He assisted in the restoration and renovation of Sutton Place, Guildford during the 1960s and 1970s Powell made his first Hollywood connection with director Irving Lerner who chose him to design the costumes for The Royal Hunt of the Sun, which required styling both the Spanish conquistadors as well as the Native Americans, his first Oscar came for his outlandish designs for Maggie Smith's Augusta in George Cukor's Travels with My Aunt. Powell returned to Broadway as set designer for a revival of Noël Coward's Private Lives and Sir Peter Shaffer's"Lettice and Lovage", both starring Dame Maggie Smith; the Academy honored him with Oscars for his glamorous'30s designs for Death on the Nile the women's outfits worn in the film by such actresses as Dame Maggie Smith, Dame Angela Lansbury, Bette Davis and Mia Farrow, his 19th Century attire for Tess. The latter began a long term collaboration with director Roman Polanski that included the lavish Pirates and the contemporary Frantic.
Additionally, Powell created the costumes and sets for the French stage production of Amadeus, in which Polanski starred as well as directed. Powell forged a collaboration with director Steven Spielberg, creating the period-appropriate costumes for both Indiana Jones and the Temple of Doom and Indiana Jones and the Last Crusade. Powell had spent the better part of two years working with David Lean on the director's film project of Nostromo. Marlon Brando, Paul Scofield, Peter O'Toole, Isabella Rossellini, Christopher Lambert, Dennis Quaid had all been set to star in this adaptation. In 1991, he designed the fantastic clothing for Hook, some of which recalled his earlier work for Pirates. Returning to the stage, his lavish and luxuriant costumes for Norma Desmond in Andrew Lloyd Webber's musical Sunset Boulevard, based on the movie directed by Billy Wilder, earned him another Tony Award. Glenn Close headed the American production and Powell got to create the over-the-top costumes for her Cruella de Vil in the live action remake of 101 Dalmatians, its sequel 102 Dalmatians.
He reinterpreted'60s mod fashions for the film version of The Avengers. In 2004 Anthony Powell designed the costumes for Richard Strauss's opera Capriccio for the Paris Opera at the Palais Garnier, starring Renée Fleming, directed by Robert Carsen, he collaborated again with Robert Carsen in 2010 for the costumes of My Fair Lady starring Alex Jennings and Margaret Tyzack at the Théâtre du Châtelet in Paris. This production travelled to the Mariinsky Theatre in St Petersburg where it was the first musical comedy to be presented on that stage; this production was revived again in Paris in 2012. Film Credits Theatre Credits Academy Award for Best Costume Design – 1973, 1979, 1981 BAFTA Award for Best Costume Design – 1979 César Award for Best Costume Design – 1987 Costume Designers Guild Career Achievement Award – 2000 Tony Award for Best Costume Design – 1963 http://www.bfi.org.uk/news-opinion/news-bfi/interviews/clothing-tess-poirot-indiana-jones Anthony Powell at the Internet Broadway Database Anthony Powell on IMDb
John Holland was an English poet, newspaper editor, writer on mining and metallurgy. Holland was born in a cottage in the grounds of the ancient Sheffield Manor in Yorkshire and trained by his father to follow him as a maker of optical instruments. However, he was a bookish young man who taught himself Latin and soon began publishing his own poems; these brought him to the notice of a local poet, James Montgomery, editor of the Sheffield Iris, who published both articles and poems of his in the paper, although commenting on the latter's "inaccuracies and imperfections" and remarking that "they would be twice as good if they were as short again." By 1813 Holland had become a Sunday School teacher and turned his hand to composing religious poetry and hymns. Some five years he was appointed as a secretary of the Sheffield Sunday School Union. In 1825, Holland was appointed as editor of the Sheffield Iris by new owner John Blackwell. In 1832, he moved to Northumberland to edit the Newcastle Courant, which Blackwell had bought, but returned to Sheffield in the new year and was elected curator of the Sheffield Literary and Philosophical Society, a position he held until his death.
In 1835 he became co-editor of the Sheffield Mercury, serving until the paper was closed down by its new owner in 1848. Throughout his journalistic life, he wrote numerous works on botany, local history and topography, in addition to biographies and sermons. In 1819 Holland wrote a long topographical poem on Sheffield Park and sent it to Montgomery for corrections and suggestions, his output had been anonymous or appeared under his initials. That year he published a narrative poem, "The Cottage of Pella", in imitation of Montgomery's "The Wanderer of Switzerland". Another strong influence on him at this time was the poet Thomas Campbell. Holland's poem "The Rainbow", published at the same time as one on the same subject by Campbell, was as anthologised as the latter's. Following this, Holland took Campbell's The Pleasures of Hope as the model for his own The Hopes of Matrimony; as well as subsequent productions, a good deal of poetry was included in some of his prose works, such as the serialised The Old Arm Chair, his botanical work Memoirs of the Rose, his consideration of the Crucifixion, Cruciana.
Since he continued to write at length on all occasions. Much of his work is diffuse. In 1827, Holland published a book with an unusually long title (Crispin anecdotes: comprising interesting notices of shoemakers.... This was a compendium of many elements, including the history of shoes, the writings of shoemakers, a survey of the manufacture, etc of shoes. In 1835 came The History and Description of Fossil Fuel, The Collieries and Coal Trade of Great Britain, its title page further identifies him as the author of the Treatise on Manufactures in Metal, said to be in three volumes, as part of Dionysius Lardner's Cabinet Cyclopaedia. The coal trade book is an erudite, but readable, comprehensive survey of many aspects of the coal industry up to 1835, running to 478 pages. In the preface he confesses he is "neither a Geologist, a Collier, nor a Coal Merchant...", prays for the reader's indulgence, until a more qualified author can undertake a similar survey. Despite this self-deprecation, the work is an extraordinary compendium of information.
The Methodist, Liverpool, 1819. From Sheffield Park, stanzas LVII–LVIXWhen winter evening's cheerful tales conspire With the warm influence of a social fire, How thinks the happy midnight guest Of the poor collier's brief and broken rest. Where chemic nature, from sulphureous ores, Her deadliest essence sublimates and stores – Combines these dire arcana to prepare Her noxious treasures of mephitic air, Each moment hovering round the miner's lamp To scorch or suffocate – the explosive damp; this a sad proof how vainly man hath built Pride's superstructure on a base of guilt.
In baseball, a corked bat is a specially modified baseball bat, filled with cork or other lighter, less dense substances to make the bat lighter. A lighter bat may improve the hitter's timing. Despite popular belief that corking a bat creates a "trampoline effect" causing a batted ball to travel farther, physics researchers have shown that this is not the case. In Major League Baseball, modifying a bat with foreign substances and using it in play is illegal and subject to ejection and further punishment. To cork a bat, a hole 1/2-inch in diameter is drilled down through the thick end of the bat six inches deep. Crushed cork, bouncy ball, sawdust, or other similar material is compacted into the hole and the end is patched up with glue and sawdust. However, this weakens the bat's structural integrity and makes it more susceptible to breakage more so if the cork is placed beyond six inches into the bat. Corked bats are discovered when they break during play. Corked bats were tested in the 2007 season of MythBusters where it was found that the cork was detrimental to the bat's performance.
Using a corked bat in Major League Baseball is in violation of Rule 6.03, which states A batter is out for illegal action when: He uses or attempts to use a bat that, in the umpire’s judgment, has been altered or tampered with in such a way to improve the distance factor or cause an unusual reaction on the baseball. This includes bats that are filled, flat-surfaced, hollowed, grooved or covered with a substance such as paraffin, etc, it has been a popular belief that the material used to cork a bat creates a "trampoline effect," causing a ball hit with a corked bat to travel farther than one hit with an uncorked bat. Research has shown this not to be the case. Another perceived advantage of using a corked bat is its effect on the bat's weight. Corking a bat causes the bat to be lighter, which in turn allows the batter to swing it more quickly. However, the reduction in weight negatively affects the velocity of the ball as it leaves the bat cancelling out the advantage gained from a quicker bat speed.
A lighter bat can, create an advantage by allowing the batter to delay a swing for a fraction of a second, which would allow for more accuracy. Since 1970, six players have been caught using corked bats; the following table summarizes these events: In addition, former player and Major League manager Phil Garner admitted in January 2010 on a Houston radio station that he used a corked bat against Gaylord Perry and "hit a home run" with it. Garner admitted that the 2005 Houston Astros used corked bats during the 2005 World Series. In 2010, Deadspin reported that Pete Rose used corked bats during his 1985 pursuit of Ty Cobb's all-time hits record. Two sports memorabilia collectors who owned Rose's game-used bats from that season had the bats x-rayed and found the telltale signs of corking. Rose had denied using corked bats. Doctored bat infractions – ESPN. What about corked bats