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Scout (Scouting)

A Scout is a child 10–18 years of age, participating in the worldwide Scouting movement. Because of the large age and development span, many Scouting associations have split this age group into a junior and a senior section. Scouts are organized into troops averaging 20–30 Scouts under the guidance of one or more Scout Leaders. Troops subdivide into patrols of about 6–8 Scouts and engage in outdoor and special interest activities. Troops may affiliate with local and international organizations; some national Scouting associations have special interest programs such as Air Scouts, Sea Scouts, outdoor high adventure, Scouting bands, rider Scouts. After the Second Boer War boys showed considerable interest in Aids to Scouting, a book about military scouting and wilderness survival written by a hero from that war, Robert Baden-Powell; the book was used by teachers and youth organizations for instruction and play. Inspired by that interest Baden-Powell wrote Scouting for Boys for boy readership, which describes the Scout method of outdoor activities aiming at developing character, citizenship training, personal fitness qualities among youth.

At the time, Baden-Powell intended that the scheme would be used by established organizations, in particular the Boys' Brigade. However, because of the popularity of his person and the adventurous outdoor games he wrote about, boys spontaneously formed Scout patrols. Over time, the Scout programme has been reviewed and updated in many of the countries where it is run, special interest programmes developed such as Air Scouts, Sea Scouts, outdoor high adventure, Scouting bands and rider Scouts, but the same core values and principles as Baden-Powell envisaged still apply; the Scout program was aimed at 11- to 16-year-old boys. However, the younger brothers of Scouts started to attend Troop meetings, so the Wolf Cub section was started, it was evident that young girls wanted to participate in similar activities, but the Edwardian values at the time would not allow young boys and girls to "rough and tumble" together, causing the Guide Movement to be created. While most Scouts may join a troop after finishing Cub Scouts, this is not required.

As Scouts get older, they seek more challenging and diverse activities. He may join another affiliated program for older children, such as Exploring, Venturing, or Rovering. A Scout learns the cornerstones of the Scout method, Scout Promise, Scout Law; these are designed to instill character, personal fitness, leadership in boys through a structured program of outdoor activities. Common ways to implement the Scout method include spending time together in small groups with shared experiences and activities, as well as emphasizing good citizenship and decision-making that are age-level appropriate. Cultivating a love and appreciation of the outdoors and outdoor activities are key elements. Primary activities include camping, first aid, hiking and sports. Camping most occurs on a unit level, such as in the troop, but there are periodic camporees and jamborees. Camporees are events; these occur a couple times a year and have a theme, such as pioneering. Jamborees are large events on a national or international level held every four years where thousands of Scouts camp together for one to two weeks.

Activities at these events include games, Scoutcraft competitions, patch trading, woodcarving and rifle and shotgun shooting. For many Scouts, the highlight of the year is spending at least a week in the summer as part of an outdoor activity; this can be a long event such as camping, sailing, canoeing, or kayaking with the unit or a summer camp operated on a council, state, or provincial level. Scouts attending a summer camp one week during the summer, work on merit badges and perfecting Scoutcraft skills; some summer camps operate specialty programs, such as sailing, backpacking and whitewater, fishing. A large part, compared to younger and older sections, of the activities are related to personal progression. All Scouting organizations have an advancement program, whereby the Scout learns Scoutcraft, community service and explores areas of interest to him; this Badge system or Personal Progressive Scheme is based on two complementary elements: Proficiency badges, which are intended to encourage the Scout to learn a subject which could be his work or hobby, so cover many different types of activities, not always related to Scouting.

Class badges or Progress system, which symbolize difficult levels or successive stages. Most Scouting associations have a highest badge that require mastering Scoutcraft and performing community service. Only a small percentage of Scouts attain them; the troop is the fundamental unit of the Scouts. This is the group a Scout joins and via which he participates in Scouting activities, such as camping and canoeing; the troop leadership and adult, organizes and provides support for these activities. It may include as many as seventy or more. Troops meet weekly; each troop is divided into patrols of around five to ten Scouts. A patrol's independence from the troop varies between activities. For instance, a troop holds ordinary meetings as a unit. Patrols' autonomy becomes more visible at campouts, where each patrol may set up its own area for cooking and camping. However, on a high adventure trip which only a small part of the troop attends, divisions between patrols may disappear entirely. Patrols may hold meetings and

Porters (TV series)

Porters is a British television sitcom that has aired on Dave since 20 September 2017. The series is set in the fictional St. Etheldreda's hospital, was created by former medic Dan Sefton; the series stars Susan Wokoma, Claudia Jessie, Rutger Hauer and Daniel Mays. The first series of three episodes began on 20 September 2017. A second series of six episodes began airing on 14 March 2019. Deluded Simon Porter, dreams of becoming a doctor - but he has to start from the bottom and be a porter, his plan? Work his way up to be the best porter the NHS has seen. Edward Easton as Simon Porter Susan Wokoma as Frankie Daniel Mays as Anthony De La Mer Claudia Jessie as Lucy Rutger Hauer as Tillman Sanjeev Bhaskar as Mr. Pradeep Sinead Keenan as Dr Batholomew Tanya Franks as Jane Bison Jo Joyner as Dr Kelly James Atherton as Dr. McKenzie Siobhan McSweeney as Alice Jo Enright as Janice Toby Williams as Terry Mathew Horne as Mark Kelsey Grammer as Mendel Samantha Spiro as Rebecca Jamie Foreman as Alan McNally Christine Ozanne as Gladys Kiano Samuels as Lewis Chetan Pathak as Clinton Carrack Wendy Mae Brown as Mrs. Jerome Jonathan Hansler as Barman Neil Stuke as Hutch Ekow Quartey as Billy Tarsal Jacob Edwards as Dr.

A Friend Souad Faress as Freda David Yip as Dalai Lama Sophie McShera as Pippa Whitney O'Nicholas as Frankie's Sister Caron Pascoe as Mrs Weig Rich Keeble as PC Mortimer Marc Warren as Graham Post Olayinka Giwa as Policeman Laura Checkley as WPC Newman Patrick Turpin as Ham Scott Chambers as Cheese Naomi Sheldon as Nurse Bobby Pearse as Ten-Year-Old Simon Sally Lindsay as Linda Sanjeev Kohli as Muzz Bryony Hannah as Penny Paul Longley as David Jon Glover as Howard Chiedu Agborh as Surgical Team Member In April 2018, it was announced that Porters had been renewed for a second series of six episodes. Porters on IMDb Porters at British Comedy Guide

Symphony No. 7 (Simpson)

Robert Simpson composed his Seventh Symphony in 1977, the same year he completed his Sixth Symphony. The work is dedicated to Hans Keller and his wife, Milein Keller, was first performed by the Royal Liverpool Philharmonic Orchestra, conducted by Brian Wright at the Philharmonic Hall, Liverpool on 30 October 1984, it is a one-movement work of 28 minutes duration, since its first performance it has become one of Simpson’s most heard symphonies. The work is structured in one continuous movement, albeit in three distinct sections; the first of these takes up over half the symphony in duration and begins ‘Sostenuto, marcatoquickening in tempo until a fugato marked ‘Intensivo’ is reached. The second section is a tranquil adagio, which gives way to the third and final part: a tempestuous Allegro finale. Simpson scored his Seventh Symphony for a chamber-sized orchestra of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets and strings. However, because of the forcible wind and timpani writing, a greater weight of strings is needed.

Throughout the work the composer explores resonances inherent in a ‘cluster’ harmony, introduced in horizontal form at the outset of the work – a dramatic opening from the bassoons and double basses, characterised by a heavy, accented dotted rhythm and the upward leap of a fifth and descent by a sixth. The notes of this theme, if spaced out in a single octave, contained every semitone from A up to D; the top three notes are of great importance to the work, each dominates in turn – C at the beginning, D in the middle, C sharp at the end. The cluster is unravelled and explored in various ways, a characteristic sonority results: spaced out over several octaves through the orchestra, a major third glitters over the top of a dissonant cluster; the careful scoring and conflicting registers of the sonority presented near the opening including a major third high in the winds which holds within its span a whole tone presented low in the basses and cellos. Central to both these elements is the note C, scored in the middle range between these two extreme registers of the orchestra, giving the note a magnetic quality.

Throughout the work, the cluster moves to a variety of pitches, always with its central note having a magnetic quality. The opening fifth leap of the work is productive in many ways. One of these ways is to cause doublings at the fifth of various harmonies and melodic lines. After the initial dramatic opening, marked ‘Sostenuto, marcato’, swells of unusual sonorities derived from the characteristic harmony outlined above are presented, the music fades out to reveal the note G, sustained in the strings and clarinets in the same octave over a gradual diminuendo; this is an allusion to the ending of the work, discussed below. This gives way to a section of calm, ethereal string writing against a sustained woodwind background, marked ‘Meno Mosso’, which introduces the more lyrical material, based on the flow of thirds, foreshadowing the tranquillity of the central Adagio. A cyclical rhythm figure is presented in the cellos and basses, based on the notes G, F#, E which are formed into a repeating pattern.

The calm atmosphere is short-lived however, dissonances begin to be piled up as the dynamic increases. A huge dissonant cluster chord miraculously resolves into an ethereal D major chord from the strings; this is the first sign. The calmness temporarily returns, a brief trumpet chorale passage is sounded an idea to be presented again later. A large crescendo is built up and the music gains intensity, culminating at the beginning of a section marked ‘Piu mosso’; the music proceeds with considerable violence for several minutes in this passage where the conflict is presented in a most dramatic manner. A fury of violin demisemiquavers, sharp dotted rhythms in the basses and violent interjections from the trumpets and timpani propel the music dissonantly through an complex texture until the tempo marking doubles to ‘Allegro’. A climax is reached. At length, the dynamic softens to pianissimo and a new mood is created, where small motivic fragments are passed between instruments in the orchestra above low string pizzicato – the effect is of mysterious, pulsating energy.

Intensity and urgency is built up again, though the dynamic feels suppressed. A crescendo is built up until a new passage of energy is released, where a fast motive based on the note D is obsessively repeated in the first violins and passed to the woodwinds, above a dramatic tremolo from the violas and cellos; the woodwinds and brass play harmonic fragments juxtaposing major thirds in a high register above the darkly dissonant harmonic texture. All this energy culminates in a huge fugato, marked ‘Intensivo’, which breaks away from the harmonic field; the texture is now more contrapuntal and polyphonic, a fortissimo dynamic is maintained for several minutes, after reaching a final crushing dissonance, the music fades away to a single mysterious line doubled in the cellos and basses, which acts a transition into Part Two of the symphony, a central Adagio. The Adagio is the central heart of the whole work, acts as reflective contemplation in the midst of violence and unrest. After a sonority presented in pianissimo in the woodwinds and cellos, the first and second violins enter, marked ppp in the high register.

The effect is like that of the sun brea