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Two guilty of Palestinian’s murder

Two 17-year-old Israelis are actually billed in the murder of Palestinian youth Mohammad Abu Khdair kidnapped and burned to dying in Jerusalem in 2014

A verdict around the third defendant a 31-year-old Israeli guy was postponed for just about any mental health review

Mohammad Abu Khdair 16 was destroyed in apparent revenge for your killings of three Israeli teens within the civilized world Bank

The killings were part of an growing cycle of violence concluding in the war between Israel and militants in Gaza

The story of two brutal killings

Interview with Mohammad Abu Khdairs mother

Mohammad Abu Khdairs body is discovered in the forest in West Jerusalem on 2 This summer time 2014 a couple of days following a physiques in the Israeli teens kidnapped and wiped out by Hamas militants that June come up with

The Two minors whose names weren’t released and 31-year-old Yosef Haim Ben David were subsequently charged with Abu Khdairs murder

On Monday the panel of three idol idol judges within the Jerusalem District Court found the minors guilty They will be sentenced in mid-The month of the month of january

The idol idol judges learned that Mr Ben David who was simply referred to since the ringleader had required part within the abduction and murder but mentioned an effective verdict might be postponed until a mental evaluation happen to be completed

Mr Ben Davids lawyer Asher Ohayon published within the last second a mental opinion which pointed out he wasn’t responsible for his actions throughout time from the murder Prosecutors had presented evidence they mentioned shown he was

Inside their ruling the idol idol judges determined the 3 accused kidnapped Abu Khdair at random while he was on the highway inside the Shufat district of East Jerusalem

The Two accomplices who’ve been 16 in those days then beat the Palestinian unconscious at the rear of an automobile being driven by Mr Ben David the idol idol judges mentioned

One of the minors aided douse Mohammad Abu Khdair with gas because they had been alive before Mr Ben David lit a match and hang up him burning they added

The Two teens confessed for the abduction in the courtroom though one stated he wasn’t mixed up in killing Mr Ben David made a decision to not testify

Mohammad Abu Khdairs father Hussein mentioned Mr Ben David was trying to mislead legal court

How do the defendant on friday yearly-and-a-half following a crime bring a document proclaiming madness? he told reporters Its all lies which i worry a legal court will free them ultimately

Da Uri Corb vowed to contest any madness plea

Once we make an effort to declare that we are a lot better than our competitors – but that we are a lot better than them – we have to check this out event just like a mirror he mentioned Just like a society we continuously fight all avengers and lynchers after we did in this particular situation

Two Palestinians suspected in the murder in the three Israeli teens – Naftali Fraenkel and Gilad Shaar both aged 16 and 19-year-old Eyal Yifrach – were destroyed by Israeli forces in the gun-fight within their hideout in Hebron in September 2014

Another guy Hussam Qawasmeh was sentenced to three existence terms jail time within the month of the month of january after being found guilty by an Israeli court of numerous charges including three counts of accessory to murder

Hamilton warns of strain on PSNI

Chief Constable George Hamilton was speaking at the British-Irish Association Conference


(bursaxx.com)The chief constable has said a current piecemeal approach to our history” is placing a “significant strain” on the PSNI.

George Hamilton was speaking at the British-Irish Association Conference in Oxford on Saturday.

He said although the PSNI was committed to dealing with the past, he had to balance this with everyday policing.

Mr Hamilton said the strain of this was being felt in operational resources and in terms of public confidence

He said that he was facing a rapidly reducing budget and the level of cuts would place a  substantial impact” on the delivery of services.

The chief constable added if politicians could not reach consensus on how to deal with the past, then he believed more “hands on support from the British and Irish Governments would “seem appropriate and necessary

There is no doubt that policing, and indeed the criminal justice system, are being left to absorb the shock of the past he said.

in the absence of a more holistic solution, the Police Service of Northern Ireland is left in a lonely position, caught between legal obligations; financial constraints; and public expectation

Mr Hamilton added financial challenges had been brought into starker focus in recent weeks and the status quo is now simply not an option

He addressed delays in the PSNI disclosing material to some of the ongoing legacy inquests

It takes significant time and resource to bring a case before the courts he said.

There is little understanding of the PSNI’s duties in this established legal process

Disclosure is an unwieldy and complex exercise, involving the review of large volume of documentation and balancing legal obligations

Mr Hamilton said as his immediate obligations had to be with keeping people safe, the police would continue to meet their legal obligations but there would now have to be a change in how they responded to the demands of the past

Celebrating the joy of craftsmanship

Mathijs Heyligers is one of Cremona’s numerous violin makers


In a world of robotics, where machines control machines, and people wait for the attention of an automated response system, it is wonderful to re-encounter a craftsman or woman.

With huge respect to the materials they use, they labour – their hands determining the utility, beauty or eatability of the things that slowly emerge from their work.

It is a real privilege to run into this craftsmanship in making business programmes, which are so often about companies and corporate behaviour.

Craftspeople you encounter in all sorts of circumstances, such as a New Zealand special effects movie workshop, or on farms and vineyards in many parts of the world.

Cremona became one of those now fashionable and desirable economic and geographic entities – a cluster of craft enterprise”

For example, in the fields of Uttar Pradesh, in India, cowpats saved for fuel are stored in huts built from the same material, and then imprinted with variously arranged handprints, for decoration.

There are craftsmen here in a fish and chip shop in central London, where I am writing this in longhand as the team fries up a wondrous plate of plaice and chips with the same skill they have been demonstrating for at least 40 years.

Craftspeople have much to teach the mass producers and the advertising agencies. They take what they do very seriously, and they take the individuals they are doing it for seriously as well – otherwise known as customers.

I was recently in the Italian city of Cremona, a world centre for the making of string instruments for the past 500 years or more, and still home to a cluster of top luthiers, as the Italians term them.

Here you see the potency of craftsmanship at work, and the power of the cluster of likeminded people to create a longstanding business entity.

It all started a long time ago. Cremona in the Middle Ages was one of a succession of wealthy Italian cities with courts, whose ruling families employed professional musicians.

There was a demand for music, and it was rewarded. Craftsmanship was respected, and from it emerged a great tradition.

In Cremona in the middle of the 16th Century, the instrument maker Andrea Amati is credited with producing an entirely new model of fiddle, with a much more evocative sound than its medieval predecessors.

Then, in the second half of the 17th Century, came Antonio Stradivari, another local instrument maker. His achievements became stellar.

In his long working life, Stradivari built more than 1,000 violins, violas and cellos. He achieved sound and musical expressiveness that many of the world’s best performers think can never be equalled.

The weather, or rather the climate, may have quite a lot to do with Stradivari’s mastery of his craft. Violins are best made from two different woods stripy grained spruce for the top, or soundboard, and maple for the back.

The century before Stradivari started making instruments may have produced the perfect growing climate for the trees in the high forests of Italy’s Dolomites mountain range, from where Cremona’s violin makers bought their wood.

A sequence of what appear to be abnormally long cold winters meant the trees grew slowly and steadily. When finally cut, their wood proved to be of exceptional resonance.

Stradivari died in 1737 at the age of 93, but the tradition lived on.

Cremona became one of those now fashionable and desirable economic and geographic entities – a cluster of craft enterprise. Luthiers, trained under master practitioners, won a reputation for their work for others, and then set up workshops on their own.

Buyers came to Cremona because they would have a choice of instruments – some wonderful, some average, at various prices.

You knocked on the door of a shop or a workshop, were overwhelmed by the craftsmanship employed behind the scenes, played a few instruments, chose one, came back the next day to reassure yourself, agreed payment terms, and eventually took it home.

In many respects, the experience cannot have changed very much over the centuries. Authenticity, tradition, skill, the sensuous smells of wood being shaved and shaped, and then the varnish.

This all went on for decade after decade – masters, apprentices, workshops doing everything by hand, and basking in the glow of the ultimate Cremonese master, Antonio Stradivari.

In the late 1930s, the city established a school to teach the basics of the craft. It is today thriving, with dozens of students on a five-year course who come from all over the world. Italian students are now in a minority.

They learn how to make or restore violins, and then complete their learning process in a master’s established workshop, often in the city.

Then, making their reputation instrument by instrument, they often then stay on in Cremona for the rest of their lives. At the very least, it’s a nice, quiet, small place to live.

Violin making (like so much craftsmanship) is a lonely job. But the city lives and breathes violins, from the sensuous forms of string instruments cases in the posh workshop windows, to the violin-shaped confectionery in old-fashioned sweetshops down ancient alleyways  originally Roman streets.

And the luthiers love showing off their instruments to would-be purchasers.

It is very moving when the man who has created the violin takes it down from its resting place, picks up the bow, and lovingly coaxes from it the harmonies he intended it to produce when he first took a chisel to the maple

Then there is the serendipity of the cluster. They meet in the street or the bar, these makers they gossip, they confer. In recent years they’ve been taking action to enhance the city’s international reputation.

The established luthiers have set up the Consorzio Liutai Antonio Stradivari Cremona.

In essence, this consortium is a revival of the mediaeval guild idea, enabling its members to issue certificates of authenticity for their individual instruments

Made in Cremona is not a guarantee of quality, but is policed by a group with a strong vested interest in not allowing anyone to let the side down.

You might think that the market for new violins costing 20,000 euros ($27,000; £16,000) or more would be a pretty steady one, but over the past 20 years it has been transformed by the rise of a new marketplace for Western music in Asian countries – particularly China and Japan.

There are now millions of new string instrument learners, and some of them want quite expensive new instruments with a heritage and a history. They come to Cremona, or Cremona goes to them. The luthiers have learnt how to find dealers far from home by going to trade fairs in faraway places

While I was in the workshop of a leading maker originally from Colombia, as it happened, but Cremonese by decades of adoption  into the shop came a Japanese mother and her little girl, looking for a 25,000 euro violin. The language of music is becoming universal.

Today Cremona may not be making the finest instruments in the world, as once it most certainly did. Experts tell me there are finer lone craftspeople in Germany, for example

But assessing an instrument is a very subjective thing

My brief stay in Cremona was a vivid reminder of the value of craft and the handmade in a world which now prizes superbly mass-produced goods, and instant networks of friends and communication.

Individuality is an important component of being human. Craftspeople have wonderfully individual stories to tell about the things they make, slowly and carefully. In an industrialised world, they still have a lot to tell us about being properly human

The unstoppable march of the upward inflection?

Scene from the film Clueless


Whether it’s called the upward inflection, high-rising terminal or simply uptalk the habit of making statements sound like questions is a genuine linguistic mystery, writes Chris Stokel Walker.

A New Yorker, an Australian, a man from Northern Ireland, an Argentine and a Californian each display their own brand of uptalk

The short answer is no one knows, says Mark Liberman, a linguistics professor at the University of Pennsylvania. Until recently, recorded language corpora (bodies of words) didn’t exist Linguists often have to rely on written accounts

Liberman and other linguists hypothesise that uptalk could date as far back as the 9th Century. It has been suggested that this distribution of rising inflection in sentences in northern England, Scotland and Northern Ireland probably had something to do with the Scandinavian influence there, he says, but that’s just a hypothesis, like everything else

Liberman cites Henry Sweet’s A Handbook of Phonetics, a language primer from the 1870s, in which the author writes that in Scotch the rising tone is often employed monotonously, not only in questions but also in answers and statements of facts

Then there’s the Northern Irish theory, that migration into England and Scotland could have sown the roots of uptalking. Supporters of this theory point to the occasionally sing-song tone of some Northern Irish accents.

Some Americans have a similar theory attributing the influx of Spanish speakers into California as a possible explanation.

But migration theory would also back Australia or New Zealand as the source of the UK’s uptalk. Either it was British expats travelling out to Australia and New Zealand and bringing back their manner of speaking. Or just the volume of antipodean immigration to London. The process could have been well under way before the first episode of Neighbours was even aired

The potential spread of vocal fry could be an interesting case study. The phenomenon sees the speaker use their larynx in such way that a lower creaking or rattling quality enters their voice. There has been a great deal of discussion about it in the last few years in the US, with Kim Kardashian and Lena Dunham  when acting in TV comedy Girls  cited as examples.

One of the problems about tracing the rise of any speech pattern is that the point at which people noticed it as a thing” does not necessarily reflect the period when it started

We don’t fully recognise it, but our manner of speech is constantly changing based on how those around us speak. And as Liberman points out, uptalk is something that’s always been in our manner of speech, just not necessarily as pronounced as today. in all variations of English he explains there are a set of circumstances in which rising patterns are used not in polar questions that is, yes or no questions. Uptalk has always been available, just below the surface, because there are circumstances in which speakers not thought to be uptalkers use uptalking characteristics

Sharyn Collins, a voice coach and elocution expert, has strong opinions on uptalk. It’s perfectly fine in Australia, New Zealand and America, she intones in a cut-glass accent. But not here [in the UK], I believe. We’ve adopted it in a different way

Some people believe the phenomenon is used by uncertain speakers hoping to win their audience over. It acts as a constant check that listeners follow  phrasing every sentence, no matter how declarative, is a subconscious begging by the speaker to be reassured. It’s a use Robin Lakoff first noticed 40 years ago. The effect she wrote, is as though one were seeking confirmation, though at the same time the speaker may be the only one who has the requisite information

if you hear it from younger women you suspect of being excessively insecure, though it’s not intended as such it can be interpreted as a form of conversational weakness, says Liberman. That’s something Collins agrees with.

It’s a bit meek a bit everyman, Collins says. To me it’s not the language of business and power. But a lot of people are using it now, including men

Liberman suggests that uptalk is a way to assert dominance. He points to a 2005 study by Winnie Cheng and Martin Warren, who highlighted that speakers in dominant positions (the chair of a meeting, or an academic supervisor) use uptalk between three and seven times as often as the people they’re talking to

One theory as to why simple declarative statements sound like questions is that in many cases, they actually are. English is a notoriously woolly language, full of ways to say one thing and mean another. The use of uptalk could be a way to subconsciously hint that a simple statement such as I think we should choose the left hand turn? has a hidden meaning. Implicit within the sentence is a question Do you also think we should choose the left hand turn?

Uptalk has also become more popular, Collins believes, because of our dwindling attention span. A staunch traditionalist, she believes that the rising tones we so often hear in snatches of conversation are in fact people striving to divert their companion’s attention away from their mobile phone. People are checking as they speak to make sure you’re paying attention, she says

Whenever a student comes to me for elocution I try to eliminate uptalk, she notes, but English is evolving and this is something I may just have to accept at some point

Do you have a theory for how the upward inflection spread? When and where was the first time you heard it

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My size is not all of who I am

Peggy Drexler

Editors note: Peggy Drexler is the author of Our Fathers, Ourselves: Daughters, Fathers and the Changing American Family and Raising Boys Without Men. She is an assistant professor of psychology at Weill Cornell Medical College of Cornell University and a former gender scholar at Stanford University. Join her on Facebook and follow her on Twitter @drpeggydrexler.

(CNN) Actress Melissa McCarthy recently told Redbook that she asked multiple designers to make her a dress two Oscar seasons ago. They all said no. She was disappointed.

I dont understand why if youre a certain size, designers think your taste level goes down, she said in the interview.

But then, frustrated by the lack of options, she took matters in her own hands, working with a designer on her own gowns. She will debut an original line of plus sized clothing next spring.

Body shaming is a part of American culture, at once abhorrent and everywhere. Women are shamed for being fat, skinny, tall, short, flat chested, busty, too plain, too sexy. But lately, there seems to be a different response, similar to McCarthys frustration followed by acceptance and moving on.

Modern women are saying, sure, looks may matter. But theyre not that big of a deal, just one aspect of a complex person who can be described in a number of ways: my size is not all of who I am.

One way women, particularly celebrity women, have stood up to fat shaming has been to disregard the comments and name calling, refusing to be called fat or stating a certain pride in their bodies.

After designer Karl Lagerfeld called British singer Adele a little too fat, she told People magazine that she embraced her curves. Ive never wanted to look like models on the cover of magazines, she said. I represent the majority of women, and Im very proud of that.

The public is also showing their appreciation.

When Mekayla Diehl, Miss Indiana USA, showed off her bikini body, Twitter responded in praise of her normal body.

And not all women are afraid of the word fat, or necessarily proud of how they look.

Thats OK, too.

In a recent episode of Louie, the character Vanessa, played by actress Sarah Baker, put it this way to the shows titular character, played by comedian Louis C.K.: The meanest thing you can say to a fat girl? Its youre not fat.

Louis C.K.s Fat Girl strikes a nerve

The line was part of a nearly seven minute speech about societys persistent fat shaming and the double standards that make it adorable for a man to admit hes overweight, yet something closer to pathetic for a women to do the same. As Vanessa says, Its too much for people. they call the suicide hotline on me.

Being fat, after all, is still viewed as the most horrible, devastating thing a woman could be a date with a destiny comprised of a houseful of cats.

Check your cat lady preconceptions about childless women

As Vanessa tells Louie in that episode, being fat sucks, but its just one thing about her. Shes also funny, fun, smart and confident. She has a good job. She doesnt need to call on euphemisms to describe how she looks. Shes not full figured. Shes not curvy or plus size. Shes fat. It might not be the best thing about her, but its also not the worst thing.

And it might be the most important message women, and men, have heard so far.

Women used to shy away from calling themselves overweight as a way to protest thin culture and rebel against societys fixation on what women look like and what size jeans they wear.

But the truth is that the focus on appearance is not going away, least of all for women.

We live in a time when tabloids routinely question whether female celebrities are pregnant and dissect their bikini bodies. And yet a male celebrity can run around on the beach with a bit of a pooch and a girl 15 years his junior and no one talks about how liberated he is for embracing his flaws nor about his transformation when, months later, he loses the extra weight.

Female celebrities, though, get covers and four page features on the topic.

So instead of ignoring their weight, pretending it doesnt exist or doesnt matter to them or to anyone else, McCarthy, Baker and other modern women are acknowledging and owning it then dismissing its significance.

And thats even more powerful.