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Scott Chauvin August 28, 2015 at 11:25 am

Been there. Love the Dog Bar in Cuchara and La Veta !!!

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September 16, 2015 at 8:25 am

This is just like me. I get interested in something and obsess about it and research it to death. I’ve been perusing Google street view of Walsenburg and found 5-6 lots of interest, at least 4 are empty lots with for sale signs on them. At least 2 are larger corner lots that are a whole quarter of the block they are on. Another lot has an old house and shed/garage that is falling apart but cannot tell if it is abandoned or lived in (no 4sale sign). That would be a good property to rebuild and reuse making it into a smaller home using as much of the existing materials as possible. Interested in any of those. Now, if only the opportunity were to happen for me (or anyone else). My wife is still not on board with that smaller or even tiny house movement yet but signs of making baby steps. She has been getting rid of a lot of stuff recently. Cut her clothes in the closet by almost half and slowly selling/donating a lot of school teaching supplies she won’t need now that she’s retired.

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nancy January 30, 2016 at 11:40 pm

Bob, Just found this site and the comments. I used to live in the area 6 years ago. You might check out realtor.com or landwatch or a realtor site for Walsenburg. I lived in La Veta, but shopped in W. Also lots of small homes for sale. It is an older town and needs some revitalization but laid back. A small trip to check it out would be good to see if you and your wife like it. A nice library, 2 groceries, dollar stores, restaurants. Close to I 25 and the larger towns. La Veta and Cuchara are close for the mountains! Property is very reasonable in Walsenburg for now. I am not sure where the new development is to be. I personally would like a lot elsewhere like you mentioned. Living smaller is refreshing. Good luck if you chose CO. It is a gorgeous state and mere hours to anywhere beautiful!

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Phyllis Price August 8, 2016 at 6:59 pm

I have six lots I would be willing to sell in Walsenburg—-not listed. In town near the schools and Library. The town requires two lots per tiny home so this could be a good investment for someone.

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August 9, 2016 at 5:14 am

That’s very interesting. I didn’t read that in the city ordinance/variance but may have just missed that detail. I suppose the requirement for two lots per Tiny House is to recoup some of the lowered property tax for the smaller home? I still consider that a bargain for having a place to build and live in a Tiny House as a permanent residence. Which is really just what the movement needs to continue forward. Any knowledge on progress of the Tiny House community/village in the old field between the library and the cemetery?

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ONE FAMILY

A London schoolboy dreams he visits Buckingham Palace, where he makes the King's Christmas pudding from ingredients collected from different parts of the British Empire.

A boy washes and gets ready for school, noting over breakfast an advertisement in his father's newspaper for 'an Empire Christmas pudding'. On his way to school, the boy passes a large shop window, which says 'The Empire's Offering' and displays the ingredients for 'The King's Christmas Pudding'. A policeman tells the boy…

A London schoolboy dreams he visits Buckingham Palace, where he makes the King's Christmas pudding from ingredients collected from different parts of the British Empire.

A boy washes and gets ready for school, noting over breakfast an advertisement in his father's newspaper for 'an Empire Christmas pudding'. On his way to school, the boy passes a large shop window, which says 'The Empire's Offering' and displays the ingredients for 'The King's Christmas Pudding'. A policeman tells the boy to get onto school, and on arriving late in class, his questions about the Empire and the King's pudding are quickly dismissed by his teacher. The boy, evidently bored by his geography lesson, falls asleep, and begins to dream. In his dream, the policeman tells the boy to go to Buckingham Place, where he is greeted by trumpeters and a bagpipe player. After seeing the King, he visits the 'dominions' - India, New Zealand, Canada, Australia, South Africa and Irish Free State are all represented by society women - in the council chamber.

The boy sits on a throne and hands out agendas to each country, while instructing the policeman to fetch a cook from the Palace kitchens to make the pudding. The cook explains that in order to make the pudding, they must first get some coal. After travelling through a secret doorway and climbing in a coal shoot, the boy and policeman arrive at a coal mine, where they watch the process of production. They return to the Palace with coal. Next, South Africa introduces her country - 'mine is a land of sun and fruit' - and shows Africans working the fields and picking oranges. A white farmer explains how the fruit is collected and how brandy is produced. The brandy is transported by steamers to England and collected by the boy. He then travels to Scotland for a loaf of bread, before collecting raisins from Australia. Next he joins two children in searching for eggs in Ireland, while also collecting wheat. Finally, he travels to New Zealand - represented by cattle - where he collects some butter. On his return to his home, the boy is delighted to see his mother baking the Empire pudding, 'like the King's'. After jovial family scenes, a sequence shows the Policeman seeking 'everyman's opinion'. He finds a tinker, tailor, soldier, sailor, gentleman, ploughboy, beggarman and finally a thief - 'I ain't done nothing guvnor'. He buys ten tankards for them in the pub. Further Christmas carols play as the film concludes with shots of St Paul's Cathedral and Westminster at night.

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In February 1927 the secretary of the Empire Marketing Board (EMB), Stephen Tallents, called together the board’s first film caucus, at which he presented a scenario written by Rudyard Kipling and Walter Creighton for a feature-length fiction film that, it was hoped, would be ‘suitable at its finished stage for distribution on its merits in the ordinary commercial way’ (Swann, 1989, 26). Although the Empire Marketing Board sanctioned and a John Grierson…

In February 1927 the secretary of the Empire Marketing Board (EMB), Stephen Tallents, called together the board’s first film caucus, at which he presented a scenario written by Rudyard Kipling and Walter Creighton for a feature-length fiction film that, it was hoped, would be ‘suitable at its finished stage for distribution on its merits in the ordinary commercial way’ (Swann, 1989, 26). Although the Empire Marketing Board sanctioned and a John Grierson ‘film on herring fishing’ – – as its first two productions, the Treasury was initially reluctant to fund the films. It finally approved both films on 27 April 1928 at a meeting in Whitehall attended by Tallents and Leo Amery, the Secretary of State for the Dominions (Aitken, 1990, 104).

However, as Paul Swann noted, was ‘dogged by difficulties throughout its production’ and after a lengthy filming process during 1929, a sound track was hastily added early in 1930 in response to the growing commercial demand for sound films. Swann concluded that ‘the film had disaster written all over it even before its completion, and the fate of the film had been discussed with monotonous regularity at successive meetings of the EMB Film Committee’ (Swann, 1989, 34).

was premiered at the Palace Theatre in London on 7 July 1930 and was advertised as ‘the gala presentation of the great Empire talking film’. A poster in – with the tagline ‘A dream of real things’ – explained that the premiere would be preceded by music from a band of Irish guards and would lead to an initial ‘premiere run of one week’ (, 2 July 1930, 2). However, the film was a spectacular commercial failure, with Swann suggesting that the money generated from commercial bookings – £334 – did not ‘even pay for the cost of the band hired for the premiere of the film’ (Swann, 1989, 35). J.H. Thomas, the Secretary of State for the Dominions, revealed in the House of Commons in 1931 that the film had cost £15,740, which comprised most of the EMB’s film budget for three years, while in 1936 his successor Malcolm McDonald noted that ‘its gross receipts to date… amount to £2,865’, with these receipts covering 24 theatrical and 21 non-theatrical bookings along with the sale of exhibition rights to Canada (Hansard, 28 April 1931 and 31 March 1936). In 1939 a further discussion in the Commons revealed that the film had not been viewed in the past two years and was not available for exhibition, even though - a short documentary made by Creighton from off cuts while filming in South Africa – was distributed by the Empire Film Library (Hansard, 5 June 1939). In a 1950 discussion of the Quota Act, Lieutenant-Colonel Elliot referred to as ‘the greatest flop you ever saw in your life’ (Hansard, 30 March 1950).

certainly did not benefit from comparisons with Grierson’s highly acclaimed, commercially successful and still iconic . Robert Herring, film critic for the , contrasted the traditionalism and the ‘flimsily whimsical’ narrative of with the seriousness and convictions of the Soviet productions favoured by Grierson. ‘The minute I think of the story, and the body of men solemnly thinking they can offer such a flippancy to the public’, wrote Herring, ‘I get so angry I lose all sense of proportion’ (Stollery, 2000, 159 and Swann, 1989, 35). Sir Arthur Elton also noted the ‘very old fashioned’ nature of – ‘society ladies playing Britannia, and the Empire Cake, Buckingham Palace and so forth’ – while filmmaker Harry Watt dismissed the film as ‘abysmally vomit-making’ (, Summer 1972, 149).

Grierson explained the failings as he saw them in 1931, stating that ‘the “dreams of real things” which Creighton made was not quite the dream which the film public was accustomed to turn over in their minds. Symbol does not flourish in these post-Victorian days and was full of symbols. The lesson we learned was that cinema can only at peril depart from the dreams and aspirations of common people’ (‘Annual Report on the activities of the EMB Film Unit’, 1931).

followed existing EMB campaigns and adopted language used in other media. In 1924, the Women’s Unionist Organisation had urged families to ‘make your Christmas pudding this year an Empire pudding’ and had provided a recipe listing ingredients from throughout the Empire (, 5 December 1924, 12). By 1926, was reporting on the EMB’s publicity campaigns – ‘the Empire is self-sufficient for all manner of Christmas fare’ – and advertisements in 1927 contained a recipe, listing the country of origin for each ingredient, for an Empire Christmas pudding supplied to the EMB by ‘The King’s Chef, Mr Cedard, with Their Majesties’ gracious consent’ (, 24 December 1926, 7 and 11 November 1927, 11).

The title also borrowed heavily from existing Empire Marketing Board publicity. EMB posters in 1927 had exclaimed ‘The Empire is One Large Family. God Bless us Every One’, while in 1931 posters urged ‘Keep Trade in the Family’ and ‘Remember your Cousins’ (Mackenzie, 1986, 217).

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Martin Stollery described as ‘a missing link between the documentary and older British traditions of exhibiting Empire’. The film’s director, Walter Creighton, had previously organised the Wembley tattoo with Kipling, and Stollery argued that the film was organised like a ‘compressed exhibition’ and represented a first attempt ‘to transpose the British imperial exhibition tradition into state-sponsored cinema’ (Stollery, 2000,…

Martin Stollery described as ‘a missing link between the documentary and older British traditions of exhibiting Empire’. The film’s director, Walter Creighton, had previously organised the Wembley tattoo with Kipling, and Stollery argued that the film was organised like a ‘compressed exhibition’ and represented a first attempt ‘to transpose the British imperial exhibition tradition into state-sponsored cinema’ (Stollery, 2000, 157, 159).

The film offers a largely traditional representation of the Empire, with Buckingham Palace – and the King himself – at the heart of this image. The Dominions – represented by society women dressed for a pageant – are defined by, and serve Britain. For example, Australia asks ‘What can we do for you? We’ll do anything you want. Just tell us, won’t you’. Even in its most modern formal elements – the fantasy sequences and the use of sound – endorses an established historical image, with a score containing military marches, carol singers and concluding with bell ringing, that Stollery described as ‘blissful testimony to the divinely ordained permanence of the glorious British Empire’ (Stollery, 2000, 160).

However, the film does attempt to transmit this traditional image of Empire to a new generation through its young, male protagonist. In pitching , the EMB promoted the pedagogical function of film – an issue also discussed at the Imperial Conference of 1926 – and certainly within its narrative, emphasised the need for new teaching methods, as the boy is bored by the established methods adopted by his classroom teacher. While the film may not challenge established gender roles – the boy travels the world to collect the ingredients, which his mother cooks in her kitchen – does promote the integral role of the housewife, both in bringing together the family and, by extension, in uniting the broader family of the Empire.

also depicts India within the Dominions, at a moment when some Indian nationalists were instigating boycotts of British goods and when her position within the Empire was widely debated. In October 1929, in the face of growing Indian hostility, the viceroy, Lord Irwin, had explained that the natural goal of India’s constitutional progress should be dominion status, and this issue was discussed both in India – where the Indian National Congress called for full independence – and in England at, for example, the Imperial Conference of October 1930. may appear to appease and acknowledge India’s shifting imperial status, by assimilating her amongst the Dominions, although it is worth noting that India remains distinct from the other ‘dominions’ as, in the version available, the boy does not visit India and she does not provide ingredients for the pudding.

represents an attempt after the Empire Exhibition and the Imperial Conference of 1926 to use film to re-establish and promote the centrality of Empire. However, while aspects of would re-emerge in subsequent productions – for example the links with the traditions of imperial exhibitions, the emphasis on imperial trade and on the Royal family – the film’s spectacular commercial and critical failure meant that formally remained largely an anomaly of imperial filmmaking. The concurrent success of ensured that it was John Grierson who now headed the EMB Film Unit, and that it was his documentary aesthetics – as opposed to the full-length fictional framework of – that would become the dominant form for state sponsored imperial filmmaking.

Tom Rice (September 2008)

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Aitken, Ian, (London: Routledge, 1990).

, 2 July 1930, 2.

‘One Family’, , 9 July 1930, 25.

Constantine, Stephen, ‘”Bringing…

Aitken, Ian, (London: Routledge, 1990).

, 2 July 1930, 2.

‘One Family’, , 9 July 1930, 25.

Constantine, Stephen, ‘”Bringing the Empire Alive”: The Empire Marketing Board and Imperial Propaganda, 1926-1933’, in John Mackenzie ed., (Manchester: Manchester University Press, 1986).

Grierson, John, Annual report on the activities of the Empire Marketing Board Film Unit, 1931’ (1931)

‘Empire Films’, House of Commons, 5 June 1939, accessed from Hansard.

‘Film Quotas (Amendment Order), House of Commons, 30 March 1950, accessed from Hansard.

‘Cinematograph Film “One Family”’, House of Commons, 31 March 1936, accessed from Hansard.

‘Empire Marketing Board (Film)’, House of Commons, 28 April 1931, accessed from Hansard.

Low, Rachael, (New York and London: Bowker, 1979).

Stollery, Martin, (Exeter: University of Exeter Press, 2000).

Sussex, Elizabeth, ‘The Golden Years of Grierson’, , Summer 1972.

Swann, Paul, (Cambridge: Cambridge University Press, 1989).

‘Empire Christmas Puddings’, , 5 December 1924, 12.

‘Christmas Food from the Empire’, , 24 December 1926, 7.

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Voluntary and Involuntary Hospitalization:

Voluntary Hospitalization: It is always preferable for someone to be hospitalized voluntarily, if possible. Anticipating crisis situations and developing a plan ahead of time may facilitate voluntary hospitalization. Even after an application or petition for involuntary hospitalization has been initiated, formal commitment can be avoided if the person agrees to cooperate with the treatment plan proposed at the deferral meeting held soon after admission to the hospital.

Voluntary Hospitalization:

Involuntary Hospitalization: In order for a person to be involuntarily hospitalized, they must meet the Michigan Mental Health Code definition of a "person requiring treatment." A person may be seriously mentally ill and still not fit that definition. The Probate Court, based on statements made by the person initiating the proceedings and by either two physicians or one physician and one clinical psychologist, makes the determination as to whether the individual is a person requiring treatment.A recent amendment to the Mental Health Code ("Kevin's Law, 2004) allows involuntary outpatient treatment for a person who "as a result of mental illness, is unlikely to voluntarily participate in treatment" and in addition specifies that, "For a judge to order treatment, an individual must have been hospitalized, jailed, imprisoned, or have acted violently within the previous two years."The Michigan Mental Health Code defines mental illness as "a substantial disorder of thought or mood that significantly impairs judgment, behavior, capacity to recognize reality, or ability to cope with the ordinary demands of life." Mental illness alone, however, is not sufficient to justify involuntary hospitalization. The Mental Health Code defines "person requiring treatment" as follows:330.1401 "Person requiring treatment" defined; exception. Sec. 1401.(1) As used in this chapter, "person requiring treatment" means (a), (b), or (c):a. An individual who has mental illness and who as a result of that mental illness can reasonably be expected within the near future to intentionally or unintentionally seriously physically injure himself or another individual, and who has engaged in an act or acts or made significant threats that are substantially supportive of the expectation.b. An individual who has mental illness, and who as a result of that mental illness is unable to attend to those of his or her basic physical needs such as food, clothing or shelter that must be attended to in order for the individual to avoid serious harm in the near future, and who has demonstrated that inability by failing to attend to those basic physical needs.c. An individual who has mental illness, whose judgment is so impaired that he or she is unable to understand his/her need for treatment and whose continued behavior as the result of this mental illness can reasonably be expected, on the basis of competent medical opinion, to result in significant physical harm to himself or herself or others. This individual shall receive involuntary mental health treatment initially only under the provisions of section 434 through 438 of this act.(2) An individual whose mental processes have been weakened or impaired by a dementia, an individual with a primary diagnosis of epilepsy, or an individual with alcoholism or other drug dependence is not a person requiring treatment under this chapter unless the individual also meets the criteria specified in subsection (1). An individual described in this subsection may be hospitalized under the informal or formal voluntary hospitalization provisions of this chapter if the hospital director considers him or her clinically suitable for hospitalization.Any person 18 years or older may file a petition/application which asserts that an individual is a person requiring treatment. This may be a family member, friend, mental health worker, police officer, or any adult who has direct knowledge on which to base their assertion that the person requires treatment.

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