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William Alexander, 1st Earl of Stirling

William Alexander, 1st Earl of Stirling was a Scottish courtier and poet, involved in the Scottish colonisation of Habitation at Port-Royal, Nova Scotia and Long Island, New York. His literary works include The Monarchick Tragedies and Doomes-Day. William Alexander was the son of daughter of an Allan Couttie; as a young man, William accompanied him abroad. At a date he received the place of Gentleman Usher to Prince Charles, son of James I of England, continued in favour at court after Prince Charles became Charles I of England in 1625, he built a reputation as a poet and writer of rhymed tragedies, assisted King James I and VI in preparing the metrical version known as "The Psalms of King David, translated by King James" and published by authority of Charles I. James knighted him in 1609 and appointed him the Master of Requests for Scotland in 1614 his private secretary. In 1615 he was made a member of the Scottish Privy Council. In 1621, King James I granted Stirling a royal charter appointing him mayor of a vast territory, enlarged into a lordship and barony of Nova Scotia.

The creation of Baronets of Nova Scotia was used to settle the plantation of the new province. Stirling was appointed as Secretary of State for Scotland in 1626 and held that office for the rest of his life. Lord Stirling's efforts at colonisation were less successful, at least in monetary terms, he established a Scottish settlement at Port Royal, Nova Scotia, led by his son William Alexander. However the effort cost him most of his fortune, when the region—now Canada's three Maritime Provinces and the state of Maine—was returned to France in 1632, it was lost, he spent his years with limited means, died in London on 12 September 1640. However Alexander's settlement provided the basis for Scottish claims to Nova Scotia, his baronets provided the Coat of arms of Nova Scotia and Flag of Nova Scotia which are still in use today. In 1630, King Charles rewarded his service by creating him Lord Alexander of Tullibody and Viscount of Stirling. Three years when Charles was crowned in Holyrood, in 1633 he became Earl of Stirling and Viscount Canada.

On 22 April 1636, Charles told the Plymouth Colony, which had laid claim to Long Island but had not settled it, to give the island to Alexander. Through his agent James Farret, Alexander in turn sold most of the eastern island to the New Haven Colony and Connecticut Colony. Farret arrived in New Amsterdam in 1637 to present his claim of English sovereignty but was arrested and sent to prison in Holland where he escaped. English colonists attempted to settle at Cow Bay at what today is Port Washington, New York in 1640, but were arrested and released after saying they were mistaken about the title. After 1640, eastern Long Island was settled by the English while the western portion remained under Dutch rule until 1674. Alexander died on 12 February 1640 and was succeeded by his grandson William Alexander, 2nd Earl of Stirling, a child who himself died the same year; the 3rd Earl, Henry Alexander, was the second son of the 1st Earl. Alexander was one of the most regarded Scottish poets in early seventeenth-century Scotland and England: he was praised by William Drummond of Hawthornden, Arthur Johnstone, Andrew Ramsey, Michael Drayton, Samuel Daniel and John Davies of Hereford.

Alexander's earliest work was Aurora, described on its title-page as'the first fancies of the author's youth' and is a late addition to the corpus of Elizabethan Petrarchan sonnets. His closet dramas - Croesus, The Alexandrean, Julius Caesar - were published together as The Monarchick Tragedies. According to Daniel Cadman, in these plays Alexander'interrogates the value of republican forms of government and provides a voice for the frustrations of politically marginalised subjects of absolutist regimes'. Alexander's grandest work is an epic poem describing the end of Doomes-day, it was first published in four books, in twelve. The poem, which contains 1,400 eight-line stanzas in total, begins with a synopsis of world history in the First'Hour' provides long catalogues of the creatures, battle dead, monarchs, biblical characters and members of the heavenly host who will appear at the Final Judgement. Alexander's method was indebted to the French Protestant poet Guillaume de Salluste Du Bartas.

Alexander collaborated with James VI and I on a new paraphrase of the Psalms, composed a continuation to Philip Sidney's Arcadia that links the end of Book 3 in Sidney's incomplete revised version to the ending in the 1593 text, wrote down his thoughts on poetry in Anacrisis: Or a Censure of some Poets Ancient and Modern. Anacrisis begins with a reflection on the pleasure of literature: After a great Travel both of Body and of Mind, the more painful, by retiring for a Time where I was born being curious, as the most dainty Kind of Pleasure for such as are capable of their Delicacies to recreate myself with the Muses,—I may justly say recreate, since they

Jessica Haines

Jessica Haines is a South African actress. She is best known for the 2008 film Disgrace, she works in Johannesburg, Cape Town and Kampala. She is married to Richard Ancrum Walker, they have three children. After living in North Africa, for two years they moved to Nairobi, where they lived for 8 years, they are now based in Uganda. Jessica Haines was born in Umtata in the Eastern Cape of South Africa, she went to boarding school at Epworth in Kwa-Zulu Natal in 1990. From a young age she did classical ballet and contemporary dance, she featured in a range of school arts programmes and participated as lead roles in musicals such as Brigadoon and Fame. She won an arts scholarship in 1993 to carry on her studies at Epworth and In 1997 she was the first girl at Epworth to win her cultural honours. In 1998 she left Natal to complete an honors degree at the University of Cape Town where she first studied English Literature and Social Anthropology; the following year she auditioned for a Bachelor of Arts in Theatre and Performance at U.

C. T and qualified at the end of 2001. Jessica's professional career started in 2002. 2018 "The Last Breath" "Sue Scott" Directed by Sam Benstaed 2000 Bathezda Moon directed by Lara Bye 2001 PAX- Directed by Jaquie Singer 2001 Blood Wedding Directed by Gefforey Hyland 2002 Worked for The Cape Youth Theatre Company 2003 Macbeth Lady Macbeth directed by Litsy Katzs for the On Que Theatre Company 2004 Worked for the On Que Theatre Company. 2007 Wolka Lead, written by Harry Kalmer and directed by Henriette Gryfenberg2018 "Beautiful Outlaw" written by Jessica Waines and directed by James Cunningham Jessica Haines on IMDb

Studio Watts Workshop

The Studio Watts Workshop was an arts organization founded in 1964 and based in the Watts neighborhood of Los Angeles, dedicated to providing working space for artists and offering a broad range of arts workshops for the local community. The principal organizers of the Studio Watts Workshop were jazz musician Jayne Cortez and accountant and arts patron James Woods. Woods, who worked at a local savings and loan, his wife Margo Woods, a probation officer, provided the funding for the workshop's initial operating costs, because of their conviction that art could be a tool for social change. Woods found a location for the workshop, renting an empty furniture outlet on 104th Street and Grandee Avenue, called together a group of eight artists to begin to plan what would become the Studio Watts Workshop. After the Watts riots led to renewed attention on the neighborhood, there were new opportunities for support and donations that led to the group being able to provide training for about 150 students in the visual arts, drama and music.

In order to work in the Studio Watts Workshop space, artists had to agree to give public exhibitions of their work at least two times a year in Watts and in an artistic space outside the area and to provide free instruction to any student with, in the words of James Woods, "the initiative and the desire to participate in the creative arts." Some of the early'masters' to students were sculptor Guy Miller, Bruce Strobridge, a painter and sculptor who had served in the Army with Woods and Anna Halprin, renowned international dance performer and teacher. A more detailed narrative on the Woods-Halprin collaboration can be found in Robby Herbst's April 2014 article "Ceremony of Us" published in East of Borneo, the Cal Arts School of Art's online magazine of LA contemporary arts. Bill Cosby and celebrated dance performers Marge & Gower Champion were early supporters. Woods produced and directed several plays at the Studio with student actors, to some acclaim; the celebrated poet Wanda Coleman known as the "Unofficial Poet Laureate of LA" was engaged with early literary efforts among students at Studio Watts.

In the late 1960s the Ford Foundation provided program funding to Woods and the Studio for its diverse initiatives. This was complemented by significant funding from the Doris Duke Foundation. Many Los Angeles professionals were friends of Studio Watts Workshop and donated their time and services to its governance. Others, such as John Blaine, worked as full-time Studio Watts staff. In the early years, UCLA management professor Will Mc Whinney worked with Woods on strategy and leadership issues and LA native Joel Fadem a Yale University grad student and at UCLA, assisted Woods in many foundation fund raising efforts. In 1971, the Studio Watts Workshop received a $75,000 Ford Foundation grant to study how the arts could be used in low-income housing projects and Woods used the grant, together with a grant from the Department of Housing and Urban Development and from other donations, to construct a 144-unit complex of rent-subsidized apartments; the Studio Watts Workshop became the Watts Community Housing Corporation, spaces were set aside for arts workshops and gallery.

Beginning in the 1970s, federal arts funding was drastically reduced and the Watts Community Housing Corporation could no longer support arts activity. In 1992, on the board of the Watts Community Housing Corporation, was continuing his efforts to advocate with the Department of Housing and Urban Development for allocating a part of the complex's rent income for arts programming. One of the studio's best-known projects was an annual Chalk-In, first held in 1968 as a way to encourage community participation in the arts. Young people were invited to draw on a block-long section of sidewalk on 103rd Street. Twelve-year-old Richard Wyatt won the top prize at the first Chalk-In and credits the experience for starting him on his career as a prominent Los Angeles muralist. Other Studio efforts to integrate the arts into the Watts community included design programs, media production classes and facilities, a folk art archive, dance and other arts productions; because of Woods' active involvement in the Watts arts community, in 1968 he was invited by the Los Angeles Music Center to organize the first Los Angeles Festival of the Performing Arts.

While moonlighting as a doorman at a Hollywood jazz club, he would go on to organize the second and third festivals, artists affiliated with the Studio Watts Workshop were among the participants. During the period when Studio Watts transitioned into low cost housing with artists-in-residence as a component, Woods was instrumental in organizing "The Meeting at Watts Towers," a venue attracting both the new and old of the Watts community to honor its past, raise awareness on current issues, celebrate the future. A comprehensive review of community arts in Watts may be found in "Watts: Art and Social Change in Los Angeles, 1965-2002" the 2003 exhibition catalogue of Marquette University's Haggerty Museum of Art, curated by Director, Curtis Carter. Melvino Garretti Ceremony of Us Studio Watts Workshop brochure

Cost-plus contract

A cost-plus contract termed a cost plus contract, is a contract where a contractor is paid for all of its allowed expenses, plus additional payment to allow for a profit. Cost-reimbursement contracts contrast with fixed-price contract, in which the contractor is paid a negotiated amount regardless of incurred expenses. Frank B. Gilbreth, one of the founders of industrial engineering, used "cost-plus-a-fixed sum" contracts in his building contracting business, he described this method in an article in Industrial Magazine in 1907, comparing it to fixed price and guaranteed maximum price methods. Cost-plus contracts first came into use by the government in the United States during the World Wars to encourage wartime production by large American companies. According to Martin Kenney, they "allowed what were small technology firms like Hewlett-Packard and Fairchild Semiconductor to charge the Department of Defense for the price of research and development that none could pay on its own; this enabled the firms to create technology products that created entire new markets and economic sectors".

There are four general types of cost-reimbursement contracts, all of which pay every allowable and reasonable cost incurred by the contractor, plus a fee or profit which differs by contract type. Cost plus fixed-fee contracts pay a pre-determined fee, agreed upon at the time of contract formation. Cost-plus-incentive fee contracts have a larger fee awarded for contracts which meet or exceed performance targets, including any cost savings. Cost-plus-award fee contracts pay a fee based upon the contractor's work performance. In some contracts, the fee is determined subjectively by an awards fee board whereas in others the fee is based upon objective performance metrics. An aircraft development contract, for example, may pay award fees if the contractor achieves certain speed, range, or payload capacity goals. Cost plus percentage of cost pay a fee; because this contract type provides no incentive for the contractor to control costs it is utilized. The U. S. Federal Acquisition Regulations prohibit the use of this type for U.

S. Federal Government contracting. A cost-reimbursement contract is appropriate when it is desirable to shift some risk of successful contract performance from the contractor to the buyer, it is most used when the item purchased cannot be explicitly defined, as in research and development, or in cases where there is not enough data to estimate the final cost. Advantages: A cost-plus contract is used when performance, quality or delivery time is a much higher concern than cost, such as in the United States space program. Final cost may be less than a fixed price contract because contractors do not have to inflate the price to cover their risk when the ability to estimate costs is low. Final cost may be less than a fixed price contract when there is price competition. Allows more oversight and control over the quality of the contractor's work. Flexible, allowing for changes in specification. Disadvantages: There is limited certainty as to what the final cost will be. Requires additional oversight and administration to ensure that only permissible costs are paid and that the contractor is exercising adequate overall cost controls.

Between 1995 and 2001 fixed fee cost-plus contracts constituted the largest subgroup of cost-plus contracting in the U. S. defense sector. Starting in 2002 award-fee cost plus contracts took over the lead from fixed fee cost plus contracts; the distribution of annual contract values by sector category and award types indicates that cost plus contracts in the past carried the largest importance in research, followed by services and products. In 2004, services replaced research as the dominant sector category for cost-plus contracts. For all other contract vehicles combined the relative ranking is reversed to the original cost-plus order, meaning that products lead, followed by service and research. With cost-plus contracting being designed for research and development, the percentage of cost-plus contracting within a contract is expected to be correlated to the percentage share of research undertaken in any given program. However, several programs, such as the Lockheed Martin F-35 Lightning II, UGM-133 Trident II, CVN-68, the CVN-21 deviate from this pattern by continuing to make extensive usage of cost-plus contracting despite programs progressively moving beyond the research and development state.

Cost engineering Cost-plus pricing The Federal Procurement Data System The central repository for U. S. Government contract information. Defense Industrial Initiatives Group – Cost-plus Contracting Narrated Slide Show

Eric Sutherland Robertson

Eric Sutherland Robertson was a Scottish man of letters, academic in India, clergyman. Robertson graduated at Edinburgh University in 1873 and moved to London where he became a journalist. Between 1880 and 1881 Robertson edited the Magazine of Art. In 1882 he shared rooms at 18 Clement's Inn with his journalist friend Hall Caine, where they hosted intellectual gatherings, they had their evening meals delivered from nearby Clare Market, which were brought by two young women. Months their father's confronted Robertson and Caine demanding marriage, claiming the young women had been ‘ruined’. According to Caine's biographer, nothing more than'a bit of flirting' had taken place. Robertson moved to Redhill Chislehurst and wrote English Poetesses, published by Cassell in September 1883. In 1884 Robertson acted as best man for his friend William Sharp, he set up the Great Writers series, published from 1887. At the same period he was appointed to Lahore Government College of the University of the Punjab, where he was Professor of English Literature and Philosophy.

From 1896 Robertson was vicar of Bowness-on-Windermere. English Poetesses: A Series of Critical Biographies Life of Henry Wadsworth Longfellow The Dreams of Christ, Other Verses Wordsworth and the English Lake Country: An Introduction to a Poet's Country The Bible's Prose Epic of Eve and her Sons: the'J' Stories in Genesis Wordsworthshire From Alleys and Valleys The Human Bible: A Study in the Divine Works by or about Eric Sutherland Robertson at Internet Archive Works by Eric Sutherland Robertson at Project Gutenberg Online Books page

Concho Resources

Concho Resources Inc. is a company engaged in hydrocarbon exploration. It is organized in Delaware and headquartered in Midland, with operations in the Permian Basin; as of December 31, 2018, the company had 1,187 million barrels of oil equivalent of estimated proved reserves, of which 63% was petroleum and natural gas liquids and 37% was natural gas. Of these reserves, 57% were in the Delaware Basin and 43% were in the Midland Basin. In 2004, the company was founded as Concho Equity Holdings Corporation by a group of businessmen headed Timothy A. Leach. In 2004, the company acquired properties from Lowe Management for $117 million. In 2006, the company formed Concho Resources Inc.. In 2007, the company became a public company via an initial public offering. In 2008, the company acquired Henry Petroleum for $584 million. In 2010, the company acquired assets in the Permian Basin from Marbob Energy Corporation for $1.65 billion. In 2012, the company acquired Three Rivers Operating Company for $1 billion.

In October 2016, the company acquired assets in the Midland Basin from Reliance Energy for $1.625 billion. In November 2016, the company acquired assets in the Delaware Basin for $430 million. In July 2018, the company acquired RSP Permian. Business data for Concho Resources Inc