Limehouse is a district in the London Borough of Tower Hamlets in East London. It is 3.9 miles east of Charing Cross, on the northern bank of the River Thames. Its proximity to the river has given it a strong maritime character, which it retains through its riverside public houses and steps, such as The Grapes and Limehouse Stairs, it was part of the traditional county of Middlesex, but became part of the County of London following the passing of the Local Government Act 1888, part of Greater London in 1965. It is located between Stepney to the west and north, Mile End and Bow to the northwest, Poplar to the east, Canary Wharf and Millwall to the south, stretches from the end of Cable Street and Butcher Row in the west to Stainsby Road near Bartlett Park in the east, from West India Dock and the River Thames in the south to Salmon Lane and Rhodeswell Road in the north; the area gives its name to Limehouse Reach, a section of the Thames which runs south to Millwall after making a right-angled bend at Cuckold's Point, Rotherhithe.
The west-to-east section upstream of Cuckold's Point is properly called the Lower Pool. The name relates to the local lime kilns or, more lime oasts, by the river and operated by the large potteries that served shipping in the London Docks; the name is from Old English līm-āst "lime-oast". The earliest reference is to Les Lymhostes, in 1356; the name'Limehouse' is sometimes mistakenly thought to be derived from the nickname for the seamen that disembarked there, who had earned the name Lime-juicers or limeys after the obligatory ration of lime juice the Royal Navy gave their sailors to ward off scurvy. The name is found used in 1417:Inquisicio capta sup' litus Thomisie apud Lymhosteys pro morte Thome Frank. 17 Aug, 5 Henry V. inquest held before "les Lymehostes" within the liberty and franchise of the City, before Henry Bartone, the Mayor, the King's Escheator, as to the cause of the death of Thomas Franke, of Herewich, late steersman or "lodysman" of a ship called "la Mary Knyght" of Danzsk in Prussia.
A jury sworn, viz. John Baille, Matthew Holme, Robert Marle, Henry Mark, Alexander Bryan, John Goby, Richard Hervy, Walter Steel, Peter West, Richard Stowell, John Dyse, Walter Broun, they find that the said Thomas Franke was killed by falling on the sharp end of an anchor From its foundation, like neighbouring Wapping, has enjoyed better links with the river than the land, the land route being across a marsh. Limehouse became a significant port in late medieval times, with extensive docks and wharves. Although most cargoes were discharged in the Pool of London before the establishment of the docks, industries such as shipbuilding, ship chandlering and rope making were established in Limehouse. Limehouse Basin opened in 1820 as the Regent's Canal Dock; this was an important connection between the Thames and the canal system, where cargoes could be transferred from larger ships to the shallow-draught canal boats. This mix of vessels can still be seen in the Basin: canal narrowboats rubbing shoulders with seagoing yachts.
From the Tudor era until the 20th century, ships crews were employed on a casual basis. New and replacement crews would be found wherever they were available - foreign sailors in their own waters being prized for their knowledge of currents and hazards in ports around the world. Crews would be paid off at the end of their voyages and permanent communities of foreign sailors became established, including colonies of Lascars and Africans from the Guinea Coast. Large Chinese communities at both Limehouse and Shadwell developed, established by the crews of merchantmen in the opium and tea trades Han Chinese; the area achieved notoriety for opium dens in the late 19th century featured in pulp fiction works by Sax Rohmer and others. Like much of the East End it remained a focus for immigration, but after the devastation of the Second World War many of the Chinese community relocated to Soho. On 12 February 1832, the first case of cholera was reported in London at Limehouse. First described in India in 1817, it had spread here via Hamburg.
Although 800 people died during this epidemic, it was fewer than had died of tuberculosis in the same year. Cholera visited again in 1848 and 1858; the use of Limehouse Basin as a major distribution hub declined with the growth of the railways, although the revival of canal traffic during World War I and World War II gave it a brief swansong. Today, Stepney Historical Trust works to advance the public's education in the history of the area. Limehouse Basin was amongst the first docks to close in the late 1960s. By 1981, Limehouse shared the docklands-wide physical and economic decline which led to the setting up of the London Docklands Development Corporation. In November 1982, the LDDC published its Limehouse Area Development Strategy; this built on existing plans for Limehouse Basin, offered a discussion framework for future development, housing refurbishment and environmental improvements across the whole of Limehouse. It was based on four major projects: Limehouse Basin, Free Trade Wharf, what was known as the Light Rapid Transit Route and the Docklands Northern Relief Road, a road corridor between The Highway and East India Dock across the north of the Isle of Dogs.
However, it was not until the mid-1980s with the abolition of the Greater London Council that the impetus for improvements to the infrastructure was provided. The key to development in Limehouse lay next door in the Isle of Dogs. Initial development plans on the island had been modest: light industrial development and a low rise business park; the Limehouse Studios (an independent televi
Street of Shame is a 1956 black-and-white Japanese film directed by Kenji Mizoguchi. It is the personal tales of several Japanese women of different backgrounds who work together in a brothel, it was Mizoguchi's last film. The film is based on the novel Susaki no Onna by Yoshiko Shibaki. In July 2018, it was selected to be screened in the Venice Classics section at the 75th Venice International Film Festival. Five female sex workers are employed at Dreamland, a licensed brothel near the Sensōji Temple in Tokyo's Yoshiwara district; as the Diet considers a ban on prostitution, the women's daily dramas play out. Each has motivations. Hanae is married, her husband unemployed. Yumeko, a widow, uses her earnings to raise and support her son, now old enough to work and care for her; the aging Yorie has a man. Yasumi saves money diligently to get out. Miki seems the most nonchalant, until her father comes from Kobe to bring her news of her family and ask her to come home. Machiko Kyō as Miki Ayako Wakao as Yasumi Aiko Mimasu as Yumeko Michiyo Kogure as Hanae Kumeko Urabe as Otane Yasuko Kawakami as Shizuko Hiroko Machida as Yorie Eitarō Shindō as Kurazō Taya Sadako Sawamura as Tatsuko Taya Toranosuke Ogawa as Mickey's father Bontarō Miyake as nightwatch Daisuke Katō as president of Brothel Owners' Association Kenji SaharaThe production designer was Hiroshi Mizutani.
Dance Nation was a British independent record label, a subsidiary of Ministry of Sound. When founded in 2007 it was known as Hard2Beat Records, was rebranded to its current name in 2010; the label's first release was "Now You're Gone" by Basshunter, they have released other singles and compilation albums since then. In April 2009 they held Dance Nation Live, a live arena tour across the UK. Basshunter headlined the tour with acts including Sash!, Platnum. Dance Nation had its own customised content channel on Audiotube; the label brand was used as a Sky TV Channel in 2012, since it has not had any new releases or live tours. The official website went offline in April 2015 as well as all social media sites. 2007 Basshunter2008 September Sash Headhunterz2009 Ultra DJ's Bad Behaviour Wildstylez2010 Flip & Fill Kindervater Forenzelli Official website Hard2Beat Records at Discogs Hard2Beat Records at trackitdown Hard2Beat Records at Juno Downloads Dance Nation at Discogs
River Road is a 2014 Chinese film written and directed by Li Ruijun and starring Tang Long and Guo Songtao. A masterfully lensed nomadic road movie set in Li's dusty native province of Gansu in Northwestern China, it follows two Yugur ethnic minority brothers venturing out on camelback in search of their herdsman father, it made its world premiere at the 27th Tokyo International Film Festival in 2014. While their parents graze their sheep far from the town, Adikeer stays in a boarding school in town and his older brother Bartel lives with their grandfather, a sheep-herder from the Buddhist Yugur ethnic minority; when their father fails to pick them up for summer break and their grandfather dies the two brothers embark on a journey with their camels across the vast, dry expanse of Western China alone, in search of their father by following the path of a dried-up river bed. Tang Long as Adikeer Guo Songtao as Bartel Bai Wenxin as Grandfather Guo Jianmin as Father Ma Xingchun as Monk With no big stars and a little-known director, River Road has been neglected at the box office from the beginning though domestic film critics like Wei Junzi recommended it on Sina Weibo on the day of the premiere.
Wei wrote, "River Road uses children's visual angel to tell the past and contemporary of a civilization. Poetic and sad, it is a rare work of Chinese films." Director Li admits that he and executive producer Fang Li had foreseen the situation but what he had not expected was that cinemas would be unwilling to showing his film. Tokyo International Film Festival: A coming-of-age drama couched in the guise of an adventure – with a winning sense of humor rooted in careful attention to detail; as suggested by its epic scale, the work has the classic qualities of a film that allows us to enjoy being affected emotional by what we see. Film Society of Lincoln Center: Li's film earns its emotional payoff thanks to the incredible performances of the young leads. Featuring the sand-blown splendor of infinitely sprawling vistas, ghost towns, touches of the fantastic, River Road is an absolute masterpiece of Chinese filmmaking; the Society For Film's Fernando Gros: River Road is a bold and surprising film, an ecological parable that draws the viewer in and delivers with surprising compelling conclusion.
One of the best Chinese dramas I have seen in the last twenty years this is essential viewing. Recommended. Rukor: China's indie film makers have a hard time, little opportunity to connect with wider audiences. River Road so could slip back into the shadows, having had screenings only in a few film festivals, yet it is the most compelling climate change movie yet, it deserves to be better known. River Road at the Hong Kong Movie DataBase River Road on IMDb
Laurie Clements Lambeth is an American poet, specializing in the topic of disability. She was raised in Palos Verdes, California, she graduated from the University of Houston with an MFA and PhD. Her work has appeared in The Paris Review, Indiana Review, Mid-American Review, Seneca Review, The Iowa Review, she lives in Texas. Laurie Clements Lambeth was born in Newport Beach, grew up in places like Laguna Beach, Santa Ynez, Palos Verdes, she was diagnosed with relapsing-remitting multiple sclerosis at seventeen years of age. This event in her life influenced her to become a poet. Lambeth has shared her personal story on the National MS Society Website, where she discusses her disease and its influence on her poetry: "I was diagnosed at the age of 17, so MS has defined much of my adult life. I consider. One of her symptoms from her disease is numbness, she explains that "living with numbness opened my perception of what is me and what is outside of me". Lambeth has said that she would not have pursued poetry without having been diagnosed with MS and experiencing the different symptoms that has opened her eyes to herself.
She writes poetry. She went on to graduate with a BA from Loyola Marymount University, Los Angeles, California,as well as an MFA and PhD in creative writing at the University of Houston, where she was awarded the Michener Fellowship and Inprint Fellowship, in honor of Donald Barthelme. Lambeth has appeared in many journals during her career, such as The Paris Review, Indiana Review, Mid-American Review, Seneca Review, The Iowa Review, she has produced a popular book of poetry entitled Veil and Burn. She has appeared in the anthology Beauty is a Verb: The New Poetry of Disability, she lives in Houston, with her husband and dog, where she works on her poetry and is an avid horsewoman, having ridden and trained horses competitively for many years. 2006 National Poetry Series Runner-up for Iowa Award in Nonfiction, The Iowa Review Barthelme and Michener fellowships "Retrobulbar", Verse Daily "Symptoms*", Disability Studies Quarterly Veil and Burn. University of Illinois Press. 2008. ISBN 978-0-252-07503-2.
Beauty is a Verb: The New Poetry of Disability. Cinco Puntos Press. 2011. ISBN 978-1-935955-05-4. Veil and Burn:From the opening lines of Veil and Burn readers know they are in for something special and not the usual first book of poems. Laurie Clements Lambeth has given us a book of poetry about disability, at once both searing and sensuous; this in itself may not seem surprising coming from a poet, the book review editor for the Disability Studies Quarterly, but what one does not expect is the deftness of the organizational structure. A simple online search of Laurie Clements Lambeth will bring up the most popular topic, spoken about her, her novel Veil and Burn; as a writer with a disability her novel is described as being: "Concerned with physical experience and disability, Veil and Burn illuminates an intense desire to feel through the Other, embrace it, become it, in the transformation, to understand the suffering body. In poems about animals and monsters, Lambeth displays a fascination for all bodies while exploring their pain, common fate and abilities.
Hovering between poem and prose fragment, between the self and fellow creatures, Laurie Clements Lambeth celebrates physical sensation, imbuing it with lyric shape, however broken, however imprisoned the shape may be." Her poetry is much involved with her disability and what it "celebrates". Most of the reviews or descriptions of this book involve the progressive loss of vision. Lambeth, in an interview expresses how "the prose fragments explore vision loss and fear of blindness, something I felt was too melodramatic or maudlin for poetry, their positioning against the poems and their spareness are what I feel bring the book together through tension—what can and can’t be sung", her view of a subject being "melodramatic" shows that Lambeth does not see her disability as something about which to be overly dramatic. Much of her work deals with the sensations that MS has brought her. Veil and Burn is supposed to be an unraveling of what MS does to her body's functioning, it "is not an ode to false hope, a cheery eyeing of her place in heaven, or a Spartan vow to overcome.
It is a clear-eyed seeing of the worth of the material world". Lambeth does not seem to be a poet who writes for a disability movement or create sympathy towards people with a disability and she does not try to play with the notion of being strong and overcoming the struggles that MS has brought her. An interesting thing to find out about her book is the reason. "The title Veil and Burn speaks to these two modes—more effusive poems and spare prose—and enlarges the concept of "Gauze Fragment," which seeks representation of my vision loss in an old Hollywood trick: veiling the camera lens to soften wrinkles in close-up and burning the veil with a cigarette to let the actor's wet eyes sparkle through". This stands as a reassurance of her more positive perception of herself and MS as they coexist and her eyes are opened to the beauty and life that occurs with MS. Beauty is a Verb: The New Poetry of Disability:In her opening poetics, "Reshaping the Outline," in her section of the anthology, Beauty is a Verb: The New Poetry of Disability, Laurie Clements Lambeth describes a conversation she had with her doctor, in which her doctor informed her that writing was not going to make her MS better, to which she replied, "Oh, I
Kantara Initiative, Inc. a'commons' ethos and ethics operated 501 c non-profit industry professional trade association has a stated mission of "improving trustworthy use of identity and personal data through innovation and good practice in the domain of digital identity management and data privacy." The initiative was established in 2009 by a group of identity management technical interoperability organizations using a bi-cameral system of governance. Responding to industry consortia fragmentation, Kantara aimed to form a unified and inclusive member organization for digital identity community stakeholders, it marked its 10th Anniversary in 2019. Kantara translates to “wooden bridge” in Kiswahili, a hybrid language between Arabic and Bantu, that’s showcased in the bridge of Kantara’s logo; the name is attributed to Nat Sakimura, a Kantara founding Board Director and Open ID Foundation Chair, as he spent his childhood in Africa. In 2011, Kantara focused on serving the needs of relying parties.
Kantara did so by developing assessment and Trust Marks for federated trust frameworks, as well as developing urgently needed specifications quicker than the lengthy processes undertaken by Standards Development Organizations. Private and public sector relying party organizations joined the initiative to develop identity and credential requirements and operate conformance & assurance programs, thus complementing the missions and outputs of other industry consortia, such as PDEC, Customer Commons the CARIN Alliance, Identity Commons, FIDO Alliance and IDESG. An affiliate program under IEEE-ISTO, Kantara Initiative self-incorporated as a 5016 nonprofit organization in January 2016; this change reflected the growing influence and stature of the organization, the need to expand globally and broaden its technical and legal innovation and trust framework operations in digital identity management and personal data privacy. In 2018 two financially separate but missioned and branded organizations were established - Mittetulundusuhing Kantara Initiative Europe, an Estonian based Trade Association, Kantara Initiative Educational Foundation Inc, a US incorporated 5013 in the US.
Kantara drafts technical specifications and recommendations for industry use and submits them to SDOs such as Organization for the Advancement of Structured Information Standards, World wide Web Consortium, Internet Engineering Task Force ) and SC27 Working Group 5 of the International Organization for Standardization. Kantara provides input to policy bodies such as OECD via its seat on the ITAC, UNCITRAL Working Group IV as well as some inter-government initiatives related to identity management and personal data agency. Kantara operates two distinct programs for the digital identity and personal data privacy community - Applied R&D and Trust Framework Assurance; the Trust Framework Assurance program involves the creating assessment criteria for publicly available and industry sector standards and specifications, undertaking conformity assessment of a provider's service seeking compliance and subsequent granting of Trust Marks, along with the associated governance. The Kantara Assurance Framework remains focussed on facilitating the 3rd party assessment and assurance of providers services seeking conformance to NIST 800-63-3 at IAL 2 and AAL2, expected to extend to FAL2 this year.
The Kantara Consent Receipt specification v1.1 is undergoing a minor revision while a more generic broader based information sharing framework is being developed in response to community feedback interested in standardizing an expanding suite of profiles. An example of the Consent Receipt is referenced in the standard ISO/IEC 29184 Online privacy notices and consent. According to the initiative's executive director, the idea behind the consent receipt is for individuals and companies to both be able to maintain and manage permissions for personal data; the Kantara User-Managed Access specification - a set of standardized extensions to OAuth 2.0 aimed at asynchronous user permissioning and delegated authorization - has stabilized at V2.0 with the early adopter implementers now standardizing profiles and extensions. A Business and Legal framework is being developed to complement the technical protocol framework completed. UMA received the Best Innovation Security Award from the European Identity & Cloud Conference 2014.
Of completed projects. ID Pro is now a 501 6 industry association for digital identity professionals. Kantara will continue to develop the Body of Knowledge for the good of the community; this effort was kicked off in 2016 with an electronic pledge where digital identity professionals signify their support for a digital identity professional association and Kantara’s principles. Kantara has all but completed the Applied R&D project with Rutgers University’s Command and Interoperability Center for Advanced Data Analysis, a US Department of Homeland Security University Center of Excellence, a main component of the KIPI program. Two projects to progress through all three phases to transition to commercialization are Mobile Device Attribute Verification and NFC4PACS. Kantara's R&D grant funding centers around NGI_Trust (a project under the European Commission's H2020 pro