The core William Hill brand is already active in Spain’s online sports betting market, with Mr Green to be used to strengthen its casino offering in the country. Online casino “This is an important milestone within our strategy,” William Hill International managing director and chief executive of Mr Green Patrick Jonker said. Subscribe to the iGaming newsletter Mr Green secures licence ahead of Spanish launch Topics: Casino & games Legal & compliance Casino regulation Online casino Licensing “With the launch of Mr Green in Spain, we look forward to expanding our offer by expanding our already strong presence within sports betting, with one of the strongest casino brands in the industry,” he explained. William Hill is to launch its Mr Green brand in Spain, after the subsidiary was awarded a licence by the country’s gambling regulator, la Dirección General del Ordenación del Juego (DGOJ). 19th October 2020 | By Robin Harrison Tags: William Hill DGOJ Dirección General del Ordenación del Juego Mr Green The operator, which is to be acquired by Caesars Entertainment, struck a deal to acquire Mr Green parent MRG Group for SEK2.82bn (£245.9m/€272.4m/$319.1m) in October 2018. This was finalised in February 2019. At a time when the novel coronavirus (Covid-19) pandemic significantly reduced the sporting calendar, sports betting revenue across all licensees was down 20.8% at €68.1m. However, online casino grew strongly, with revenue rising to €93.5m, a 36.5% year-on-year improvement. AddThis Sharing ButtonsShare to LinkedInLinkedInShare to FacebookFacebookShare to TwitterTwitter Last week the DGOJ reported second quarter figures for Spain’s online gaming market, which revealed that revenue was up 17.7% year-on-year to €208.9m, though this represented a 4.2% drop from the first quarter of 2020. Regions: Southern Europe Spain Email Address “With the combination of two industry leading brands, we look forward to deliver the best player experience within sports and gaming.”
ArchDaily Photographs Photographs: MOv Manufacturers Brands with products used in this architecture project ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/936362/h-house-baum Clipboard H House / BAUM Projects Houses 2020 Japan CopyHouses, Houses Interiors•Mihama, Japan Area: 102 m² Year Completion year of this architecture project H House / BAUMSave this projectSaveH House / BAUM “COPY” Manufacturers: Architrend, Duravit, Laufen, PanasonicArchitect In Charge:Daisuke KishinaDesign Team:BAUMCity:MihamaCountry:JapanMore SpecsLess SpecsSave this picture!© MOvRecommended ProductsFiber Cements / CementsULMA Architectural SolutionsPaper Facade Panel in Leioa School RestorationSystems / Prefabricated PanelsKalwall®Pre-engineered StructuresDoorsLibartVertical Retracting Doors – Panora ViewDoorsC.R. LaurenceCRL-U.S. Aluminum Entice Series Entrance SystemText description provided by the architects. Baum designs a house for a couple with their two kids in Sanmagaya-cho, a valley surrounded by the forest in Fukui Prefecture, Japan.The challenge was to ensure privacy and to deal with the low sunshine hours and the heavy snow that is unique to this area.Save this picture!© MOvSave this picture!Ground floor planSave this picture!© MOvThe lead architect Daisuke Kishina designs large windows to bring in daylight and fresh air while also providing with a strong connection to the exterior landscape. Rather than completely separates the private space, the border between the outside and the interior was created through a concrete space that Japanese called “doma”.Save this picture!© MOvInterior volume reveals the simplicity of the house, scaled for intimate family gatherings. The aim is to create a shelter where family can experience the unique relation between the natural environment and the warmth of the interior. Cozy but ample, bright and airy. Due to the tiny size of the plot, the living room is placed on the second floor. In order to make the kitchen and the living room as close as possible, the height of the first floor was set low. The ceiling intentionally shows the wooden texture to match the gentle atmosphere required by the owner.Save this picture!© MOvProject gallerySee allShow lessLollipop Ideal Garden / DIKA DESIGNSelected ProjectsA-Z House / Park + AssociatesSelected Projects Share Architects: BAUM Area Area of this architecture project Save this picture!© MOv+ 19Curated by Hana Abdel Share Year: ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/936362/h-house-baum Clipboard “COPY” CopyAbout this officeBAUMOfficeFollow#TagsProjectsBuilt ProjectsSelected ProjectsResidential ArchitectureHousesInterior DesignResidential InteriorsHouse InteriorsOn FacebookMihamaJapanPublished on March 30, 2020Cite: “H House / BAUM” 29 Mar 2020. ArchDaily. Accessed 10 Jun 2021.
by Johanna FernandezThese remarks, edited for print, were made by Dr. Johanna Fernandez on a March 18 Workers World Party webinar, “Mumia Abu-Jamal: The Only Treatment Is His Freedom.” Dr. Fernandez is an associate professor in the Department of History at Baruch College of the City University of New York, and author of “The Young Lords: A Radical History.” She is a leader of the Campaign to Bring Mumia Home. Go to workers.org/videos to watch the entire webinar. Johanna FernandezMumia is a fighter. And he’s got a powerful movement behind him that has saved him numerous times — and we’ll continue to do that. But ultimately, we want him home. I [referenced] the vitriol with which the state approaches the figure of Mumia. And the question is, why the vitriol against Mumia? And it’s because of everything Mumia represents: his political analysis, his attention to root causes of social problems, his commitment to solidarity.Mumia writes about domestic problems as much as he writes about international problems, and he has a critique of the state and of capitalism. This means that he represents a continuity in the Black radical tradition, a continuity in Black radical descent from the 1960s to the present. And his voice is essentially dangerous. And historically, the state has sought to make an example of people who dare challenge Empire.So in the late 19th century, labor activists who were identified as part of the Haymarket Affair were rounded up by the police, accused of crimes they did not commit and sentenced to death. In the early 20th century, Sacco and Vanzetti, two anarchists, were executed by the state. In the 1950s, the Rosenbergs who were communists were executed by the state. And in the post-Civil Rights Movement era, Mumia became the figure that the state wanted to make an example of to send a message to those who dare resist authority, resist the state, resist capitalism, resist Empire — that this is what will happen to you.Why is Mumia important?So when you ask the question, “Why do we need to be with Mumia?” it’s because if we allow the state to get away with murder in the case of Mumia Abu-Jamal, we’re giving the state license to do the same with people who dare stand up for justice today.The Fraternal Order of Police is the organization that has sought to silence Mumia. First through the demonization of Mumia and an attempted execution – which failed because an international movement saved his life in the 1990s. And finally, he got off death row in 2011, when the state itself determined that his death sentence was obtained unconstitutionally. The Fraternal Order of Police, whose poster child is Mumia Abu-Jamal, is the most powerful police organization in the world and its power is comparable to that of the NRA [National Rifle Association].Mumia is important because his case is at the center of the struggle against the homicidal character of the police in the United States. And if you look at his case, a third of the police officers involved in collecting evidence in his case, within weeks of the end of his case, were convicted and jailed for corruption, and manipulating evidence to obtain convictions in unrelated cases. And if you look at the evidence in this case, the cops pretty much framed Mumia and cooked up the crime scene.I want to go back to Mumia as a Black Panther. In the 1960s, the Black Panthers popularized the term pig, to demolish the notion that the police are our friends, and they succeeded. And by the end of the 60s, everyone knew what the term pig represented, and it was used often in the United States. In response, the police launched a counter propaganda campaign against the Black Panthers. They emblazoned the words “to serve and protect” on their cars – you might remember this.And essentially, this was the co-optation of the Black Panther slogan to “serve the people.” That was their more benign maneuver of co-opting what the Black Panther Party represented. The most detrimental of the maneuvers of the police ideologically was the popularization of the term “cop killer.” Cop killer became this ideological weapon that in the post-sixties period replaced the mythological rape of a white woman as the basis for the legal lynching of Black men in particular. And when you think about cop killers, you think of Black men, but the vast majority of people who kill cops in the United States are white men.So why do we need to free Mumia, to support him, stand with him? Because he represents all of us, and he has been identified by the cops, by the Fraternal Order of Police, by the state as one of the most dangerous figures in this country because of what he stands for, which is resistance – an unrelenting determination to expose inequality, to expose the police and its character, but also to fight for a completely different world organized around human needs. A fight for Mumia is a fight for ourselves and our highest aspirations.FacebookTwitterWhatsAppEmailPrintMoreShare thisFacebookTwitterWhatsAppEmailPrintMoreShare this
Top StoriesCorpses Floating In Ganga : PIL In Supreme Court Seeks Judicial Intervention, SIT Probe Srishti Ojha13 May 2021 8:12 AMShare This – xPTI ImageA plea has been filed before the Supreme Court seeking its intervention into the incidence where about 100 corpses of persons who are suspected to have died of COVID were found floating in the river Ganga in Bihar and UP. The plea has sought direction for constitution of special investigating agency to supervise investigation of death of 100 of human being whose dead bodies have been found floating in the river Ganga in Buxar of Bihar and Ghazipur District in State of Uttar Pradesh, and Unnao U.P.The plea has sought the formation of Special Investigating Agency by the top court which may be headed by a sitting /Retired Judge of this Hon’ble Court to overlook upon the investigation.The PIL has stated that 71 bodies have been fished out at Mahadev Ghat, Chausa, Distict Buxar, Bihar over and above that to the information of the petitioner more than 30 bodies were found in District Ghazipur, U.P. Therefore, the top Court’s intervention has been sought to inquire and investigate the suspicious death of hundreds of poor citizens whose dead bodies are flushed out into the river Ganga inhumanly and no FIR has been registered by the Authorities. The petitioner has contended that, no FIRs have been registered by the authorities, no Post Mortem was conducted and dead bodies were burried by Administration /Police Authorities by preparing verbatim false Post Mortem reports for purpose of eye wash and to show that investigation was been conducted. The plea filed by Advocate Sanjeev Malhotra and drawn by Adv Ashutosh Yadav, has requested that each dead bodies be removed and proper post Mortem be conducted in order to verify the cause of the death. “It is clear and apparent that the person whose dead bodies floated has not died their natural death. The Administration in order to hide /save their face from the responsibility of such inhuman act has prepared false verbatim Post mortem without actually doing the Post Mortem of dead bodies. The petitioner makes this statement very responsibly and on personal information received to the petitioner from reliable sources.” the plea reads. TagsCOVID -19 Suprem Court Ganga River Next Story
Home » News » NatWest to face criminal proceedings over alleged money laundering lapse previous nextRegulation & LawNatWest to face criminal proceedings over alleged money laundering lapseThe bank, which is used by thousands of agents, is being taken to court by the FCA after a business customer deposited millions in cash.Nigel Lewis16th March 202102,966 Views Estate agencies large and small who have business accounts with NatWest will be shocked to discover that the bank is to face criminal proceedings over an alleged lapse in its Anti Money Laundering (AML) procedures,The Financial Conduct Authority (FCA) has made the announcement, alleging that the bank failed to adhere to several parts of the Money Laundering Regulations (MLR) 2007.This is the first criminal prosecution under the MLR 2007 by the FCA and the first prosecution under the MLR against a bank.Like any estate agency, regulations require NatWest to complete due diligence on its relationships with customers to prevent money laundering.The FCA says the case arises from from the handling of funds deposited into accounts operated by a UK business customer of NatWest.The financial industry regulator alleges that increasingly large cash deposits were made into the customer’s accounts.Monitoring failureIt is alleged that around £365 million was paid into the accounts, of which around £264 million was in cash and that NatWest’s systems and controls failed to adequately monitor and scrutinise this activity.No individuals are being prosecuted and NatWest itself is scheduled to appear at Westminster Magistrates’ Court on 14 April 2021.Hundreds of estate agencies have been fined for AML breaches in recent years, with many of them being NatWest customers themselves.The FCA’s announcement comes just seven months after NatWest was heavily criticised for closing or suspending some business accounts without notice after firms applied for government Covid Bounce Back business loans via the bank.NatWest comment“The Financial Conduct Authority has notified NatWest Group plc that it has commenced criminal proceedings against National Westminster Bank Plc for offences under regulation 45(1) of the Money Laundering Regulations 2007 for alleged failures to comply with regulations 8(1), 8(3) and 14(1) of the MLR 2007 between 11 November 2011 and 19 October 2016, arising from the handling of the accounts of a UK incorporated customer,” a spokesperson says.“Since being notified of this investigation in July 2017, NatWest Group has disclosed that the FCA was undertaking an investigation into NatWest Group’s compliance with the MLR 2007. NatWest Group has been co-operating with the FCA’s investigation to date.“NatWest Group takes extremely seriously its responsibility to seek to prevent money laundering by third parties and accordingly has made significant, multi-year investments in its financial crime systems and controls.”Read more about AML.MLR 2007 NatWest AML anti money laundering March 16, 2021Nigel LewisWhat’s your opinion? Cancel replyYou must be logged in to post a comment.Please note: This is a site for professional discussion. Comments will carry your full name and company.This site uses Akismet to reduce spam. Learn how your comment data is processed.Related articles BREAKING: Evictions paperwork must now include ‘breathing space’ scheme details30th April 2021 City dwellers most satisfied with where they live30th April 2021 Hong Kong remains most expensive city to rent with London in 4th place30th April 2021
Optimists for the future of British theatre have recently had little tosmile at owing to the plethora of articles by smug Fleet Streetjournalists who prophesise the imminent downfall of British theatre.However, they should seek solace in the unforeseen boom in West Endticket sales, triggered by an influx of Hollywood A-List talent eagerto tread the boards of the London stage. Indeed statistics reveal that2004 was the West End’s most successful year in terms of revenue sincerecords began, with smash hits such as Mel Brooks’ The Producers andCameron Mackintosh’s Mary Poppins playing to full houses nightly.However, the West End is only a small part of a much wider picture inwhich British theatre faces a lack of financial support and distinct audience apathy. Away from the glamour of London’s WestEnd, with its swarms of tourists and big-budget productions, what isthe true state of affairs for Britain’s everyday theatres in theirperpetual struggle just to stay open?The average local theatre is disadvantaged not only by a lack of funding but also by an unengaged public, whichremains oblivious to the often stimulating range of cultural events onoffer. This ignorance is based on the common misperception of theatreas an archaic medium, obsessed with Shakespeare and rooted deeply inelitist high culture. This impression creates an intimidating aurasurrounding the theatre, which prevents a wider understanding of both the value and the joy of the theatrical experience.Herein lies the responsibility of the theatre company to promote itswork in such a way that it will engage the attention of a distractedpotential audience; in particular the younger generation, whom one musttarget to ensure the theatre’s survival as a popular art form. It is an unfortunate coincidence that the future of the theatre mayrest on the shoulders of this generation, the generation that has beenmost resistant to its call. The reasons for this are many and varied,but principally stem from those previously mentioned concepts: misconception andignorance. As Oxford students it is easy to remain unaware of thiscrisis, as our intellectual student community takes advantage of a wide range of theatre. However this is far fromtypical, as local theatres rarely receive this level of support fromthe younger generation. Pre-conceived notions of the theatre as boringor uncool form a barrier against its integration into youth culture, aswell as the idea that it is an expensive hobby requiring effort todress appropriately and engage in higher culture. These concerns areoften ungrounded, with student tickets generally being reasonablypriced, with a wide range of plays on offer. Perhaps what is missing isthe promotion of theatre as the exciting, engaging medium that it is.The innovative, challenging work of experimental companies oftenremains practically unadvertised or doesn’t reach thesmaller theatres. The quality of work presented at theatres such as theNational – fresh and stimulating pieces – must find their way to localtheatre, to reach younger people and expose the theatre’s potential asa platform for artistic creation.One of the most overwhelming setbacks for the theatre must surely beits competition in the form of cinema and television. Sixteenth andseventeenth century theatre was a social event, well attended by abroad spectrum of people whose only chance of escapism was to see aplay. Moreover the theatre itself was a meeting point, actors oftenstruggling to perform over the clamouring rabble of audience members getting drunkand looking for prostitutes. Although the theatre has thankfully gainedmore respect in recent years, it has lost its status as a pillar ofsociety, a major form of entertainment to be experienced by all.Ironically, it has been theatre’s social rise that has prompted itsdemise, the move from popular to high culture bringing with it notionsof elitism and the reputation for being expensive.It is a common argument that theatre is flagging because of its failure to compete with the technologicalwizardry now prominent in film and television. However this is clearlya flawed assertion, with blockbuster films being reliant on plot detailand acting ability, as opposed to camera trickery. Even if this were tobe a fair criticism, those involved in theatre must surely strive topreserve its artistic integrity, since to sacrifice this in favour of gimmicks to attract anew audience would serve only to corrupt the theatre and to lose theremaining audience that is has.It is telling of British culture that it has taken the arrival ofHollywood stars to boost the West End theatre scene. As a society, ourobsession with the celebrity informs us that a production endorsed by a familiar name must be worth seeing, the glamour ofHollywood blinding our critical eye. Many of these actors have littleexperience of live acting and are less adept than most of London’sdrama school graduates, winning parts based on the director’s knowledgeof the relationship between celebrity and ticket sales. This is surelya dangerous observation, to note the shift from an emphasis on talentto reputation. Must the theatre degrade itself to survive?Controversially, it is perhaps necessary for the West End, in order totruly progress, to reject some of the Hollywood help it is receiving.The underlying reason for this is that it is rare to find a publicfigure (such as Kevin Spacey, artistic director of The Old Vic since2004), who aims to use their status to resurrect theatre, rather thanusing theatre to resurrect their own career.Alongside the problems involved with attracting audiences is the lackof sufficient funding for British theatres. Critics will always arguethat in the face of global warming and terrorist threat, money shouldnot be spent on frivolous pastimes such as the theatre. This, however,is an obstinate and poorly constructed argument, based on anarrow-minded outlook on life. Theatre is an integral part of oursociety’s culture, something that is worth fighting for with thepotential to entertain, broaden horizons and even to educate.Despite the problems it faces, there is still hope for British theatre.Enthusiasm for theatre still exists as does the desire to promote thislive, challenging and engaging medium. Lack of funding and dwindlingaudience numbers mean that the theatre is facing an uphill struggle tomaintain itself as a popular art form, but despite problems there isstill time for a revival. However, it will take more than a fewAmerican celebrities to breathe new life into the British stage.ARCHIVE: 2nd week MT 2005
Katherine Eve sheds light on Donnelly’s multimedia exhibitionDespite Donnelly’s strong reputation within the art community, she is little known in the public domain, so perhaps it is best to introduce her work with a quote from Art Review. “Donnelly’s works exist at the threshold of possible experience or understanding and require, if not optimism, at least suspension of disbelief.” To this end, she is a multi-media artist, taking her own typewritten texts as a starting point for works ranging from meticulously executed, disciplined drawings through to large-scale installation pieces. Together these are combined with organic elements, audio-stimuli and performance pieces, termed ‘demonstrations’, to form a novel reality. Links between the pieces are intangible, but this is by no means a criticism; the great thing about Donnelly’s work is that it makes no attempt to provide a profound metaphor for us to take away without challenge. The work persists, nagging, in one’s mind, demanding time to settle and evolve. The ephemeral and incidental play an integral role in Donnelly’s work. Her opening-night ‘demonstration’ (recalling WWII planes experiencing a brief uplift before crashing to the ground, and urging observers to experience it through an audio-encapsulation of the phenomenon) was not recorded or documented in any way. In this way, it can only be transmitted to a wider public, if at all, by verbal description or word-of-mouth, subject to inevitable gaps in memory, distortions, exaggerations, and everything else in the space between experience and narration. This aspect of her exhibitions achieves perfectly her aim that the viewer invests something of themselves in the work, and establishes a dialogue with the audience that places them in an elevated position. The viewer’s thoughts are challenged and become lucid and fragmented. This is not necessarily for us to tap into her own wavelength, but to bring our own history, intuition, experience and culture to the experience. Consequently, the impact of her art is unique and the corpus of her work timeless.This particular exhibition was reasearched by Donnelly in several advance visits to the space. Those familiar with Modern Art Oxford may appreciate how the configuration of the three adjoining galleries, along with with the movement of acoustics through them, has evoked Donnelly’s interpretation of it as two heads (the front, ‘The Ballroom,’ and rear, ‘L.D.’, galleries) connected by a spine (‘The Arc’). Gallery space evolves with each and every exhibition staged, and Donnelly has exploited this to extremes. She has modified the middle gallery somewhat: windows not usually seen have been unmasked and the side room has been concealed and converted into a corridor to house replacement conifer branches used in the exhibition. These architectural changes not only enhance the light quality, but also, through the minimalist approach, enhance the sound and the dramatic progression as onlookers walk through. Bunches of fresh roses and a ‘form of the Oxford branch’ (cut conifer) are replaced at regular intervals regardless of their rate of ageing. And 1920/30s big-band music is played on a loop, which serves various artistic purposes. Rhythmic cycles interact so that each viewer’s encounter with the work is shaded differently; the ageing cycle of living elements provides a tension; objects associated with home and familiarity are placed out of context leaving us insecure. Such blurring of boundaries continues. It isn’t initially clear whether the hum in “The Arc” derives from the exhibition or external noise. (In another interpretation of boundaries, she’s exploring how the cultural and social backgrounds we arrived with inform our viewing). Gallery attendants have been informed they can alter the position of two vertical ‘cross-Arizona plus China’ branches on impulse. Of course we could do the same, but are unaware, so the staff are in a unique and privileged position.The curation of the exhibition, undoubtedly directed in close collaboration with Donnelly, complements her themes perfectly. Lack of titles, unframed drawings and photographs pinned to walls shows that o single element is unduly important but all regarded as a whole. Our own being is even drawn into the installation as we become a mirror between the two ‘Pressures’ (near mirror-image photographs on opposing walls) in L.D. In the spirit of her work I haven’t, and nor would I wish to, summarise the exhibition for the reader, but I hope that discussing a few of my personal reflections will whet appetites to embrace this extraordinary reality. Approach it with fresh eyes and no preconceptions.
88, of Bayonne passed away on April 25, 2017. Born in San Vito, Italy, Maria immigrated here in 1949 and was the wife to the late Joseph and mother to Frank (the late Patricia), Vito (Pattie), Mary Perri (Carl) & Louise Alagna (Dean). She was grandmother to Carl Perri Jr. (Jennifer), David Perri (Allison), Jonathan Polera (Jessica), Julie Polera, Deana Alagna, DJ Alagna, Frankie Polera, Lisa Whealon (Spencer) & Mark Polera as well as being great grandmother to Joseph, Julianna, Jake, David & Daniel. Maria was pre-deceased by her siblings Peppino & Francesca and surviving her are her siblings Fernando Polera (Maria), Frank Polera (Teresa), Dora Aiello (Joseph) & Caterina Polera and a host of nieces, nephews, cousins, in-laws and friends. In lieu of flowers, memorial donation to Haven Hospice will be accepted at www.MigliaccioFuneralHome.com. Funeral arrangements by MIGLIACCIO Funeral Home, 851 Kennedy Blvd.
Visit http://www.gov.uk/fakemeds for tips on buying medicines safely online and how to avoid unscrupulous sites. During office hours: 020 3080 7651 (08:30 – 17:00) Out of office hours: 07770 446 189 (17:00 – 08:30) Office hours are Monday to Friday, 8:30am to 5pm. For real-time updates including the latest press releases and news statements, see our Twitter channel at https://www.twitter.com/mhragovuk Email [email protected] News centreMHRA10 South ColonnadeLondonE14 4PU Medicines purchased outside the regulated supply chain can be dangerous, and there is no assurance of quality and standards. There can be devastating consequences to your health. Following an investigation by the Medicines and Healthcare products Regulatory Agency (MHRA), two million doses of potent drugs were seized, the Agency’s largest ever seizure at the time.Both Gaffar and Patel pleaded guilty to multiple counts of conspiracy to sell potent anxiety pills, cancer drugs and powerful painkillers such as tramadol. London-based Patel was assisted by Gaffar who made regular trips from Leicester to transport unlicensed medicines and help Patel with his illegal business.During a 2015 operation, an undercover operative instructed by MHRA, met with Gaffar, who claimed he had ‘a present from India’ and as he passed over the parcel of unlicensed medicines, exclaimed “with me you get better stuff”.Gaffar and Patel received 21 months and 3 years immediate custody respectively.Alastair Jeffrey, MHRA Head of Enforcement said: We are cracking down on perpetrators to make sure this type of crime does not pay.MHRA is currently running the #FakeMeds campaign to warn people against buying potentially dangerous or useless unlicensed medicines sold by illegal online suppliers. Media enquiries
There’s no better way to wrap up an amazing week of music during the New Orleans Jazz & Heritage Festival than to catch a late night show at the legendary Tipitina’s. And who better to wrap up JazzFest and put in the dumpsta than NOLA’s own, Dumpstaphunk.It was a special night at Tipitina’s, not just because it was the final Sunday night of JazzFest, but because of all the special guests that joined Dumpstaphunk on stage for their late night set.Those who were lucky enough to make it into the SOLD OUT late night show were treated to an incredible sit in by Brandon “Taz” Niederauer performing The Band’s “Don’t Do It,” with some incredible solos from the 13-year-old guitar phenom. While Taz might only stand as tall has his Gibson Les Paul, his skills as a player are right up there with the veterans he shared the stage with that night. A true prodigy!Next up was Lukas Nelson, son of Willie Nelson, and whose band Promise of the Real has backed up Neil Young on tour of late, including a set headlining on the Acura Stage.Former Dumpstaphunk and current Nth Power drummer Nikki Glaspie sat in for several songs with her former bandmates, and the group was even joined by a tie dye jacket clad Cyril Neville on a couple tunes.A weekend plagued by severe rain and thunderstorms that still couldn’t stop die hard music lovers from venturing out into the muck to see their favorite artists perform on the final Sunday of JazzFest. New Orleans holds a special place in the hearts of all other music lovers who travelled from all over the world. Til next year! Happy JazzFest Y’all!Check out a full gallery of photos from the night, courtesy of Sam Shinault Photography: Load remaining images