PARKES AND CONDOBOLIN CASE IH FRANCHISES NOW UNDER NEW OWNERSHIP

The team at Sincock LVM Parkes, from left – Barry Cusack (Manager), Shannon Murdoch (Marketing), Narelle Shorten (Administration) and Garry Hopper (Dealer Principal). Photo: Barbara ReevesProprietors Garry Hopper, DJ Sincock and Darryl Henley would like to advise our clients and the community that the Condobolin and Parkes branches of the businessformerly known as Cornish’s are under new ownership and are now trading as Sincock LVM.
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We are now your local CASE IH dealership, andare agents for STOLL Boomsprays, Flexicoil,Kincrome Tools and Shell Oil.

Come in and see the same friendly staff forall of your CASE IH machinery needs.

PARKES, Barry Cusack,Peak Hill Road (02)6862 5011

CONDOBOLIN,Darryl Henley,16 William Street PH: (02) 6895 2622

Sincock LVM will be having a GRAND OPEN DAY onThursday, October 9, 2014, at the PARKES store and Friday, October 10, 2014, at the Condobolin store.

There will be a wide range of CASE IH equipment ondisplay, together with CASE IH management team fromSt Mary’s head office in Sydney for both official openings.

Displays and reps from our other majorsuppliers will be in attendance.

A BBQ lunch & refreshments will be provided.

The teams hope to see as many of Their customers there aspossible to welcome the new Dealer Principals of SINCOCK LVM and to talk to the decision makers within CASE IH.

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Pipe proposal ditched by LMW

FORMER first Mildura Irrigation Trust chair Jim Belbin has condemned Lower Murray Water for ditching a long-standing proposal to replace the L South trunk channel through Nichols Point with a pipeline.
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Kids in danger: Mildura irrigator Jim Belbin has hit out at Lower Murray Water for a “last minute” change to the proposal to replace the L South trunk channel through Nichols Point.

The L-South channel curves around the Nichols PointPrimary School’s southern boundary.

Although a high fence stands between the school and the channel, the open concrete channel is still considered a hazard to the town’s children.

Mr Belbin said the need to pipeline the channel to protect the primary school was the original basis of the proposal for $103 million in funding for the Sunraysia modernisation channel.

The project been part of FMIT’s master plan, and was still part of Lower Murray Water’s plan for the SMP as recently as May last year.

He said the proposal had been deleted at the last minute, without proper public consultation, in favour of an unspecified upgrade to the to Koorlong area’s K West channel.

For more of this story, purchase your copy of Friday’s Sunraysia Daily 03/10/2014.To subscribe to our Digital Edition Click here

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PARKO’S CALL: Rabbitohs v Bulldogs an unlikely match up

Show me a man who predicted before the start of the season that South Sydney would play Canterbury in the NRL grand final and I’ll show you a liar.
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South Sydney fans are looking to the heavens along with captain John Sutton and stars Greg Inglis and Sam Burgess to end the club’s 43-year premiership drought.

Seriously, it was against the odds to say the least.

In 2013, the Bulldogs finished sixth and went out first up in the semis to Newcastle – which probably says enough about their year.

As for Souths, well, there is a rumour doing the rounds that Channel 9 is going to broadcast Sunday’s grand final in black and white as to replicate the last time the Bunnies won a comp.

But as we get ready for the NRL’s biggest day, here we are, South Sydney against Canterbury Bankstown.

It feels like for the past five years every year has been Souths year.

Unfortunately, for long-suffering fans of the red and myrtles their team have kept falling at hurdles they should have bounded over.

But surely, this is it. They can’t lose this one. Can they?

They’ve got GI, they’ve got the Burgess clones and they’ve got possibly the most demanding, methodical coach going around.

In their two semi-finals they blew away a Manly team that had been the benchmark for most of the season and the Roosters who ended up taking out the minor premiership.

No one could argue Souths don’t deserve to be there, because they do. They destroyed the teams who finished first and second and have been there or thereabouts for most of the ­campaign.

And now, they play the team that ran seventh.

Now, I know it’s the NRL, and one of the ideas of the salary cap was to distribute the ­talent evenly, thus making the teams more even, and anyone can beat anyone on their day.

But Canterbury ran seventh. Out of 16 teams. And they ran seventh for a reason.

Surely there is no way Souths can muck this up.

On Sunday night about 9pm, if it is Souths who lift the trophy, it would wash away 43 years of heartache and frustration and finally give

one of the oldest and proudest Australian sporting clubs their moment to smile in the modern age.

But as a Dogs fan told me this week, this Canterbury team just doesn’t give up.

He gave them little chance of beating the Storm in Melbourne, or Manly a week later, or a well-rested Penrith on Saturday night.

Somehow, they just keep getting the job done.

It’d be a brave man to say they can’t do it again on Sunday.

Who will win?

Obviously no one can say for sure.

But whichever way it goes it has the makings of a classic.

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Street Ride looking forward to return

AKING THE WIN: Street Ride (number 4 with jockey in the lime green) crossing the line first in last year’s Darley Cootamundra Cup Photo: Kelly ManwaringLAST year’s Cootamundra Cup winner Street Ride will be back for another shot at the trophy this Sunday on the back of a good run of results.
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Trainer Gary Colvin says he is “keen to have another crack at it” after another first in Griffith on Saturday, September 13.

“He’s going really well, I’m happy with his work,” Gary said.

Racing officials have rated Cootamundra racecourse a good three, which Gary says won’t worry his horse even though he’s normally better on a slightly firmer track.

“He’s drawn five, it’s a nice draw, when he gets back then he gives back,” Gary said of the barrier draw.

Street Ride will be ridden by Michael Heagney, who is familiar with the horse and won on him in Wodonga two years ago.

Gary thinks his toughest competition will come from Canberra trainers like Barbara Joseph, whose horse Al Ahmar is one of the favourites for the Cup.

Barbara says Al Ahmar has been unlucky getting barrier 11 out of 13, but should still do well if he can get closer to the rail from the outside.

“He’s been a wonderful horse, he’s won 14 and he’ll be carrying 56kg which he can win with,” Barbara said.

“It’s hard to find races for him these days because he does carry so much weight but he should do well.”

Barbara is hoping for a little bit of rain but is happy there will still be plenty of grass and believes Sunday will be a great day before the NRL grand final.

She also has four horses riding on the day and will be vying for the $5000 bonus awarded to the trainer who wins the Cup and two other races.

Apprentice jockey Claire Gee will be riding Al Ahmar following her win on him in Canberra just over a month ago.

Claire has been riding in place of Carly Frater following Carly’s injury in the horror three-horse fall in Wagga on August 22.

Local trainer Richard Coulton is competing in three races on the day, including Jack I Am in the Mick Donoghue Memorial maiden 1400m.

Richard won this event last year with Vindough Boy, who is owned by Cootamundra Turf Club president Brad Shields.

Tricia Anderson is also entering Cousin Bonnie in the Mick Donoghue Memorial and Doskabel in the Stewart Anderson Memorial 1100m maiden plate.

George Dimitropolous rounds out the local entries with Zakynthos Kate in the class one 1600m maiden plate.

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Movie review: Gone Girl

GONE GIRL: Ben Affleck and Rosamund Pike star in this ambitious thriller with a twist.GONE GIRL
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Stars: Ben Affleck, Rosamund Pike

Director: David Fincher

Screening: General release

Rating: ★★★

GILLIAN Flynn’s 2012 novel Gone Girl was one of those rare books with something for everyone: both an ingenious thriller (the plot is worthy of Wilkie Collins) and an up-to-date satire on the battle of the sexes, sparing neither male smugness nor pseudo-feminist sanctimony.

Though Flynn’s prose may be more smart-alecky than witty, her sharpest jibes cut deep, as in the legendary passage dissecting the male fantasy of the Cool Girl – the kind of chilled-out hottie who maintains her ultra-feminine appeal while cursing and guzzling hot dogs like one of the guys.

Clearly Gone Girl was always going to be a movie, whatever challenges for the would-be adapter might be posed by its convoluted dual-narrator structure.

In the event, the very capable script was written by Flynn herself, presumably with some input from director David Fincher, one of the most distinctive artistic personalities in today’s Hollywood.

Like every other ambitious American male filmmaker of a certain age, Fincher wants to be Stanley Kubrick, which is to say both an uncompromising artist and a showman capable of reaching the widest public.

In Fincher’s case, this often means snapping up the rights to racy bestsellers – earlier examples include Fight Club and The Girl With The Dragon Tattoo – which he can film with outward fidelity while pursuing more secretive aesthetic goals.

In a phrase, Gone Girl could be summed up as a film about image management, a central concern for characters and filmmaker alike.

The protagonists – both sometime media professionals – are ‘‘types’’ who recognise themselves as such: Nick Elliott (Ben Affleck) is the regular guy who woos and wins golden girl Amy Dunne (Rosamund Pike), then takes her back to his Missouri home town, where their marriage falls apart.

When she vanishes one morning, Nick becomes a suspect in her murder – and as viewers, we’re given no guarantees about whom we should believe, though entries from Amy’s diary, dramatised in flashback, fill in some of the puzzle pieces.

Fincher’s style has changed little since Zodiac, now identifiable as his first ‘‘mature’’ film: tungsten lighting, limited camera movement, a sharp eye and ear for significant detail, and a funereal tone offset by fleet editing that compels us to pay attention or risk missing a clue.

Once news of the disappearance goes public, TV pundits and everyday folk are equally quick to take sides – Team Amy or Team Nick? – even as the viewer is made to suspect that both parties have plenty to hide.

As narrators of the book, Nick and Amy address the reader directly, commenting on the distance between their public and private selves.

While Fincher can’t replicate this effect on film, he achieves an equivalent kind of irony simply by putting the naturally smarmy Affleck in a role that capitalises on the unbelievability of his good-guy screen persona.

Other instances of stunt casting are comparably astute, from Tyler Perry as a purring defence attorney to Neil Patrick Harris as the kind of well-spoken nutcase John Lithgow used to play for Brian de Palma.

With a fraction of Affleck’s screen time, Pike has a much trickier role: she has to be poised and opaque, calm but with hints of treacherous depths.

Floating through the narrative like a ghost, she embodies the aloofness that is both the film’s strength and its weakness.

Admirably, Fincher is not at all interested in the cliche of the glamorous femme fatale – but nor can he summon any trace of the romantic-comedy warmth that would give us an emotional investment in Nick and Amy’s relationship before things go downhill.