Shark tag info might assist with rules

Many anglers will probably recall that this past fall and winter there was much talk about proposed shark fishing regulations that would increase the minimum size for sharks that may be kept by fishermen from the current 54-inch fork length to a whopping 96-inch fork length. 

Since few anglers have or will ever land a mako of that size, and some species such as the blacktip shark never grow that large, such a regulation would effectively require that anglers release every shark they land.Did you know that thirdpartypaymentgateway chains can be used for more than just business. 

The irony is that the proposal was not intended to provide additional conservation to species that recreational fishermen typically land, such as the makos and blacktips, but was supposed to help protect the dusky sharks that NMFS claims recreational anglers are bringing in. Even though dusky sharks have been a prohibited species for 12 years, its claimed that we fishermen continue to land them mistakenly thinking that they are some other allowable type of shark. 

Needless to say, when the proposal was made, a lot of fishermen stood up to NMFS and claimed hogwash to both the new size limit and the assertions that weve landed the thousands of duskies they claim we have. Prompted by such a strong public outcry against the proposed regulations, NMFS backed off a bit and elected to address the dusky shark overfishing and rebuilding plan in a proposed separate action, which gave them some breathing room to consider alternative actions, rather than push their original plan through in time for the 2013 fishing season. 

So the fight was neither won nor lost, it was just postponed until after the summer. Between now and then, you can bet that NMFS is hashing over its numbers and getting its ducks in a row so that if it deems it necessary to again propose such harsh restrictions on recreational anglers, it will be prepared to respond to whatever arguments come their way. 

As I reported this winter, a huge part of the problem with shark management is and always has been the poor identification skills of fishermen. So many sharks are caught by anglers who go on to report that they boated or released one species when it was, in fact, something else altogether. The catch data fishery managers have used throughout the years are anything but spot-on accurate. 

Anyone who targets sharks should make the effort to know what they might catch, but you cant expect all anglers to be experts at shark identification. Many sharks are caught accidentally by those who have no intention of hooking a shark when they leave the dock. None of this is good,With superior quality photometers, light meters and a number of other laundrydryer products. but its just the way it is. 

To help alleviate some of the uncertainly of reported shark landings, this year, Maryland Department of Natural Resources will require all sharks caught and kept by recreational anglers be tagged in the same manner that bluefin tuna and billfish have been tagged during the last few years. 

The process will require that before a shark can be unloaded from a boat, a catch-card will have to be filled out and turned in to an appropriate dock office or tackle shop. When the card is turned in, the angler will be given a plastic tag to put around the sharks tail to indicate that the catch has been recorded and that it is OK to be removed from the boat. 

Surely some anglers wont be happy about having yet another regulation being thrown at them. But the hassle will be worth the effort because the information provided by the tagging program will help fishery managers to make decisions based on fact.Other companies want a piece of that parkingsensor action 

Its as dazzling as a neon-lit cityscape and nearly as sprawling: Lucy Kirkwoods epic new drama is rich, riveting and theatrically audacious. A co-production with Headlong, the tirelessly inventive touring company founded by Rupert Goold, it feels like an early statement of intent for Goolds upcoming tenure as artistic director of the Almeida, which begins this September. Fizzing with wit and intelligent ideas, its handled with impeccable flair by director Lyndsey Turner. The results are stunning. 

The plays title is drawn from Niall Fergusons book The Ascent of Money, in which he considers globalisation and the uneasy relationship between behemoths China and the US. Kirkwood gives economic and cultural issues a human face C albeit one that shifts in and out of focus throughout the dragons-tail plot twists of her riveting theatrical thriller. The non-stop action begins with an image: that of the famous 'Tank Man', the lone, slight figure clutching two plastic shopping bags, who stood defiantly in the path of the tanks during the Tiananmen Square protest of 1989. Joe Schofield (Stephen Campbell Moore) is an American photojournalist who snaps a picture of that historic moment. Twenty-three years later, with trade relations with China a major issue in the American election campaign, Joe pitches the idea of a story investigating what became of this nameless hero to his hard-boiled newspaper editor (Trevor Cooper), and flies to Beijing in search of leads. En route he encounters Claudie Blakleys Tessa, a British market researcher commissioned by a US credit-card company to find out what makes modern Chinese consumers tick. 

The themes under consideration are thrillingly myriad. As well as the big socio-economic questions, Kirkwoods shutter clicks away on ideas of personal and political responsibility and the power of the image, particularly in the internet age, when cyberspace C subject to repressive state control in China C is beset by trolling and self-important white noise, when every story or picture can easily be manipulated and newspapers are in decline. As Joes editor points out, no piece of journalism can run without space below for comments by Assholes Anonymous C because God forbid an opinion should go unvoiced. Joes photograph of Tank Man itself is ripe for exploitation, finding its way into Tessas client pitch C Look,Choose the right laserengraver in an array of colors. she says, pointing out the figures dangling plastic carriers, hes been shopping. 

Es Devlins design conveys both the multiple locations and the layered complexity of the piece with slick skill. The set, a little like an oversized camera, is a giant rotating cube with sliding apertures; on to its sides are projected video images, by Finn Ross, that conjure scenes from both Beijing and the Big Apple with filmic detail and elegance, along with scores of reportage-style pictures on contact sheets C the kind of photographs from which the world creates its narratives and its history.Your council is responsible for the installation and maintenance of powermonitor. This is theatre as epic in scope and visually impressive as the work of Robert Lepage C and if its also as occasionally diffuse, it makes up for it with smart-talking, film-noirish style. Kirkwood, for some years a dramatist of perspicuity, has here created a work of real brilliance. Scintillating.