Carcasses of South Polar Skuas (Catharacta maccormicki) and Kelp gulls (Larus dominicanus) were opportunistically collected around of Rothera Research station (67°35′8″S and 68°7′59″W) during the 2016/2017 austral summer. Samples of their tissues (muscle, liver and subcutaneous fat) were analysed for Persistent Organic Pollutants (POPs). Organochlorine pesticides (OCPs) showed the highest concentrations, notably for pp′-DDE and HCB. The Polychlorinated biphenyls (PCBs)-profiles demonstrated a clear dominance of hexa- and hepta-CBs, while concentrations of polybrominated diphenyl ethers (PBDEs) remained low. The concentrations of some POPs (e.g. HCB) were lower than in past studies on similar species, however others were within the previous range (PCBs) or even higher than previous reported values (DDE). Although no major interspecific differences in the absolute concentrations of POPs were detected, their profiles varied, being likely related to feeding and migration patterns of each species. The current study provides important baseline data for future monitoring of POPs in Antarctica.
And so the day went by, filming the same scene twenty times before the director decided to move on to the next one. In between takes, I was given new props to make me appear as if I was a different character, although a new set of books and a hat was about as effective a transformation as Clark Kent’s spectacles. After eight hours of paid work, we were finally given lunch, but not before the rules were established. Extras must wait until all others have received food before they do, so the cast, the crew, the stylists, the prop masters, the head painter, the mini bus driver, even the work experience boy, got to eat before us. All day I had wanted an opportunity to discover if there was any truth in Ricky Gervais’ successful comedy series, where he chats casually with stars such as Kate Winslet and Samuel L. Jackson on the tea break. Here was my chance to rub shoulders with the stars, but it quickly became clear that this aspect of ‘Extras’ lies in fiction. Everyone ate in the same room, and yet it was as if there was a barrier, an invisible force field of ego and salary preventing us lowly background artists from venturing beyond a six feet radius of anyone important. And yet the allure of the silver screen lost a little of its sparkle almost immediately as I awaited the information concerning times and locations for the next day’s start. Instead came a rather blunt text message telling me that I was no longer required for this week’s scenes, but that I would be contacted if this changed. By my calculations I was already down two hundred and seventy pounds, half the earnings I had hoped for from the six day shoot. After toying with polite acceptance, my control went out the window and I e-mailed the company with my grievances, citing loss of earnings and whatever else I could complain about. To my surprise, my efforts were not in vain, and I soon received a call that night requesting my presence the next day. I instantly agreed. “What time?”; “Five ‘o clock for a seven o clock shoot”; “Great, see you tomorrow evening then”; “Tomorrow morning”, she corrected. I almost collapsed with the idea of such an early morning after a month of midday lie-ins, and went to get some beauty sleep before my big screen debut.Which brings me back to the most painful haircut of my life. As I sat in hair and make-up, reflected in the typical lit mirror, talking to one of the many stylists who ran around the room searching for the Brylcreem, I discovered just how passionate she was about her work. She knew the business back to front, had cut the hair of some of the most famous actors in Britain, and, perhaps most refreshingly, was ecstatic to be playing a role in transferring her favourite novel of all time to the big screen. Her banter distracted me sufficiently from the horror I felt at what she was doing to my hair, but even the extra thirteen pounds added to my pay for ‘loss of assets’ was little comfort after I was left with a haircut reminiscent of an eight year old WWII evacuee. Thrilled to be an extra for a blockbuster new film, Guy Pewsey soon discovered that silver screen Oxford is not as quaint as it seems… When last term finally ended and the summer holidays at last arrived, most students packed their gowns and escaped the city as soon as the last jug of Pimms was drained. Like many, I had daydreams of putting on my suntan lotion whilst lying on a tropical beach somewhere a thousand miles from Oxford. Instead, I found myself at the town hall at five o clock in the morning, having my hair pulled out to make a rather dashing, yet terribly painful, side parting. One could ask why I was spending my free time in such conditions, and I was beginning to wonder myself, until I was brought back to reality as a few more hairs were plucked from my scalp. It had started perhaps a week before, when my unhealthy addiction to Facebook finally paid off, and I discovered an advertisement for work as an extra on the set of ‘Brideshead Revisited’, the film adaptation of Evelyn Waugh’s classic novel, made even more famous by the much loved 1981 mini-series. This film had it all: a big budget, big stars like Emma Thompson and Michael Gambon along with up-and-coming actors Matthew Goode and Ben Whishaw as Charles and Sebastian. Never one to shy from the limelight, I was instantly enthralled, and when further reading informed me that the job paid ninety pounds a day, it took me approximately two seconds to e-mail the casting company for more information. With the application came a request for a photograph to check that I could pass for a first year Oxford student (hardly a taxing performance) and a severely off-putting checklist. ‘Can you row?’ No. ‘Can you ride a horse?’ No. Answering these questions, which essentially amounted to ‘Are you a rich boy from the 1920s?’, was a little depressing, so I took to embellishment. ‘Can you play rugby?’ Yes. I could almost hear my Year 11 P.E. teacher chuckling as I ticked the box. ‘Can you punt?’ Yes. Again, memories of last term’s attempts at messing about on the river had certainly proven otherwise. With a few more fabrications the form was complete, and I was imagining the ninety pounds a day nestled nicely in my dwindling bank account. My hopes were fulfilled, and I was asked to come for a costume fitting in Oxford a few days later, for which I would be paid thirty pounds for about half an hour. Now I was almost giddy with the thought of so much money for what I was sure would be the easiest job ever. I promptly called in sick at work for the next fortnight and booked my coach to Oxford. I was trading in serving grease-topped pizza to be a ‘background artiste’ in a big budget film, and I couldn’t help but tell everyone I knew about this glamorous new opportunity, made all the more exciting by my visit to the costume department where I was kitted out in a navy 1920s three piece suit and trilby, complete with vintage cuff-links and braces. I was already contemplating how I could get away with stealing something expensive. After hours of waiting, I was in costume and ready to go, and that’s where the world of ‘background artistry’ started to rear its ugly head. The production assistant arrived to take a dozen of us to the first site, meaning another dozen would remain behind inactive and, most importantly, off camera. As we were picked randomly to be taken down to Christchurch, the unlucky leftovers, watching as we were led away, glared bitterly, like Veruca Salt when Gene Wilder denies her a golden egg. This is when I realised that for these wannabe actors, the chance to be on screen for a second or two was worth fighting for, especially when they’re competing with a couple of clueless students too naive to realise that for some people, walking back and forth in the background counts as acting.Leaving these ‘professionals’ in the holding area at the town hall, we were transported down the street and given our props and first actions. When instructed to walk from beneath an archway out towards the middle of the quad, I was delighted to discover that this meant that I would definitely be in shot. Within five minutes, I had turned into one of them, a background artist desperate for screen time, hiding my trilby so that my face would be visible, practicing my 1920s walk in between shots. Evelyn Waugh had unwittingly created a monster, as I argued for the most distinctive props, insisting that my costume was that of a studious individual who would surely have had a gown and a stack of books. I knew that at this rate, it wouldn’t be long before I was disregarding the director’s instructions to stay in the background. And yet, by the tenth take, the fifteenth take, the twentieth take, the glamour was fading and the books were getting heavy.I could tell that while some of the extras were here for the exposure, some were here to see the stars. Most had their eyes peeled for Emma Thompson or Michael Gambon, to such an extent that they didn’t realise that the real stars, those playing Charles and Sebastian, were walking amongst them. But it soon became clear who was getting paid the big salary. As I was assigned the action of pinning 1920s notices on boards, Ben Wishaw, star of 2006 film ‘Perfume’, drew attention to himself by spinning around dizzily on his toes. The extras wondered who on earth this nutjob was, and it took everyone about five shots to realise that he was just getting into Sebastian’s drunken demeanour. Once it had been made clear that Ben was actually not a freak, but the star of the film, a completely different atmosphere descended on the group. With a named character in shot, the chance of getting on camera increased, and so did the eagerness to have a decent action. When the production assistant asked if anyone smoked, so that they could have a shot of a student sneaking a cigarette in the cloisters, several non smokers fell over each other to answer him. Moments later, one of these boys was taking his first puff with a mix of disgust and pride imprinted on his face. As lunch ended and the sun came out, the tourists crowded around in their masses, creating a new problem as we posed for photos with the Japanese schoolchildren who, ignorant of the crew, assumed that we students still wear 1920s suits and hideous side partings. The day passed by, and we were elated to realise we’d gone into overtime at ten pounds an hour. Despite this, I was relieved beyond belief when we were sent home after the twelve hour day, and I did what I could to reshape the mass of Brylcreem which had now solidified to an alabaster-like hardness around my scalp.The next day, to my relief, was to start at two o clock in the afternoon. Surprisingly though, there were only five of us, as the others had been called the night before to be told that their presence was not required. But at four the schedule changed, and we were sent home without ever setting foot in hair and make-up. I left in the knowledge that I was receiving ninety pounds for two hours of sitting in the town hall, although I had been looking forward to putting my suit back on. The rest of the time I spent filming was a wildly unpredictable and uneventful two days; sometimes I would move from left to right whilst on a bike in Radcliffe Square, or move from left to right in Magdalen’s cloisters, or move from left to right at Christchurch meadows. The idea of money was all that kept me and my fellow ‘actors’ going, so it was with great annoyance that I discovered from a seasoned extra dressed as a priest that wages take six to eight weeks to process, and include a large commission charge. Even worse, when some of the others discovered that I had been one of the lucky few to be requested for the two hours of work a few days previously, I could tell that they resented the fact that I was randomly chosen above them, the seasoned professionals. Similarly, when one extra was promoted to ‘handsome boy’ and asked to punt Charles and Sebastian down the river, we could tell that several of our ‘colleagues’ had their fingers firmly crossed for him to fall in.With fatigue setting in and money a far-off promise, suddenly filming a movie got a little old, and although I’d had some fun and met some great people, I was bored of listening to ‘boy on bike number 4’ talking about his commercial experience. The career of a background artist is an erratic one; sure, you can tell your friends that you’ve worked with Nicole Kidman, that you’ve been in the same room as Johnny Depp, but to be a professional extra is to admit to yourself that you’re not quite good enough to be the star, or for that matter to be worthy of a name. It’s definitely worth a go, if only for the chance to say you’ve done it, but I won’t be jacking in my degree anytime soon. That is, of course, unless Spielberg happens to notice the lanky boy in the navy suit erratically cycling in the background, grinning like a maniac and trying to get in shot. One can only hope.
On Thursday 18th February, nominations opened for the position of Oxford Professor of Poetry. Yet fears remain that the position’s reputation has been tarnished by last year’s scandal involving Ruth Padel and Derek Walcott.Geoffrey Hill and Anne Stevenson are among the names of eminent poets currently being suggested as potential candidates for the post. However, the election will be different this year, in response to the 2009 competition for the post.The election campaign saw Padel become Professor of Poetry, beating Indian poet and critic Arvind Mehrotra by 297 votes to 129.But Padel resigned less than two weeks after her victory, after admitting to passing material to journalists which related to her rival candidate, Derek Walcott.It was revealed that Padel had sent emails to two national newspapers alerting them of claims of sexual harassment against Walcott, the Nobel laureate, who had already pulled out of the race.There have been changes to the voting system for the 300-year-old professorship. Under the old system only Oxford graduates could vote in person on one particular day. The current system allows graduates to vote online over a period of time.Hopeful candidates must be nominated by twelve or more graduates by 5th May.Other candidates which have been suggested for the post include Oxford’s own John Fuller, Michael Longley, and Alice Oswald, along with American writers such as Jorie Graham or Robert Pinsky.Blake Morrison and former poet laureate, Andrew Motion have both ruled themselves out of the running. Motion has commented, “Hill would get my vote.”Stevenson seems a strong candidate having won the Lannan prize for a lifetime’s achievement in poetry.Disputes over the credibility of the position have been widely covered in the press since the events last year.Broadcaster and writer Clive James commented last July that he “would rather throw himself off a cliff” than take the job. But he did concede that “the botched election might have made it a poisoned chalice, but what a chalice it is.”Dr Seamus Perry, Deputy Chair of the English Faculty board, disagreed with the idea that the position had been tarnished. He told Cherwell, “The events of last year were obviously regrettable, but I think the Chair itself has emerged unscathed,” adding, “in an odd sort of way… the whole sorry kerfuffle helped to advertise the Professorship and to remind everyone of the distinction of its long history.”He praised the changes to the voting system and the new opportunity to vote online, saying that the position being “appointed by such a wide potential electorate (something like 300,000 people) is a good [thing] because it recognises that poetry, while it matters to academics, matters to more people than just academics.”It is unlikely that Mehrotra will run again after last year’s failure. He joins the likes of C. S. Lewis, F. R. Leavis and Robert Lowell as past unsuccessful candidates for the position.The professorship was established in 1707 and comes with a £7,000 stipend. It has previously been held by Matthew Arnold, W. H. Auden, Robert Graves, A. C. Bradley and Seamus Heaney amongst others.Providing that more than one candidate is put forward, the winner of the position will be announced on 18th June after voting. They will take up the position in the academic year beginning autumn 2010.
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Running through the annual general meeting of the 76th students’ conference was the theme of change. The National Federation of Bakery Students Society’s and Institute of British Bakers (NFBSS/IBB) Alliance said that change was vital to meet the needs of today’s trainee bakers. Competition secretary Jane Hatton of Brooklands College spoke passionately at the event, which was held at the Prince of Wales Hotel, Southport, at the end of April, about involving all bakery students in the various learning schemes. Incoming president Paul Morrow proposed an amended constitution for the Alliance, explaining it could act as a bridge between the baking industry and baking education. To fulfil this role successfully, the Alliance needs to change its management structure, he said, and to undertake a strategic review of how to effectively achieve the objectives of the Alliance. The most important of these objectives was “to actively support individuals undertaking bakery education or training and to co-operate with other organisations engaged in bakery education and training”, said Mr Morrow.The revised constitution was adopted unanimously and the executive committee, led by Mr Morrow, who was sworn in as president at the AGM, will now develop a strategy of closer involvement with all students, employers and training providers. In this context, he reported that his first role as president would be to represent the Alliance at the official launch of the recently announced Sainsbury’s Bakery Apprenticeship Scheme.Simon Solway, sales and marketing director of Unifine Food & Bake Ingredients, was voted president elect and he, together with outgoing president David Tomlinson, general secretary Matthew May, treasurer Laurie Finch and conference chairman William O’Brien, will comprise the executive committee of the Alliance.David Tomlinson, in his retirement speech as president, re-emphasised the need to broaden the Alliance’s activities and in particular to forge links with training providers, such as the Learning Skills Councils, the National Association of Master Bakers and the food sector skills council Improve. A central part of the Alliance’s activities will remain the annual competition and conference, which offers students the chance to hone their skills through competition and to build a network of industry contacts.The three-day event attracted over 130 students and dignitaries. It included an AGM, banquets, seminars, charity fund raising and competitions. This year it was agreed to separate the categories into Bakery and Confectionery, which offered students more opportunities to enter. The 23 competitions were well supported by 430 entrants.Jane Hatton, who managed all the competitions, commented: “The entries were outstanding this year and judging was hard. The two products that won in each category were full of flavour and were products that could be put into commercial production.” Colleges such as Blackpool, Brooklands and Sussex all had success in the competitions.The three-day conference started with the Friday night welcome disco, followed by an early start with the judges meeting to be briefed for the long day ahead. The RHM Hovis breads competition required 250 entrants to be judged, while the California Raisins Innovation Competition fielded 60 entrants. In addition, there were confectionery categories such as the Slattery Trophy, the British Bakels Cup, Renshaw’s Decorative Class and the Founders Cup.The banquet evening started with the top table being ‘piped in’ by Scottish pipers. Following speeches, the evening ended with dancing. The final day finished with a fancy dress evening with a musical theme.The 2007 conference will take place in Blackpool on May 4-7. Support for the students is warmly welcomed by the Alliance. Student Merit AwardSponsor California Raisins awarded the first Student Merit Award at the Alliance conference. The new award was set up to reward individuals who have had an outstanding involvement in the baking industry. They need to show enthusiasm, endeavour, tenacity, originality and, above all, commitment. California Raisins asked Anthony Greenwood (who will become Master of the Worshipful Company of Bakers in September) to nominate a candidate.Winner Tara Gearing will now join a study tour that California Raisins is organising for later this year, where she will visit a major California Raisins plant to see how raisins are processed. She will also have the opportunity to visit a US bakery college.During her five years in the baking industry Tara has already achieved several accolades, including Best Baker/Confectioner Award of the Year for Northampton College in 2004 and first place in the Innovation Trophy Category for the NFBSS/IBB Alliance 75th Annual Bakery Competition in 2005.Tara plays a vital role in her college, where she is the student representative for the NVQ Level bakery class and also the student ambassador for the whole college. She aims one day to set up her own business
Northern Foods’ bakery division has seen solid seasonal demand over Christmas, according to its interim statement for the 13 weeks ended 27 December 2008. Underlying revenue was up 1.9%, with average prices increasing by 2%.Its Fox’s brand is still benefiting from the ‘Vinnie’ advertising campaign and the firm also noted a good performance for its own-label and Matthew Walker puddings. The third quarter also saw the launch of the firm’s branded ‘Scrummie’ range of puddings. In bakery, year to date underlying revenue grew by 4.6%. Within its chilled division, Northern Foods has responded to the current financial climate with new value ranges, including chilled pizza, value sandwiches and salads launched during the third quarter. Underlying revenue rose 5.3%.Stefan Barden, Chief Executive of Northern Foods, said: “Our key Christmas trading period has been delivered effectively and we continue to respond to the recessionary environment with new value ranges alongside our traditional premium products.”Group underlying sales for the third quarter rose 3%.
Justice Secretary David Gauke ordered a review of Parole Board processes in January, with the purpose of increasing its transparency, restoring public confidence, and improving the treatment of victims. The findings of the urgent review have been published alongside a comprehensive package of reforms that include: Initial legislation to immediately remove the ‘blanket ban’ on transparency and a change in the rules to allow the Parole Board to explain its decisions to victims, media and the public Proposals to, for the first time, allow Parole Board decisions to be challenged through a judge-led process that could in some circumstances be open to the public Immediate changes to expand the Victim Contact Scheme to include more people and to improve the way the department communicates with victims Today I am announcing a package of measures to reform the Parole Board and introduce transparency of its decisions. But we are going further and consulting on a new way to challenge Parole Board decisions that would be judge-led and could, in some circumstances, be open to the public. And we’re not stopping there. Today I also produce the terms of reference for our comprehensive review of the entire Parole Board, including whether we should in some circumstances name panel members, whether we should define the panel composition and what kinds of further scrutiny measures should be introduced. We will also improve the process for victims, who in this case were clearly let down. It is my ambition that the outcome of this process will mean victims have more confidence in the system. We have moved at pace to address the shortcomings of the Parole system which the Worboys case has brought to light. But we must take a balanced approach. I am determined to lead a thorough reform process, the first action of which we launched today. Also published today are the terms of reference for the full review of all 27 Parole Board rules. The terms of reference allow for consideration of whether certain panels should include a judge or psychiatrist, how the Board’s decisions should be scrutinised internally before a decision is finalised and how further improvements can be made to transparency. The findings of this work will be published later this year.The consultation on a re-consideration mechanism for Parole Board decisions will close in July. The department particularly welcomes submissions from victims and those who have experience of the Parole process. One immediate result of this work is the introduction of transparency to the parole process by amending Rule 25 to remove the blanket ban that prevents the Parole Board from disclosing information about its decision-making.This change will also require the Parole Board to provide an overview of the arguments it heard in a case, the recommendations of expert witnesses, the offender’s progress and risk factors, the evidence provided by the offender and the reasons for the panel’s decision.The removal of the ‘blanket ban’ and amending Rule 25 is an immediate first step on transparency which ensures compliance with the ruling of the Judicial Review of the Worboys case. But we will not stop there.The department will carefully assess the impact this has on the Parole Board’s operation, on offenders, and on victims, including whether there are legal challenges, with a view to increasing transparency further, for example potentially automatically publishing summaries online.We will also consider, as set out in the Terms of Reference for the wider Parole Board Review, whether information about panel members and other details should in some situations be made public.Increasing transparency was always a priority for the review, but the Justice Secretary has also committed to much wider reforms. This includes a proposal for a new mechanism to force the Parole Board to reconsider a decision, ensuring that victims do not have to resort to Judicial Review to make the Parole Board look at a case again.This change will be subject to a consultation launched today, but it is envisaged that the reconsideration would be led by a judge and oral hearings would be open to victims, media and the public.The Parole Board’s decision to release John Worboys made clear the urgent need to overhaul the process of providing information to victims.As a result, numerous changes will be made to the Victim Contact Service (VCS) service, including extending it to victims of more types of offences, for example road traffic offences resulting in serious injury, and to victims in cases where a serious charge lies on file but has not resulted in a conviction.Immediate improvements will also be made to the VCS, including new training for Victim Liaison Officers, better working with other agencies to ensure services are more joined up and making it easier for victims to opt in to the scheme at a later stage in the offender’s sentence.At the same time, the department will explore the potential for changing the scheme so that victims are asked at the beginning to opt-out if they don’t want to be kept informed, rather than to opt-in if they do.Justice Secretary David Gauke said:
It’s a big day for Mountain Jam fans, as the beloved Hunter Mountain festival has shared yet another major announcement. From June 2-5, Hunter, NY will host the 12th annual Mountain Jam, and now fans can know what to expect for each day of the music. The festival has not only shared their daily schedule, but they’ve also revealed one additional performance.At this year’s Mountain Jam, the band Train will perform the album Led Zeppelin II. The “Drops of Jupiter” band will dig into the Led Zeppelin catalog, pulling out hits like “Whole Lotta Love,” “What Is And What Should Never Be,” “Ramble On,” and more. Nice.Check out the full daily schedule below, and head here for more information.Mountain Jam Daily LineupsTHURSDAY, JUNE 2 Umphrey’s McGee Train plays Led Zeppelin II Marco Benevento & Superhuman Happiness: A Tribute to David Bowie Donna The Buffalo Cabinet Wild Adriatic Jane Lee HookerFRIDAY, JUNE 3 Wilco Gov’t Mule Jason Isbell Courtney Barnett Chris Robinson Brotherhood The New Mastersounds (late night) Nahko And Medicine For The People Turkuaz And The Kids Love Canon Marcus King Band Copious Jones Madaila Suitcase Junket The Movement Upstate RubdownSATURDAY, JUNE 4 Beck Thievery Corporation (late night) Gary Clark Jr. Nathaniel Rateliff & The Night Sweats Lettuce Houndmouth Sister Sparrow & The Dirty Birds The Record Company Son Little Con Brio Darlingside The Paul Green Rock Academy Ratboy Jr.SUNDAY, JUNE 5 The Avett Brothers Brandi Carlile Michael Franti & Spearhead Third World The London Souls The Ballroom Thieves with Maine Youth Rock Orchestra Quilt Elijah Wolf Scott Sharrard The Paul Green Rock Academy Bari Koral’s Yogarama
Last night, Lukas Nelson & Promise of the Real got some help from Grateful Dead guitarist Bob Weir at the second night of their two-show stand at San Francisco’s Great American Music Hall. The performance came as part of Promise of the Real’s stretch with singer-songwriter Tyler Childers on the ongoing “Stagecoach Spotlight Tour.”Following sets by Childers and tour supporting artist Lillie Mae, Nelson and Promise of the Real came out for their headlining performance with Weir in tow. The band opened with a rendition of the Dead’s “Althea” sung by Nelson, before Bobby took over on vocals for “West L.A. Fadeaway”. Finally, Bobby stayed at the mic for a rendition of Bob Dylan‘s “Maggie’s Farm”, a latter-day live Dead cover and a staple of various post-Jerry Garcia projects. While Weir battled sound issues with his instrument throughout the sit-in, his presence at the Bay Area performance was nevertheless appreciatively received.As JamBase notes, Weir and Nelson first performed together at a pair of recent tributes to Weir’s longtime friend and songwriting partner, John Perry Barlow, including Barlow’s free “Graduation From Meatspace” at The Fillmore and an additional event at Weir’s SweetWater Music Hall.You can watch full crowd-shot video of Weir’s sit-in below, via Facebook user Doug Clifton:Lukas Nelson & Promise of the Real w/ Bob Weir – “Althea”, “West LA Fadeaway”, “Maggie’s Farm”Lukas Nelson & Promise of the Real continue their leg of the Stagecoach Spotlight Tour tonight in San Luis Obispo, CA. From there, they head to the Big Easy, where they’ll play the New Orleans Jazz & Heritage Festival on Friday, April 27th, followed by a set a Stagecoach Festival in Indio, CA on Sunday, April 29th. For more information on Lukas Nelson & Promis of the Real’s upcoming tour dates, or to grab tickets to any of the shows, head to the band’s website.[H/T JamBase]
App users, tap here to watch video report.JAMESTOWN – A Jamestown man is facing multiple charges after Jamestown Police say he led them on a vehicle pursuit Wednesday morning. Jamestown Police say they were called to help a citizen who was following a vehicle that had allegedly committed a burglary in the Town of Kiantone. Police say they tried to stop the driver, Stephen C. Dean, 41, on the City’s west side.Police say Dean failed to comply and began to flee, traveling onto West Second Street where he collided with several construction signs at West Second Street at Lafayette Street. From there, the vehicle continued through the downtown area passing several red lights. Police say the vehicle then drove up Potters Alley and onto East Fifth Street where it collided with an east bound vehicle. Dean allegedly attempted to flee on foot and was arrested in the 7/11 parking lot.Image by Justin Gould / WNY News Now.An occupant of the eastbound vehicle that was struck was taken to UPMC Chautauqua via ambulance. The condition of that occupant is not known but police say it is not believed to be serious.Dean was not injured and is facing multiple charges including failure to comply, obstructing governmental administration, and numerous traffic infractions.This investigation is continuing and additional charges are expected. The New York State Police are also investigating the burglary that had occurred in the Town of Kiantone and charges from that incident are expected via the NYSP. Share:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to email this to a friend (Opens in new window),Way Stevie why can’t you just be a normal person I love you the whole family dose.