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- Read TCM's article on Citizen Kane
Following the death of a once powerful millionaire, a reporter begins to research his life, looking for clues to the dying man's last remark, 'Rosebud.' As the reporter begins tracing the life of Charles Foster Kane from his early years as the ward of Walter Parks Thatcher (George Coulouris), a wealthy banker, to his monumental career as a newspaper publisher, he interviews several of Kane's former friends and colleagues. Among them are Jedediah Leland (Joseph Cotton), the paper's drama critic, Mr. Bernstein (Everett Sloane), Kane's devoted assistant, and Susan Alexander (Dorothy Comingore), Kane's second wife. Their memories of the famous tycoon paint an, often contradictory, portrait of an arrogant, intelligent, sometimes generous, and impulsive individual who ended up alone and unhappy in his palatial mansion known as Xanadu. The identity of "Rosebud" is revealed in the final moments of the film, but it's importance to Kane remains a mystery.
Producer/Director: Orson Welles
Screenplay: Herman J. Mankiwiecz, Orson Welles, John Houseman (uncredited)
Art Direction: Van Nest Polglase, Perry Ferguson (associate)
Cinematography: Gregg Toland
Costume Design: Edward Stevenson
Editing: Robert Wise
Original Music: Bernard Herrmann
Cast: Orson Welles (Charles Foster Kane), Joseph Cotton (Jedediah Leland), Dorothy Comingore (Susan Alexander), Agnes Moorehead (Mrs. Mary Kane), Ruth Warrick (Emily Norton Kane), Ray Collins (Boss James "Jim" W. Gettys), Herbert Carter (Everett Sloane).
BW-120m. Closed captioning. Descriptive video.
Why Citizen Kane is Essential
Controversy has long swirled around the authorship of the screenplay for RKO's Citizen Kane (1941), which brought Oscars® to Herman J. Mankiewicz and Orson Welles. As the film was being prepared for release, Welles attempted to claim sole credit and acknowledged the contributions of Mankiewicz only after being forced to do so by the Writers Guild. Critic Pauline Kael, in her 1971 The Citizen Kane Book, revived the debate with her carefully detailed argument that it was Mankiewicz who was primarily responsible for the screenplay, from inception of the idea through the shooting script. And just what was the extent of the uncredited contribution of frequent Welles associate John Houseman? Whatever the balance of the collaboration, this much is known: When Mankiewicz and Welles began work on the script, it was titled American, and its central figure was an even more thinly veiled caricature of publishing magnate William Randolph Hearst than appears in the completed film.
Welles' imaginative storytelling skills as a director were reinforced by magnificent performances, beginning with his own in the title role, and groundbreaking techniques in photography, editing and sound. But when the film's highly guarded subject matter was at last revealed at previews in February 1941, Hearst reacted with outrage, forcing repeated postponements of Citizen Kane's premiere with threats of libel and blocking the mention of the film in any of his newspapers. The movie finally opened on May 1, 1941, to brilliant notices. However, pressure from Hearst and his friends in the film industry kept it out of many theaters, and it proved too sophisticated for small-town audiences. The film closed its first run with a loss of some $150,000. It was only after World War II, when it resurfaced in Europe and then on American television, that Citizen Kane took its rightful place as a cinematic masterpiece.
In addition to a Best Original Screenplay Oscar® nomination, Citizen Kane won Academy Award® nominations in eight other categories: Best Picture, Actor (Welles), Director (Welles), Black and White Cinematography, Interior Decoration, Sound Recording, Scoring of a Dramatic Picture and Film Editing. In what now seems an irony, since the film is considered by many the greatest ever made, the screenplay award was its only Oscar® - and some audience members at that year's Academy Awards® ceremonies, allegedly influenced by Hearst columnist Louella Parsons, booed the announcement of that victory.
by Roger Fristoe
Citizen Kane (1941)
Pop Culture 101 - CITIZEN KANE
When Pauline Kael annotated the similarities between Citizen Kane and Mad Love (1935) in a 1971 New Yorker article on the Welles classic, curious moviegoers made a point to seek out the Peter Lorre horror film. Welles' deployment of certain visual elements (whether intended or not) from Mad Love cannot be denied, from the makeup to the use of a white cockatoo. It's also more than a coincidence that cinematographer Gregg Toland worked on both films.
What set Mad Love apart from other Hollywood horror films of the thirties was the disturbing Expressionist style of director Karl W. Freund. A key German Expressionist cinematographer who had shot The Last Laugh (1924), Metropolis (1927), and Dracula (1931), Freund made his directorial debut with the classic chiller, The Mummy (1932).
As expected from a director who apprenticed at the feet of masters like F.W. Murnau and Fritz Lang, Freund applied many of Expressionism's stylistic trademarks, including chiaroscuro lighting, surreal set design, and extreme camera angles. The film's look was a remarkable achievement, given Freund's conflicts with his two different cinematographers, Chester A. Lyons and Gregg Toland. Film critic Pauline Kael attributed much of Toland's later brilliance in Citizen Kane (1941) to the influence of his earlier work on Mad Love.
A documentary about the battle between Orson Welles and William Randolph Hearst over the production and release of Citizen Kane was the subject of The Battle Over Citizen Kane (1996), an Oscar®-nominated film for Best Documentary. And the fictionalized story of RKO 281 (the production number assigned to Citizen Kane), a 1999 cable television film, was at one time slated as a feature film that was to be directed by Ridley Scott. As it turned out, Ridley and brother Tony Scott's Free Productions produced the film for HBO. In February 2001, Turner Classic Movies premiered Captured on Film: The True Story of Marion Davies (2001). This original documentary sets the record straight about Ms. Davies' considerable talent and the vast differences separating her from the fictional Susan Alexander Kane.
Of course, Citizen Kane has not escaped the lampooning eye of prime-time television's longest-running satire, The Simpsons. In the March 18, 1993 episode (#1F01) entitled "Rosebud," misanthropic billionaire Montgomery Burns is severely depressed on his birthday and longs for his lost childhood teddy bear, Bobo, an allusion to Kane's Rosebud. The opening shot of Burns Manor parodies Citizen Kane's opening of the "no trespassing" sign by adding a few new signs: "Warning, Keep Out," "Danger, Electrified Fence," "Trespassers Will Be Shot," and "Free Kittens, Inquire Within." The scene in which Burns breaks snow globes riffs on Citizen Kane, as well.
Director Steven Spielberg paid homage to the famous ending of Citizen Kane with the epilogue to Raiders of the Lost Ark (1981). After a full two hours of watching Indiana Jones pursue the elusive Lost Ark of the Covenant, the priceless artifact is ignominiously and unceremoniously crated and buried in a vast warehouse, much like the fate of "Rosebud" at the end of Citizen Kane.
by Scott McGee
Citizen Kane (1941)
CITIZEN KANE - Trivia and Other Fun Stuff
Citizen Kane was withdrawn from general release after a year, eventually reflecting a loss of $150,000. But TV revived the film's fortunes, after it became one of the first films to be sold to television. With numerous airings, the film found a newer, wider audience and earned the praise once denied it because of the influence welded by the Hearst empire.
Joseph Cotten made his screen debut as Kane's life-long friend, Jedediah Leland. The part was modeled on two well-known show biz personalities: Cotten's own agent, Leland Hayward, and producer Jed Harris. Cotten later showed a propensity (or maybe it was just blind luck) for starring or co-starring in some of the cinema's landmark films. He appeared in several more Orson Welles projects, including The Magnificent Ambersons (1943), Touch of Evil (1958), and he co-starred with Welles in director Carol Reed's The Third Man (1949). Alfred Hitchcock used him with chilling effect in Shadow of a Doubt (1943). In addition to the pivotal role in Citizen Kane, Cotten also shows up as one of the reporters watching the newsreel at the beginning of the flick. Look closely or you'll miss him.
Other actors making their screen debuts in Citizen Kane: Agnes Moorhead, Everett Sloane, Dorothy Comingore, Ruth Warrick, George Couloris, Paul Stewart, Ray Collins, and Orson Welles. Future movie star Alan Ladd made his debut as well, playing one of the shadowy reporters glimpsed at the beginning of the flick. He can also be seen more prominently at the end of the picture when chief reporter William Alland sums up his findings. Ladd holds a pipe and his hat is slightly cocked on his head. Ladd would hit the big time the very next year as Raven the hitman in This Gun For Hire (1942).
William Alland plays Thompson, the chief reporter investigating the mystery of "Rosebud." Alland was an actor and former stage manager for Orson Welles' Mercury Theater and assistant director of that company's radio series. He also served as dialogue director for Citizen Kane. After appearing for Welles in The Lady From Shanghai (1948) and Macbeth (1948), Alland turned to producing in 1952. Among his credits are such science fiction classics, as It Came From Outer Space (1953), The Creature From the Black Lagoon (1954), This Island Earth (1955), The Mole People (1956), and The Deadly Mantis (1957).
Gossip columnist Louella Parsons believed that Charles Foster Kane was a thinly veiled, slanderous portrait of her boss, William Randolph Hearst. As a consequence, Parsons successfully motivated her boss to declare war on RKO, Orson Welles, and Citizen Kane with a total boycott of the film's advertisement in all Hearst-owned and operated newspapers and media outlets. This move severely disrupted the film's release and damaged its box office potential, despite generally glowing critical reviews. Oddly enough, Hearst strangely enjoyed the film as a treatise on him and his empire, but he could not tolerate how his mistress, Marion Davies, was reflected in the Susan Alexander Kane character.
Further opposition was mobilized against Welles by a coalition of Hollywood studio moguls that were whipped into a frenzy by Louella Parsons. Personally, bigwigs like Jack Warner, David O. Selznick, or Harry Cohn were not threatened by the film, but they did feel heat from Parsons and her boss, W.R. Hearst. Apparently, they were not sure what incriminating evidence, if any, Parsons had on them and any of their contracted stars. The ringleader of this coalition was MGM boss Louis B. Mayer, who went a long way back with Hearst, all the way to when Marion Davies was a box office draw at MGM. Mayer and other studio heads pooled their resources and approached RKO president George Schaefer with a bid of upwards of $800,000 to buy and then burn the negative and all the prints. This was a tempting offer since the near-million would have provided RKO with a tidy profit on their initial investment and would have looked much more attractive to the stockholders than the black-eye the studio was receiving in Hollywood and in Hearst's newspapers. However, backed by RKO's benefactor in New York, Nelson Rockefeller, Schaefer turned the offer down, and countered the offer by threatening a lawsuit. The coalition, fearful of reprisals the studios couldn't afford, backed down. Parsons and company kept the heat turned up on Welles, even going so far as to get the federal government involved when allegations of Welles' political leanings were called into question.
Welles denied that Kane was wholly drawn from Hearst: "It is not based upon the life of Mr. Hearst or anyone else. On the other hand, had Mr. Hearst and similar financial barons not lived during the period we discuss, Citizen Kane could not have been made." Welles' partial portrait of Hearst was close enough to the mark to draw a 1948 lawsuit against the boy wonder director from Ferdinand Lundberg, author of Imperial Hearst, A Social Biography, published in 1936. The suit was settled out of court.
On the same night Citizen Kane opened in San Francisco, Orson Welles found himself sharing a hotel elevator with none other than William Randolph Hearst. Welles introduced himself and asked Hearst if he would like to come to the opening of the picture. Hearst maintained an icy silence. As Hearst got off the elevator, Welles said, "Charles Foster Kane would have accepted."
In 1971, film critic Pauline Kael argued that it was Herman Mankiewicz's script that pushed the film into the pantheon of great American movies. She implied that Welles' own credit as screenwriter was inaccurate. Filmmaker and critic Peter Bogdanovich answered in favor of Welles. The two writers traded barbed comments and well-documented arguments in print, essentially duking it out as surrogates for their heroes. The debate over who was right continues today.
Louella Parsons wrote in her autobiography Tell It to Louella, twenty years after the release of Citizen Kane, "I believe I have carried only one grudge for any length of time and that was against Orson Welles...I am still horrified by the picture...The boy genius certainly used all his talents just to do a hatchet job." Part of the reason Parsons was so incensed by Welles and his movie is that she considered herself a friend of his family in Grande Tour, Illinois. When she caught wind that Welles' first picture at RKO was going to be about her boss, W.R. Hearst, she dialed him up. He assured her that the picture was "about a completely fictional publisher." But then he surprised Parsons by showing her chief rival, Hedda Hopper, a personal screening of the unfinished picture. According to Parsons, Hopper couldn't wait to tell Hearst that his own gossip watchdog failed him. Because of Welles' perceived double cross and the embarrassing situation she fell into, Parsons and a flood of black ink fell upon Citizen Kane, damaging its box office take severely. Meanwhile, Hopper became Welles' biggest Hollywood booster with a six-part radio program glorifying Welles' life and accomplishments.
Steven Spielberg paid $55,000 for one of the three original Rosebuds in 1982. Spielberg made the purchase by telephone during an auction at Sotheby's in New York City. While one of the duplicate sleds had been burned as part of the movie's ending, some sources say that two sleds were destroyed for the cameras, leaving only one sled left. But according to others, one of the remaining Rosebuds was given to Tom Mankiewicz, the son of Herman Mankiewicz, who had co-written the film with Welles.
Although their union was a well-known fact, Hearst's long extra-marital relationship with Marion Davies was never mentioned in Hollywood papers, even in Hearst's rival scandal sheets.
Legend has it that Herman Mankiewicz used "Rosebud" as an inside joke, because as a friend of Marion Davies, he knew "rosebud" was William Randolph Hearst's pet name for the most intimate part of her anatomy. This possibility was given some credence in an essay written for the New York Review of Books by Gore Vidal, a close friend of Hearst.
In the famous dinner table montage, Emily refers to an unidentified, "ghastly" or "dreadful" gift given to Kane's infant son by Mr. Bernstein. Although the object is never identified or referred to again, some film scholars think that Emily is referring to a Jewish symbol, such as a Menorah or a Star of David. Given Emily's blue-blood background and the prejudices of the era, it is likely that the script is hinting at a deep-rooted anti-Semitism.
When Welles was asked by friends how Kane's last words could have been heard when he died alone, Welles reportedly stared for a long time before saying, "Don't you ever tell anyone of this."
While their past histories were extremely rocky, Orson Welles wrote a glowing foreword in 1975 for Marion Davies' memoir, The Times We Had: Life with William Randolph Hearst. Welles maintained in the three-page introduction that the fictional character of Susan Alexander "bears no resemblance at all" to Marion Davies. Welles admits that he contributed to the misinterpretation of Davies' career but that he reveled in the ability to set the record straight. He proclaimed: "Marion Davies was one of the most delightfully accomplished comediennes in the whole history of the screen. She would have been a star if Hearst had never happened. She was a delightful and very considerable person. The proof is in this book, and I commend it to you."
William Randolph Hearst III said in 1985 that he enjoyed Citizen Kane and that Welles could visit his grandfather's San Simeon estate anytime he pleased - "on my tab."
One of Hollywood's greatest screenwriters commenting on one of Hollywood's greatest directors: "There but for the grace of God, goes God." - Herman Mankiewicz on Orson Welles.
Many scenes in Citizen Kane were shot during arduous, all night shoots. Many times after pulling a difficult all-nighter, Welles and the rest of the cast and crew would sit on the curb at RKO and drink cocktails at 6:30 a.m., instead of 6:30 p.m. when every other "normal" Hollywood actor or crew member would break for refreshment.
Welles ran the film across cheesecloth to make the newsreel on Kane's death look as rough as the real thing.
There is a sparing use of facial close-ups in the film. The Mercury Theater Players' style of theatrical gestures and mannerisms were unsuited to studio intercutting of close ups.
Dorothy Comingore was pregnant at the time of filming. This required much preparation and camera trickery from cinematographer Gregg Toland.
The scene of the reporters watching the newsreel was filmed in an RKO projection room. Susan's nightclub was a set normally used for Westerns.
It has been estimated that up to 80% of the shots in Citizen Kane employ some degree of trickery or special effects.
The use of the subjective camera, where the camera lens takes on an omniscient movement, is seen in the opening segments of the film and in the camera pan into Susan's nightclub. Welles was planning to use the first person point of view camera throughout his initial RKO project, an aborted attempt at adapting Joseph Conrad's Heart of Darkness. However, once the budget bloomed beyond the confines of RKO's bank account, Welles abandoned the project but still used the subjective camera method in parts of Citizen Kane. Hollywood actor Robert Montgomery later used this device in his directorial debut, an adaptation of Raymond Chandler's Lady in the Lake (1946).
Gregg Toland's greatest contribution to the production was his use of deep focus photography. The term refers to a strategy of lighting, composition, and lens choice that allows everything in the frame, from front to back, to be in focus simultaneously. With the lighting and lenses available in 1941, this was just becoming possible, and Toland had experimented with deep focus in John Ford's The Long Voyage Hom (1940). Toland had been particularly devoted to the deep focus lensing pioneered by James Wong Howe's work in Transatlantic (1930) and developed his craft with such classics as Les Miserables (1935), The Grapes of Wrath (1940), and Wuthering Heights (1939).
The interiors of Kane's Xanadu are based on magazine photos of San Simeon, where Welles and Mankiewicz had both been guests. The exteriors are said to be based on the castle in Snow White and the Seven Dwarfs (1937).
Famous Quotes from CITIZEN KANE
Charles Foster Kane: As Charles Foster Kane who owns eighty-two thousand, six hundred and thirty-four shares of public transit - you see, I do have a general idea of my holdings - I sympathize with you. Charles Foster Kane is a scoundrel. His paper should be run out of town. A committee should be formed to boycott him. You may, if you can form such a committee, put me down for a contribution of one thousand dollars.
Susan: Forty-nine acres of nothing but scenery and statues. I'm lonesome.
Thompson: Mr. Kane was a man who got everything he wanted, and then lost it. Maybe Rosebud was something he couldn't get, or something he lost. Anyway, I don't think it would have explained everything. I don't think any word can explain a man's life. No, I guess Rosebud is just a piece in a jigsaw puzzle... a missing piece.
Charles Foster Kane: You know, Mr. Bernstein, if I hadn't been very rich, I might have been a really great man.
Thatcher: Don't you think you are?
Charles Foster Kane: I think I did pretty well under the circumstances.
Thatcher: What would you like to have been?
Charles Foster Kane: Everything you hate.
Charles Foster Kane: Hello Jedediah.
Leland: Hello, Charlie. I didn't know we were speaking...
Charles Foster Kane: Sure, we're speaking, Jedediah - you're fired.
Emily: Really Charles, people will think-...
Charles Foster Kane: ---what I tell them to think.
Bernstein: President's niece, huh? Before Mr. Kane's through with her, she'll be a president's wife.
Emily: He happens to be the President, Charles, not you.
Charles Foster Kane: That's a mistake that will be corrected one of these days.
Bernstein: There's a lot of statues in Europe you haven't bought yet.
Charles Foster Kane: You can't blame me. They've been making statues for some two thousand years, and I've only been collecting for five.
Charles Foster Kane: You're right, I did lose a million dollars last year. I expect to lose a million dollars this year. I expect to lose a million dollars *next* year. You know, Mr. Thatcher, at the rate of a million dollars a year, I'll have to close this place in... 60 years.
Compiled by Scott McGee
Citizen Kane (1941)
The Big Idea Behind CITIZEN KANE
Orson Welles' patented recipe for creating the character, Charles Foster Kane, included these ingredients:
- one gallon of William Randolph Hearst, the billionaire newspaper baron whose waning power and influence left him vulnerable to young upstarts like the 25 yearold Orson Welles.
- two quarts of Orson Welles himselfaccording to John Houseman, the Mercury Theater cofounder and a producer on Citizen Kane, Charles Foster Kane was based largely on Welles. Houseman points out the scene where Kane demolishes Susan's dressing room. He maintains that the scene "was definitely inspired by the great final scene of separation between Orson and me when he threw four flaming dish warmers at me. The same kind of insane destruction at the loss of something that he really felt very strongly about was used there..." Furthermore, Kane's early life, his appetite, and his ascendancy to power resembles Welles more more than it does Hearst.
- 2/3 cup of munitions magnate Basil Zaharoff.
- 1/2 cup of millionaire stock swindler Ivar Kreuger.
- 4 tablespoons of Jules Brulatour, the Kodak chief who tried to turn his wife into a respected opera singer.
- 2 tablespoons of Henry Luce, founder of Time magazine. Although Citizen Kane was seen as an attack on W.R. Hearst, it also took aim at Luce's concept of faceless group journalism, as then practiced in Tim and the March of Time newsreels, which the "News on the March" deliberately parodies. The reason you do not see any of the reporters is that Welles and Mankiewicz were ribbing the anonymity of Luce's writers and editors.
- 10 ounces of Chicago newspaper czar Harold McCormick (of the Chicago Tribune family), who left his wife, Edith Rockefeller McCormick, after being seduced by a Polish prima donna named Ganna Walska. McCormick was the chief sponsor of the Chicago Opera Company and used his influence to have Walska cast in the opera Zaza. Frances Alda, one of the most expensive voice coaches in the world, was hired to make a singer out of Walska, a task that was in vain because Walska had an awful voice, and Zaza went down as one of the bigger disasters of 1920. Eventually, Walska walked out on McCormick, but he chased her to Europe where she convinced him that the only way to cure his impotence problem was to have thyroid glands from monkeys transplanted into his own body by a European quack. Word has it that Welles was fascinated with this story in his youth.
- Add a pinch of plot similarity to I Loved a Woman (1933), a story about a millionaire merchant who collects artwork and sponsors a struggling opera singer, and profits from selling $50 million dollars' worth of spoiled meat to soldiers in the SpanishAmerican War.
- Sprinkle a dash of flashback technique which was used in both A Man to Remember (1938), the story of a country doctor and his career, and The Power and the Glor (1933), starring Spencer Tracy as a railroad employee who rises to become the wealthy president of the company.
- Set the patented RKObrand production oven to bake. Cook for several months. Serve to public on May 1, 1941.
by Scott McGee
Citizen Kane (1941)
Behind the Camera on CITIZEN KANE
Orson Welles brought New York actress Ruth Warrick out to Hollywood to test for the part of Emily Norton Kane. He tempted her by telling her that he was looking for a real lady, a woman of charm and good upbringing, to play the part. He was not looking for someone who could act like a lady, but an actual lady. After several tests of Hollywood actresses, Welles came to the conclusion that "there are no ladies in Hollywood." Warrick flew out for a screen test and was awarded the part.
The excesses that Welles exhibited during production offer a glimpse of the madness behind his method. According to Ruth Warrick, the actress who portrays Emily Norton Kane, Welles was not in good shape at the beginning of production. When principal photography began, Welles was suffering from the effects of caffeine poisoning as the result of consuming thirty to forty cups of coffee a day. Welles then switched to tea, figuring that the hassle of having to brew the beverage would naturally limit his intake. But Welles had someone on call to brew the tea for him, and within two weeks, Welles was the color of tannic acid. It was also reported that he would go for long periods without eating, then put away two or three large steaks with side items at one sitting.
During the violent rampage through Susan Alexander's bedroom, Welles badly gashed his left hand. Luckily, the camera did not capture his injury or else expensive retakes would have been in order. Welles also spent some time in a wheelchair, due to an injured ankle sustained when he fell down the staircase in the scene between Kane and Boss Gettys (Ray Collins). This untimely accident forced Joseph Cotten to jump feet first into his first and most important scene, the interview between the aged Jed Leland and the reporter. Poor Joe had to start shooting without a finished script or any idea when he would have to report to the set in order to have the old age makeup applied: 4:00 a.m. Cotten shot the scene in one day, but had to return a few days later to re-shoot the scene, due to an unconvincing wig. While the makeup artists were making a new wig for the scene, Cotten went to Tex's Tennis Shop and bought a tennis sun visor that his character eventually wore throughout the scene.
The cast of Citizen Kane enjoyed a close camaraderie with director Orson Welles and with each other, with the exception of Dorothy Comingore (Susan Alexander Kane). Welles treated her with contempt on the set, while showing only courtesy to Ruth Warrick, who played the first Mrs. Kane. Warrick objected to the shabby treatment that was obvious to everyone on the set. But Welles explained, "I treat her that way because she's got to hate my guts when we get to the later scenes. When she yells and screams and finally walks out on me, I want her to feel every bit of it in her bones." Warrick argued that an actress does not have to suffer real abuse in order to show those emotions. But Welles said, "That's just the point. She is not an actress. She is Susan Alexander, and she'll probably end up just like the woman she's playing. I'm not mistreating her. I treat her exactly as she expects to be treated. She wouldn't respect anything else." Comingore's subsequent life played out like a bad melodrama. Her film career after Citizen Kane came to a grinding halt when she was blacklisted in 1951 for her affiliation with known Communist Party members. Her final film was The Big Night (1951), directed by Joseph Losey (also blacklisted). Her personal life was also rocky. A few years after the release of Citizen Kane, her marriage failed. Once her ex-husband won custody of their children, Comingore became an alcoholic and frequented nightspots, telling willing patrons her tales of woe. It was later reported that she was arrested for solicitation on Hollywood Boulevard. Her sad life came to an end in 1971.
Many scenes in Citizen Kane were shot during arduous, all night shoots. Many times after pulling a difficult all-nighter, Welles and the rest of the cast and crew would sit on the curb at RKO and drink cocktails at 6:30 a.m., instead of 6:30 p.m. when every other "normal" Hollywood actor or crew member would break for refreshment.
Gregg Toland used faster film and much more powerful lighting that made it possible to get deep focus shots. Toland also used a self-blimped (self-muffling) camera, which meant that Welles had the freedom of greater camera movement. Some historical and critical accounts credit Welles for being the first to place ceilings prominently in shots. While Welles certainly used these extreme low-angle shots to great effect, going so far as to dig a hole in the soundstage floor to get a low enough angle, he most likely got the idea from John Ford's Stagecoach (1939). Welles has admitted that he learned filmmaking from Ford and Stagecoach in particular. He claimed to have watched the film 40 times during the production of Citizen Kane. Once asked whom he considered his influences, Welles remarked, "The old masters, by who I mean John Ford, John Ford, and John Ford."
In the scene where Kane and his entourage set off for the beach from Xanadu, large birds are seen flying across the background. In fact, the background was lifted from a science fiction film to reduce costs, and the birds are, in fact, pterodactyls. The prehistoric beasties were probably lifted from either King Kong (1933) or Son of Kon (1933).
Despite the enormous controversy surrounding Citizen Kane, the film actually passed the review of the Hays Office, the self-regulatory censorship office that set production codes in Hollywood. It's actually surprising that the film passed without incident, given the power that someone like William Randolph Hearst could have brought to bear on such an organization.
Susan Alexander Kane's disastrous debut in the opera world is accompanied by a libretto written not by the film's composer, Bernard Herrmann, but by producer John Houseman. According to Houseman, Herrmann had decided not to use a scene from a standard opera but to create one on his own. He decided that it should be a French opera and asked Houseman to write it. Houseman hurriedly assembled a mixed bag from Racine's "Athalie", "Phe," and others. It did not make any sense. As lip-synched by Dorothy Comingore, the opera is barely intelligible, but Welles built one of the film's most visually striking sequences.
Screenwriter Herman J. Mankiewicz wrote the balance of the screenplay for this film from a hospital bed recovering from an illness. But his poor health was the least of his worries. Welles eventually tried to claim sole credit for the screenplay, an action that Mankiewicz was determined to prevent. He countered with arbitration with the Screen Writers Guild, the organization that settles disputes over screenwriting credit. The Guild ruled in favor of Mankiewicz and he won top billing over Welles' name on the title card.
The true unsung hero behind the production of Citizen Kane is an artist named Perry Ferguson, the primary creator of the ornate sets and the film's dazzling art direction. While Van Nest Polglase was RKO's administrative head of the art department, it was Ferguson who Welles hired to create sets that looked expensive, but were wholly reflective of the film's severely limited budget. Ferguson ended up doing his job so well that Citizen Kane remains a textbook example to this day of how to function creatively under severe budgetary constraints. Indeed, when Welles reported to RKO studio chief George Schaefer, he proudly stated that the film is deceptively much less expensive than it looked on the screen. And speaking of Schaefer, he too deserves plenty of accolades for standing up courageously for Welles and the film in front of his fellow studio chiefs and the RKO board of directors.
by Scott McGee
Citizen Kane (1941)
The Critics' Corner on CITIZEN KANE
The major newsweeklies had glowing remarks for Citizen Kane. Time (March 17, 1941) called the film "the most sensational product of the U.S. movie industry. It has found important new techniques in picture making and story-telling. Artful and artfully artlessit is a work of art created by grown people for grown people." Not to be undone, The Nation hailed the picture in its April 26, 1941 issue as "probably the most original, exciting, and entertaining picture that has yet been produced in this country." John O'Hara's review in Newsweek (March 17, 1941) commented on the Hearst empire blackout that would prohibit many viewers from seeing the picture: "It is with exceeding regret that your faithful bystander reports that he has just seen a picture which he thinks must be the best picture he ever saw... It lacks nothing." Of course, not everyone thought so highly of the film. A review for The New Republic (June 2, 1941) found the film unexceptional and felt it held "no great place" in the annuals of cinema.
"..no one will dispute that Kane is still regarded as Welles's most important film. In technical virtuosity and dramatic structure it is the most influential work of the sound era, the picture to which not only Welles films but all films must, inevitably, be compared. Kane is a cinematic reference point which should be seen over and over again to learn the language of film, to learn its potential as a storytelling medium and as an outlet for personal and artistic expression." - Danny Peary, Cult Movies.
Citizen Kane has the dimensions of a tragedy, but the tragedy is expressed in a dazzling cluster of cinematic metaphors and devices. Quite suddenly, in 1941, the cinema comes of age, with a film that - triumphantly, vividly - proclaims its independence and its mesmeric fascination." - Peter Cowie, Eighty Years of Cinema.
"The essence of the film lies in its story, comparable to a great modern novel, and in its often expressionistic style. It studies Kane from every aspect, accentuating his egotism and his loneliness. Welles (who himself had some of Kane's characterics incarnated Kane and, despite some misuse of make-up, is an imposing presence who pushes all the other actors...into the background." - Georges sadoul, Dictionary of Films.
Awards & Honors
In 1998, Citizen Kane is voted the #1 film of all time by the American Film Institute.
In a poll of 250 of the world's film critics' "Ten Best Lists" conducted every ten years, Sight and Sound, a reputable film magazine published by the British Film Institute, Citizen Kane placed first in the 1992 poll. It held that top spot in the 1982, 1972, and 1962 poll. Ironically, it did not place at all in 1952's poll.
The other films on the 1992 list:
2. The Rules of the Game (Jean Renoir, 1939)
3. Tokyo Story (Yasujiro Ozu, 1953)
4. Vertigo (Alfred Hitchcock, 1958)
5. The Searchers (John Ford, 1956)
6. (tie) L'Atalante (Jean Vigo, 1934), The Passion of Joan of Arc (Carl Dreyer, 1928), Pather Panchali (Satyajit Ray, 1955), and Battleship Potemkin (Sergei Eisenstein, 1925).
10. 2001: A Space Odyssey (Stanley Kubrick, 1968).
While Citizen Kane is now routinely considered the benchmark of excellence in American filmmaking, the Academy Awards® didn't think so highly of the film in 1941. Nominated for nine Academy Awards® including Best Picture, Actor (Orson Welles), Director, Score (of a Dramatic Picture), Cinematography (Black-and-White), Art Direction/Interior Decoration (Black-and-White), Sound Recording, and Film Editing, the film walked off with only one Oscar® - for Best Original Screenplay. The film even earned a chorus of "boos" when the nominations were first announced. Welles himself was granted an honorary Academy Award® in 1970, for "superlative artistry and versatility in the creation of motion pictures."
Perhaps the film's most unique superlative can be found in film reviews for other films. When a film is praised as being the best in its class, some critics reference the Orson Welles masterpiece, as in one review for Bab (1995) that hailed the sweet fantasy as "the Citizen Kane of pig movies."
Celebrated writer-director Preston Sturges presented the Academy Awardreg; for Best Original Screenplay to Herman Mankiewicz and Orson Welles on February 26, 1942 in Los Angeles. The victorious duo was not present though, so RKO chief George Schaefer accepted on its behalf. Mankiewicz stayed home that night because, as his wife explained, "He did not want to be humiliated. He thought he'd get mad and do something drastic when he didn't win." Had the Hollywood veteran been there, he would have been glad to hear a chorus of people screaming, "Mank! Mank! Mank! Mank!" Still, many people booed the winners. But according to Louella Parson's biographer George Eells, "Privately, many of the same people who booed conceded that it was a superb film but the popular stance was to pretend disapproval."
Compiled by Scott McGee
Citizen Kane (1941)
Controversy has long swirled around the authorship of the screenplay for RKO's Citizen Kane (1941), which brought Oscars to Herman J. Mankiewicz and Orson Welles. As the film was being prepared for release, Welles attempted to claim sole credit and acknowledged the contributions of Mankiewicz only after being forced to do so by the Writers Guild. Critic Pauline Kael, in her 1971 The Citizen Kane Book, revived the debate with her carefully detailed argument that it was Mankiewicz who was primarily responsible for the screenplay, from inception of the idea through the shooting script. And just what was the extent of the uncredited contribution of frequent Welles associate John Houseman? Whatever the balance of the collaboration, this much is known: When Mankiewicz and Welles began work on the script, it was titled American, and its central figure was an even more thinly veiled caricature of publishing magnate William Randolph Hearst than appears in the completed film.
Welles' imaginative storytelling style as a director was reinforced by magnificent performances, beginning with his own in the title role, and groundbreaking techniques in photography, editing and sound. But when the film's highly guarded subject matter was at last revealed at previews in February 1941, Hearst reacted with outrage, forcing repeated postponements of Citizen Kane's premiere with threats of libel and refusing to have the film mentioned in any of his newspapers. The movie finally opened on May 1, 1941, to brilliant notices. However, pressure from Hearst and his friends in the film industry kept it out of many theaters, and it proved too sophisticated for small-town audiences. The film closed its first run with a loss of some $150,000. It was only after World War II, when it resurfaced in Europe and then on American television, that Citizen Kane took its rightful place as a cinematic masterpiece.
Citizen Kane won Oscar nominations in eight other categories: Best Picture, Actor (Welles), Director (Welles), Black and White Cinematography, Interior Decoration, Sound Recording, Scoring of a Dramatic Picture and Film Editing. In what now seems an irony, since the film is considered by many the greatest ever made, the screenplay award was its only Oscar;and some audience members at that year's Academy Awards ceremonies, allegedly influenced by Hearst columnist Louella Parsons, booed the announcement of that victory.
Producer/Director: Orson Welles
Screenplay: Herman J. Mankiwiecz, Orson Welles, John Houseman (uncredited)
Art Direction: Van Nest Polglase, Perry Ferguson (associate)
Cinematography: Gregg Toland
Costume Design: Edward Stevenson
Editing: Robert Wise
Original Music: Bernard Herrmann
Principal Cast: Orson Welles (Charles Foster Kane), Joseph Cotton (Jedediah Leland), Dorothy Comingore (Susan Alexander), Agnes Moorehead (Mrs. Mary Kane), Ruth Warrick (Emily Norton Kane), Ray Collins (Boss James "Jim" W. Gettys), Herbert Carter (Everett Sloane)
BW-120m. Closed captioning. Descriptive video.
By Roger Fristoe


text:
What is Natural Gas?
Natural gas is one of the cleanest, safest, and most useful forms of energy in our day-to-day lives. Natural gas is a hydrocarbon, which means it is made up of compounds of hydrogen and carbon. The simplest hydrocarbon is methane; it contains one carbon atom and four hydrogen atoms.
Natural gas can be found by itself or in association with oil. It is both colourless and odourless and is in fact a mixture of hydrocarbons. An important safety feature for residential and commercial natural gas is the addition of an odorant so people can detect it by smell. Natural gas is mainly methane, the other hydrocarbons include ethane, propane, and butane. Water, oil, sulphur, carbon dioxide, nitrogen, and other impurities may be mixed with the gas when it comes out of the ground. These impurities are removed before the natural gas is delivered to our homes and businesses.Since natural gas is combustible and burns more cleanly than some other energy sources it is one of the most highly used energy sources.Natural gas can be measured in a variety of ways, although the most common unit of measurement is the Gigajoule (GJ), which signifies one billion joules, the metric measure for heat or energy. Other measures are Mcf (thousand cubic feet) and Btu (British Thermal Unit).
Natural gas is a fossil fuel. This means it originates from the remains of plants and animals that lived many millions of years ago. These organisms were buried and exposed to heat as a result of being highly compressed underneath thousands of metres of soil and rock. These forces transformed the once living organisms into natural gas.Natural gas is found in reservoirs beneath the surface of the earth. Large layers of rock trap the natural gas as it tries to float to the surface. Although the areas where the gas is trapped are referred to as pools, the natural gas molecules are actually held in small holes and cracks throughout the rock formation.Geologists, using sophisticated technology, help locate potential pools of natural gas, so they know where to drill a well to extract gas. However, due to the complexity of locating natural gas trapped many metres, and sometimes kilometres, below the surface, the exploration process is not always successful.Once removed from an underground reservoir, the natural gas is usually transferred to a gas processing plant to remove impurities and by-products. Some of these by-products, including ethane, propane, butane, and sulphur (usually from
sour gas), are extracted for other uses. After being processed, the clean natural gas (almost pure methane) is transported through a network of pipelines and delivered to its point of use, including our homes.
Residential:We require energy on a constant basis to heat our water, cook our food, warm our homes, and generate our electricity. Natural gas is one of the least expensive forms of energy available to Alberta residential consumers. The most common use for natural gas around the home is for furnaces and hot water tanks. Natural gas can also be used to operate various household appliances, including stoves, clothes dryers, fireplaces, and barbecues. Through the use of natural gas, we can be sure our homes are operating efficiently, safely and economically.Commercial:Schools, office buildings, hotels, restaurants and many other commercial enterprises use natural gas. As with residences, these enterprises use the gas mainly for heating, cooling, and cooking. Large commercial enterprises are also beginning to use natural gas for on-site electricity generation as an economical alternative to purchasing electricity off-site.Industrial:More than half of the natural gas consumed in Alberta is used by the industrial sector. It has numerous uses in the petroleum refining, metal, chemical, plastic, food processing, glass and paper industries. The ingredients for plastic, anti-freeze, fertilizer, and fabric products are formed through the use of natural gas by-products. The fact that natural gas is one of the cleanest, cheapest, and most efficient sources of energy makes it easy to see why it is so commonly used. About 66 per cent of Canadian natural gas production comes from Alberta. (National Energy Board , 2017)
Pipelines transport natural gas to our homes and businesses.
Three main types of transportation pipelines:
The Alberta Hub
Alberta is home to one of the largest natural gas hubs in North America. Through our large networks of pipelines, gas is gathered from inside and outside Alberta. It is then transported through numerous export transmission lines to many high-demand markets. The TransCanada Mainline is Canada's main inter-provincial pipeline, and one of the world's longest gas pipelines. This pipeline extends from Alberta's eastern border to Montreal.Alberta also has a large amount of storage capacity, which aids in the functioning of the Hub. With Alberta's production capability, its storage capacity, and its export pipeline network, it is easy to see why the Alberta Hub is considered one of the most important natural gas hubs in North America. The importance of the Alberta Hub is reflected in the fact that the Alberta gas-trading price (the AECO "C" spot price) is one of North America's leading price setting benchmarks.The
Alberta Hub is part of a North American network linking 500,000 kilometres of pipelines and accessing markets representing more than half of North America's combined natural gas
Natural Gas - The Alberta Potential
Alberta is home to a world-class natural gas resource base, with an estimated 29.4* Trillion cubic feet (Tcf) of remaining recoverable conventional natural gas. This does not include Alberta's non-conventional natural gas resource potential.
Alberta Energy Regulator (AER) 2015Alberta's non-conventional natural gas potential includes coal bed methane (CBM), also known as natural gas in coal. The this natural gas source found in coal seams is an additional resource.CBM gas in-place and reserves (AER)
The Alberta Utilities Commission (AUC) and the Alberta Energy Regulator (AER) regulate exploration, production, processing, transmission and distribution of natural gas within the province. The federal National Energy Board (NEB) regulates interprovincial trade in natural gas, approves transportation charges for interprovincial transportation and issues long-term licences and short-term orders (up to 24 months) authorizing exports from Canada.
© 1995–2018
Government of Alberta
Copyright and Disclaimer

subset: commoncrawl


text:
Nick Lachey and his pregnant wife Vanessa Minnillo can't wait to welcome their first child, a baby boy. The parents-to-be are all smiles as they pose together in their home. "My Happiness... My Family! Ahhh, My Boys!" she tweets.
The "Wipeout" host bares her growing belly in a tube top, while her husband dons a plain white tee. She cradles her baby bump, and the 98 Degrees boybander puts one of his hands around her waist and the other on her belly.
Nick Lachey and Vanessa Minnillo were engaged in November 2010 after dating on and off for about four years. They tied the knot in a tropical island ceremony on July 15, 2011. It was the second marriage for Lachey, but first for Minnillo. Lachey was previously married to Jessica Simpson.


text:
I just received the latest installment of the full frame Sony Alpha A-series, which is known as the Sony A7s and I did some High ISO Testing!
So, what sets the Sony A7s apart from the A7 and A7r is the new 12.2mp full frame processor! This lower pixel dense sensor allows for the individual pixels to be physically larger than those on the 36mp A7r for example. With larger pixels comes better High ISO sensitivity and dynamic range theoretically. I had to find out just how good the Sony A7s sensor was, so I immediately went to the lab and did a few test shots in raw quality to see what we actual have.
I took a few other sample photos as well, but the High ISO lab photos are really what most of you wanted to see I would think 😉
Sony A7s Highlights
Sony A7s High ISO Lab Test Photos
I was using the 35mm prime Zeiss lens @ f/2.8 on the Sony A7s Auto WB, Raw Quality, saved as 75% quality jpeg, sharpen for web – standard.
Click the photos!
Sony A7s Sample Photos
I took a few random shots in the few minutes I had today 😉
This first scene offered some nice dynamic range and 35mm worked out perfect.
Click the photos!
Another cool Zacmax Sculpture popped up near where my wife Michele works. This one has some really nice character to it 😉
Driveway flowers and coolers in the distance waiting to go in the shed 😉
I just took this image and was amazed by using f/8 in such low light! I was using Auto ISO, so I raised the High parameter in the menu t0 ISO 100400. The camera chose ISO 32000 for this next image using Auto ISO once I raised the maximum in the menu. I also took this in jpeg quality!
Really Dark
This is what the scene looked like from the hallway, just so you can see how dark it was in the room.
Note the ISO in the caption just below thew images!
Here is the same scene with the camera at the door looking into the dark.
Closing Remarks
So far I'm very impressed with the Sony A7s High ISO and I think when I calibrate the WB and use better lighting it will look even better. ISO 102400 looks better than I was expecting and beyond that is not really usable, but nice to have available in those impossible situations. Real world also needs to be tested and that is what ultimately matters in the end. So far the 35mm f/2.8 lens is proving to be razor sharp as you can see in the sample photos.
That is all for now and please feel free to ask questions and comment below as always,
The New Full Frame E-Mount Sony Alpha A7s is now In Stock @ BHphoto | Amazon | Adorama
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text:
CS 101 - Introduction to Computer Science
Total Credits: 3 cr
Course Coordinator: Terence Soule
URL: http://www2.cs.uidaho.edu/~tsoule/cs101fall09/cs101.html
Current Catalog Description: May be used as core credit in J-3-c. Survey of computer science and topics of importance to computer scientists; includes topics such as the nature of problems, un-solvability, hardware, human factors, security, social, ethical, and legal issues; exposure to practical aspects of computer networks. Three lectures and one recitation per week. Recommended Preparation: two yrs of high school algebra.
Textbook: None.
References: Additional course references are available on the course web site.
Prerequisites by Topic: None
Course Outcomes: The following list documents the course outcomes and crossreferences them to the BSCS program outcomes. The letter at the beginning of each reference identifies the program outcome supported. The numbers sequentially identify the course outcome for this course. After completing CS 101 a student should be able to:


text:
See IT's contribution, and also:
The Chris Marker Kino Fist tonight was great (minus the severe chill): to all those who came to one, some, or all of them, talked to each other, read the magazine and so on - cheers! We adore you.
We might try and find another location that involves less pre-screening preparation in the future, and the eventual plan is to move somewhere more central (we are currently in discussion with a place near Waterloo that has a proper booze and entertainment licence and everything). Legal Kino Fist: trust me, the dirt will remain.
In the meantime, our next project is to hold a one-off Patrick Keiller screening with the deeply affable man himself in attendance. This will probably take place at Goldsmiths (New Cross). Details to follow.
Monday, 26 March 2007
1 comment:
- Adi said...
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Oes Tsetnoc | Semangat Mengembalikan Jati Diri Bangsa
- 23 November 2009 at 08:22
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text:
Edgewater Beach and Golf Resort
Panama City Beach, Florida
Booking Number: 1090R5 or Group Name: Exotic Pest Plant Council
855/874-8686 (toll free)
All units at the Edgewater Beach and Golf Resort are one to three bedroom units with fully equipped kitchens. A block of rooms has been reserved at the special rates shown below and are available for the duration of the meeting as well as three days prior to the start of the meeting (May 17th May 23rd). When making your reservation, please mention Booking Number 1090R5 or Group Name "Exotic Pest Plant Council" to get the conference room rate. Please book early! Any reservations made after April 29th will receive the group rate but will only be granted on a space-available basis. The special rates for the conference are as follows:
|Gulf Front 1 Bedroom
|Gulf Front 2 Bedroom
|Gulf Front 3 Bedroom
|Golf Course Villa 1 Bedroom
|Golf Course Villa 2 Bedroom
|Golf Course Villa 3 Bedroom
*Or prevailing government per diem rate. You must show a valid
federal or state government ID for the per diem rate.


text:
- Flat - Fish £4.80/item Size: 24" x 11"
- Flat 20 £2.41/item Size: 20"
- Flat 24 £3.98/item Size: 24"
- Glass Salad Bowl - Large £1.00/item Size: 12" Round
- Glass Salad Bowl - Medium £0.50/item Size: 9"
- Latte Mug £0.23/item Size: 12 oz
- Milk Jug - Churchill Classic £0.60/item Size: 10 oz
- Milk Jug - Monaco Fine £0.95/item Size: 10 oz
- Oval Canape Platter £3.25/item Size: 15.75"
- Rice Bowl £0.50/item Size: 5"
- Rice Spoon £0.23/item
- Salad Bowl - Round £1.70/item Size: 9"
Related Items
Glass Hire
Cutlery Hire
Furniture Hire
Kitchen Hire
Buffetware is often the unsung hero of any self-service catering or dining event: not only does it have to work far harder and longer than most other catering crockery, it also needs to look great while doing it. At Plato Hire, we've assembled an advanced range of buffetware that ticks both boxes with a winning combination of style and substance.
We offer a practical, robust yet elegant selection of food presentation tableware and service utensils ranging from tongs, canape boards, water jugs and cake stands to fish platters, wire or wicker bread baskets, toast racks and handy drinks trays in varying sizes.
We also provide an array of hot beverage solutions to suit group events, meetings and venues of all sizes, including insulated vacuum-sealed tea jugs, mains-powered water boilers, pour-and-serve coffee machines and percolators.


text:
Dear Smiley
With long, bold steps you walk ahead of me as if you rule the world. Your high top pony tail swings from side to side as you bounce forward with purpose. You know what you want, little love, and you're not afraid to chase after it.
I've always felt there's something old soul-ish about you. You seem to have a knowing in your eyes and a confidence in yourself, which makes me feel as though you've been here before. You notice things that other kids don't and you talk and act like someone much older than you.
'How's your back, Mummy?' you say.
'Are you feeling a little better? You might need a massage.
'My back's a bit better.'
You're full of life and an absolute pocket rocket. While your sister is quiet and gentle, you are chatty and boisterous. We still haven't mastered the art of the inside voice or learning to wait your turn to speak. You have so much to say all of the time and won't stop until you're heard.
You have a flair for the dramatic. It's nothing new for you to collapse to the ground in a heap and declare with arms flailing that your legs are broken and you can't move. You have a way of wrapping me around your little finger. You know how to work me, you little rascal, and you get your own way more times than you probably should.
Toilet talk entertains you to no end. While your big sister reminds you that toilet talk belongs in the toilet, you flash her a cheeky smile and continue to sing about bums and poo. You're so animated. We try not to smile, but who are we kidding? You're hilarious and we all end up laughing, which only fuels your bum and poo show.
You've just discovered your rhythm and will dance at every chance you get. Emma Wiggle is your music of choice and you will play her on repeat as you wiggle your bottom, spin and jump. All the while you're shouting, 'look at me, look at me!'
I love that you haven't been brainwashed by Disney princess. Octonauts, Paw Patrol and George Pig are more your thing. Your friends at kindy are all boys and you're not afraid to muck in with them and tell them who's boss.
Your best friend though, of course, is your big sister. While you have a habit of bossing her around, there's no doubt you look up to her and worship the ground she walks on. Everything she does or touches, you want to do or touch. You're a little copycat, much to her frustration at times.
Well, my smiley girl, today you are three.
Thank you for giving us three years full of love, laughter and happiness. I can't imagine life without you, beautiful girl. You keep us all on our toes.
Happy birthday, Smiley.
Love Mummy
9 comments on A letter to my three-year-old
This is gorgeous and such a great keepsake for her to look back on once she has grown up.
Thanks so much, Malinda.
Just gorgeous. She sounds like a real character 🙂
She sure is!!
How gorgeous – if she could write, I bet she'd write to you saying how lucky she is to have you as her mum!
Thanks Sam x
Such a lovely thing to do Renee. I wish I had done the same for my kiddies xx
Happy birthday Smiley!! This is just beautiful Renee – your little pocket rocket sounds like she is so full of joy. And I'm with you – as much as my three year old revels in poo and wee jokes, we can't help but laugh too 🙂
Oh! You are such a sweet mommy! Your little girl is very adorable. She's such a sweet little angel. Belated happy birthday!


text:
The other day I was having a conversation and Europe's Black Death came up. I don't know much about the Black Death or Medieval history generally, but the opinion I heard went something like this: "Ancient Rome was able to effect order, health, and quarantine to a degree that wasn't possible after its fall. It was the collapse of the Empire that in part allowed epidemics like the Black Plague to wreak havoc in the disorganized Europe that followed."
This view of Roman disease-control is too idealized.


text:
Eliminate App.referrer.click from System (solved)
App.referrer.click, is a Potentially Unwanted Program based browser hijacker infection which targets the innocent Computer Users around the worlds. This infection is defined as unfriendly for the Computer's health. It has been designed to promote spam activities across Internet. Thus, this vermin will keep running malicious functions on particular Computer as after installation. It will basically demonstrate its associated third party's freeware services as well as products contained as pop-up boxes. Thus victims can also face numbers of unwanted pop-up ads and junk notification while having online surfing session. It mainly comes inside the marked Computer by getting bundled as well as downloaded with third parties freeware as well as shareware programs. It will merge with those programs so as they got installed, this vermin will also get installed inside the System too along with those files.
Thus, in order to avoid additional download, it would be better to follow the installation steps instead of blindly hitting the "NEXT" button when you install software in your Computer. Make sure you unselect the any suspicious programs. It will reduce the chance a lot to get infected by this threat by addition downloads. App.referrer.click will come inside the marked Computer as huge red alert for victim's personal as well as valuable data. In the presence of this vermin, victim can also observe some malicious functions. Likewise, as it gets installed, it will start producing pop-up ads and junk notification and throws them on browser while having online surfing. Technically, those pop-ups were interlinked with some third party's or sponsor's websites so any accidental click on them will instantly redirects the Users towards those malicious websites. Having all this, it will keep downloading as well as installing other files inside the System which may be infected with other malware. Having this vermin installed inside the marked Computer will only responsible for destruction as well as losses. Thus, it is highly recommended to install and run expert's effective Automatic Removal Tool inside Computer in order to remove App.referrer.click.
Why you should delete App.referrer.click?
- In the presence of App.referrer.click, important messages may be monitored by remote hosts in order to perform Cyber Crimes.
- It will keep downloading other files inside the Computer which may be infected with malware.
- It will mess up with System as well as their installed program's settings which cause Operating System will start working in irregular manners.
- It will block access to Internet's trusted websites and redirects the Users towards suspicious websites.
- referrer.click can be responsible for victim's data as well as identity theft.
- It will keep demonstrating update notification as well as BSOD alert in order to manipulate the Users.


text:
The mimicry performed by small children always delights me. Actually, take that back. I just remembered two small girls at the dinner table, the smallest copying the biggest as she discovers blowing bubbles in her milk. Not so delightful after all.
I actually found time to craft during daylight over the weekend. Gasp! The project? Pattern making for a long-limbed bunny.
Hannah was making patterns too. Hannah who has recently discovered she can draw more than just dogs. Hannah who "is really good at drawing now", if she does say so herself. Her mum agrees.
Here lie the fruits of my little mimic's labours, complete with instructions on each piece.
Wednesday, April 1, 2009
Makin' patterns
2 comments:
- Angie said...
Her patterns look very well thought out. I also think she is very good at drawing now!
- April 4, 2009 at 8:49 PM
- Shellbells said...
too cute!!
- April 6, 2009 at 1:01 PM
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text:
Webber was born in Bucyrus, Ohio in 1834 and came to California in 1860. In 1868, he opened a drugstore and apothecary at Eleventh and Broadway. He carried a best selling women's fragrance call "Orange Flower Cologne," which the Oakland Tribune called "all the rage."
He was elected to the Oakland City Council in 1872 and served as president for two terms (1873–1874). He was named to succeed Henry Durant as Mayor on February 1, 1875, and was elected to a full term on March 1, 1875. In 1876, he became one of the first people to warn the East Bay that it would have to find its own water supply. At the time, Anthony Chabot's San Leandro Reservoir was providing adequate water to Oakland, but Webber and others suggested that an aqueduct be built connecting the Sierra to Oakland.
He could have been easily reelected, but opted to head to Nevada to pursue mining interests. He returned to become the assistant appraiser and deputy collector at the Custom House in San Francisco.
On January 5, 1901 he suffered a stroke while on business in San Francisco and taken to St. Luke's Hospital. He died there on January 8, 1901 and is buried at Mountain View.


text:
With a new game in the SmackDown! series piledriving its way onto shelves every November, the perpetual quandary facing the developer is what can be added each year that hasn't been done already. The answer for SmackDown! vs Raw 2007, it seems, comes in the shape of a new interface, far greater control over grappling maneuvers... and a realistic new sweat system.
And as these brand new shots demonstrate, there's now also far more scope for scrapping outside the ring, thanks to a new 'fighting in the crowd' area, while members of the audience hand you weapons such as crutches and umbrellas. But it's not all about aesthetic upgrades. For Bryan Williams, the series' associate creative manager, one of the key improvements in this year's game is going to be in your opponents' intelligence.
"A huge complaint about previous games is that the [artificial intelligence] has been one-dimensional," he admits. "With next-gen, we have so much more horsepower that we can really strive to create AI that is comparable to playing against a real person. And that's one thing that I'm really looking forward to implementing this year."
With the game still five months from release, only four characters have been confirmed so far: Triple H, John Cena, Rey Mysterio and Kurt Angle. But the roster actually had to be finalized in April - meaning that Williams has to do a lot of educated guesswork with regards to which characters will still be relevant by the time the game hits shelves in November.


text:
The SG Show #50 - Not a Podfader, We
Did you think we were gone for good?
Not a chance!
Although this show has gone from being published weekly to being posted, well, weakly, we're determined to bring you the latest developments from SG Central. We're still actively developing new shows. Expect to see one a bit more frequently than once per quarter.
In this show, Sam discusses some great movies he's seen, a few new books, and .. we've got a new quiz for you guys!
Thanks for all your comments! We've read every one and we miss you too!


text:
First is the final design which I like a lot and will be trying again as the resulting color is really exciting:
|Failure is key
MATERIALS: WRMK card stock, tissue paper from Natalie Malik on Etsy, Alphas from Cosmo Cricket, coffee stain stamp from Cocoa Daisy, Tim Holtz Tiny Attacher and paint from Kaiser Craft.
Mostly because I got this:
|Hand made "How To" zine from Natalie that totally saved my life last night.
Buy it if you'd like some great tips on collage with tissue paper.
Photo courtesy Natalie Malik.
If you want to see someone make modern and lovely collages with real technical mastery please visit Natalie's blog Awkward and Beautiful.
This is the first time I ever try collage. I avoid anything truly artsy- not because I don't like artsy stuff (I LOVE artsy) but because it requires a level of knowledge and control over technique I have not reached yet.
Before you think this is me beating myself up again please wait till you see what I did before Natalie saved my scrappy butt.
And NOW... The FIASCOS.
AAAAA! This is me trying to use some scraps left over from a cool previous project and having "fun" with textures and shapes. I like the colors and the repeated straight lines but this is a HOT summer mess.
Ok now for the real hum-digger.
Please block your children from seeing this.
This horribly BIOLOGICAL piece sprung from two thoughts:
Though number 1: I want to make a commentary on the images of women in fashion- I will sew the outlines, fill in the photos with paint and write "Not me, not now, not ever.. and that's ok" on it.
Before I could fully execute thought number 1- this happened:
Though number 2: OOO this glue would make for great texture!
EEEEEEEEWWW! Never should the two meet! I'm embarrassed to share it except this is supposed to be a real deal blog right? Hideous craft failures and all.
I would like to point out I'm not a complete hack. I recognize when something is too awful to show- except as entertainment here in this blog.
Now that I've either shocked you into silence or made you laugh derisively please head on over to Punky Scraps and join the October challenges. This week's is all about collage. I'm hoping you will learn as much as I did.
|Current Favorite Toy- this is a family blog after all.


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Ceruti String Quartet
Timothy Shiu & Soh-Hyun Park Altino, violins:
Lenny Schranze, viola; Leonardo Altino, cello
Since its inception in 1994, the Ceruti Quartet has brought chamber music to audiences of all
ages in performances described variously as "spirited, richly colorful, and incisive" and
"intimately poetic." They have presented recitals in such venues as Weill Recital Hall at
Carnegie Hall; the Goethe Institut in New York City; the National Assembly in Seoul, Korea; the
Ford Center, MS; the Peace Center for the Arts, SC; and the Teatro Santa Isabel in Recife,
Brazil. They have been featured artists for the Memphis Chamber Music Society; the Bechstein
Hall Concert Series, AK; and both the Fine Arts Center and the Governor's School for the Arts,
SC. In addition to its formal concerts, the Quartet has been dedicated to fostering chamber music
in the next generation of audiences and musicians through teaching/performing residencies in
Tennessee, South Carolina, Michigan, Georgia, and New York.
The members of the Ceruti Quartet—violinists Soh-Hyun Park Altino and Timothy Shiu, violist
Lenny Schranze, and cellist Leonardo Altino—are members of the string faculty at the Rudi E.
Scheidt School of Music at the University of Memphis, where they also direct the string chamber
music program. They spend their summers as faculty members at the Masterworks Festival and
the Interlochen Center for the Arts.
The Ceruti members have collectively pursued their individual studies at the Cleveland Insitute
of Music, the Eastman School of Music, New England Conservatory, Yale University, the
University of Illinois at Urbana-Champaign, the Detmold Musikhochschulle, the Peabody
Institute of Music, and the Juilliard School. They have worked with pedagogues such as Aldo
Parisot, Donald Weilerstein, Lawrence Lesser, Heidi Castleman, Dorothy Delay, Max Aronoff,
Victor Danchenko, Suren Bagratuni, and Joseph Fuchs.
- September 29, 2015 at 1:40pm – 3:40pm
Snow Fine Arts Recital Hall, University of Central Arkansas
201 Prince St
Conway, AR 72035
United States
Google map and directions
- 2 people are going
Beth Wilson Norwood
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Beth Norwood is hosting. 2015-05-20 19:19:06 -0500
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text:
Drummer Jason Barnes lost his right arm after being electrocuted two years ago. Thanks to help from Gil Weinberg's lab at Georgia Tech, Barnes now has a robotic arm with which to make music.
Notice that the prosthesis holds two drumsticks, only one of which is controlled by Barnes' bicep muscles. The second drumstick is an independent robotic device that can improvise, based on what Barnes is doing with the drumsticks he controls.


text:
sync with online sales made on a website without using paypal
we sell on eBay and also on our own website. but we don't use paypal for the sales on our website. if it can sync with our website sales it'll be very helpful.
6 votes
anonymous shared this idea
1 comment
Anonymous commented
That is a good idea also to be able to print address /invoice out or can you already do that as i can not find it


text:
Winning a Silver Lion Grand Jury Prize at the Venice Film Festival is a crowning achievement for any filmmaker, let alone one who only has two works to his name. Tom Ford burst onto the scene in 2009 with his warmly received debut, A Single Man. The effort landed lead star Colin Firth an Oscar Nomination and left everyone in the industry wondering what Ford would be doing next. It took quite a while to get here but Ford returns with Nocturnal Animals, a taut thriller that far surpasses his admired debut.
Susan Morrow is an art gallery owner who receives an unexpected package from her ex-husband of many years, Edward (Jake Gyllenhaal). Inside she discovers a manuscript of his new novel which Edward dedicates solely to her. As Susan becomes engrossed in this violent and sinister novel she begins to reflect on the torment she caused her former lover.
Everything from the film's trailer to its detailed premise would lead you to envision Nocturnal Animals as a mind-bending and brutal thrill ride. And although the feature possesses a few grisly moments throughout its story-within-a-story structure, Tom Ford's effective sophomore effort surprisingly stands out for its psychological layering. Immense praise is in order for the entire cast as the film offers exceptional performances from top to bottom. Leading stars Amy Adams and Jake Gyllenhaal deliver the caliber of work we all have come to expect but, in many ways, supporting stars Michael Shannon and Aaron Taylor-Johnson steal the show. From a filmmaking perspective, Tom Ford also impresses. In many ways Nocturnal Animals conveys a David Lynch kind of vibe, yet it's not quite as cryptic and I mean that as a compliment. Ford has a specific intention in mind and by the closing credits he makes it abundantly clear. Therefore, even if Nocturnal Animals isn't as visceral of a thriller as advertised, its cerebral anguish is by no means a consolation prize.
Stars: 3 stars out of 4
Grade: B
One of the Centerpiece selections as this year's Philadelphia Film Festival was Pablo Larrain's historical drama, Jackie. Much has been made of Natalie Portman's portrayal of former First Lady, Jacqueline Kennedy, and all of it is warranted. There's an Oscar Nomination in her near future and perhaps even a win. Therefore, Portman alone provides enough reason to witness this upcoming December release.
Upon allowing a face to face interview with a journalist (Billy Crudup), Jacqueline Kennedy (Portman) recounts the horrific events of her husband and former President, John F. Kennedy, as he was assassinated in Dallax, Texas in 1963. She paints a chilling portrait of that fateful day and the moments leading up to his historic funeral in Washington, D.C..
To Larrain's benefit, Jackie feels every bit like a journey back in time. Capturing a nostalgic tone with grainy shots reminiscent of classic reel to reel film, the film transports the audience back to 1963 where you're forced to endure catastrophic heartache that's so beautifully delivered by Natalie Portman. But even beyond the scope of the bloody and untempered account of the assassination, Jackie digs deeper with a broader story of legacy and remembrance. Larrain offers a bitter examination that illustrates the First Lady's fragile psyche as her world was taken from her in a single instance. Greta Gerwig gives a noteworthy supporting turn as Jackie's White House confidant, but I wasn't as fond of Peter Sarsgaard's accent-less portrayal of Robert Kennedy, which has been touted as Oscar-worthy by many. Jackie's heavy content transforms a 95 minute running time into a marathon, but there's depth and commitment worth appreciating by all involved.
Stars: 2 and a half stars out of 4
Grade: B-


text:
So whether Space Monger?
SpaceMonger is a Disk space analyzer tool. At this writing there is already version 2.1 (pay) I suggest you use version 1.4 of Free
Version 1.4 is freeware, distributed online as a 103Kb PKZip archive Itself-the program is a standalone Windows 9x compatible. EXE the which needs no installer. It shows a TreeMap of files and lets the user open and delete individual files. Some users prefer its Smaller size and relative simplicity to later versions.
Version 2.1.1 is shareware, (more specifically Nagware), and requires a 1279Kb installer. Its code-base is a complete re-write, and features a file copy / move, animated zooming, new menu selections, commonly Used tool buttons, and a faster scanning algorithm.
This small software can run on all versions of Windows, this is very interesting,
You are interested, Download Space Monger here


text:
by Michael A. Rothman
Genre: YA Fantasy
Release Date: June 1st 2016
M & S Publishing, LLC
Summary from Goodreads:
In a post-apocalyptic world ruled by a Governor who is both feared and worshipped, Willow is a seventeen-year-old girl who is just trying to get through her last year of studies. But when her father dies, she experiences strange dreams that change everything about how she looks at the world and at herself.
Haunted by the tragedy, Willow begins pushing herself beyond anything she could have imagined she was capable of. It's only when she catches the attention of some of the Governor's minions that her world is turned upside-down.
Willow planted her hands on the ground and popped up onto the balls of her feet, glaring at the student who'd had the nerve to ask her to leave. "How about this," she pointed at him, "make me leave."
He blinked up at Willow as other students laughed and jeered.
"Steve, she's threatening to kick your ass...."
"You can't fight a girl...."
"She's got to be kidding...."
"...I dunno, she looks serious."
With a shove from one of the other students, Steve grudgingly stood, face red with embarrassment.
Willow smiled and placed herself in a ready stance. As she tensed her legs and upper body, a sudden calm washed over her.
Steve moved deliberately as he circled around Willow, arms hanging limply at his sides. She could tell that he was studying her, trying to figure out if she was serious.
Willow motioned him toward her with the tips of her fingers. "Come on Steve. Make a move."
The teasing from the others got louder and he grudgingly brought his arms up and slowly approached.
He was short for a guy, maybe only an inch or two taller than Willow's five-and-a-half feet. His reach was about the same as hers, and the stance he'd taken was a boxer's stance.
He was barely out of jabbing range when Willow ducked low and swept out her right leg, sending one of Steve's legs out from under him.
Willow leaped forward as Steve stood off-balance and she smashed him in the chest with a front kick.
Steve flew backward and landed on his back, breath whooshing out of him as a deep male voice yelled across the field, "What the hell is going on here?"
Everyone but Steve, who was gasping for breath, turned as the heavily-muscled combat teacher approached with frustration etched on his face. He was followed by a handful of other students.
Zeno stood, and the giant of a student glanced sheepishly at Willow and addressed Mister Krauthammer. "Sir, Steve and Willow were settling something between each other. No harm done, right Steve?"
Willow extended her hand to Steve, and he grabbed it. She pulled him to his feet. His face was brilliant red and she wasn't sure if it was from lack of oxygen or sheer embarrassment.
Steve grimaced as he rubbed his chest, turned to the teacher and nodded. "It's all done. I was just getting to know our new classmate."
Buy Links:
About the Author:
Michael A. Rothman – Author, Engineer and Cat Herder.
In a nutshell:
• First-born American in my family
• Multilingual
• Hard-working
• Accepts no excuses
• Despises self-importance in himself and others
• Loves Epic Fantasy, Science Fiction, Thrillers
• Engineer/Scientist
Author Links:
a Rafflecopter giveaway
Blog Tour Organized by:
YA Bound Book Tours


text:
Luxury Men Wrist Watches Full Steel
On SALE - Buy NOW & Save!
Precise quartz movement for accurate time keeping.
- 30M Daily water resistance (not for showering and swimming).
Just click the drop down menu and Click "ADD to cart"
Please Allow between 2-4 weeks for Delivery!
Features (Approx):
Case diameter: 4.5cm approx.
Case thickness: 1.2cm approx.
Case Material: Stainless Steel
Band Wideth: 2.2cm
Band Length: 23.00cm approx.
Band Material: Stainless Steel
Band Adjustable: Yes
Package Included:
1 x Watch
We Also Recommend


text:
(1) The Village Engineer may post an immediate stop-work order if:
[a] Any land disturbing or land development activity regulated under this ordinance is being undertaken without a permit;
[b] The control plan is not being implemented in a good faith manner; and
[c] The conditions of the permit are not being met.
(2) If the permittee does not cease the activity or comply with the control plan or permit conditions, the Village Engineer may revoke the permit.
(3) If the land owner or land user, where no permit has been issued, does not cease the activity immediately, the Village Engineer may request the Village Attorney to take appropriate action to insure compliance with this ordinance.
(4) The Village Engineer or the Board of Appeals may retract the stop-work order or the revocation.


text:
Find the perfect place from the worlds best selection of vacation rentals on HomeAway.
Our 2019 property listings offer a large selection of 754 vacation rentals near Exo Gonia. From 210 Houses to 14 Bungalows, find a unique house rental for you to enjoy a memorable stay with your family and friends. The best places to stay near Exo Gonia for a holiday or a weekend are on HomeAway.
Yes, of course. HomeAway has 210 Houses in Exo Gonia. Our other popular types of vacation rentals in Exo Gonia include:
But you can also enjoy a great stay in one of our other vacation rentals including Studios and more.
Yes, you can select your preferred vacation rental with pool among our 329 vacation rentals with pool available in Exo Gonia. Please use our search bar to access the selection of vacation rentals available.


text:
Because of it's fine sand and beautiful coast, Aninuan Beach is now becoming a popular tourist destination in Puerto Galera and resorts are springing up slowly to cater to the demands. Located next to the popular White Beach, Aninuan is less hectic, which some tourists prefer.
So, If you are planning to stay on this side of Puerto Galera, I have written down the contact numbers, email addresses, and websites of each of the beach front resorts where you could consider staying.
I can't do any reviews of each resort as I only walked along and asked for their contact details so it would be easier for you all to get in touch with them and give you an idea of what they looked like.
TAMARAW BEACH RESORTPrice Range in Php: 1,000.00 - 15,000.00 Contact Numbers: +639175048679
Website: tamarawbeachresort.comEmail: firstname.lastname@example.com
SUNSET AT ANINUAN BEACH RESORTPrice Range in Php: 3,000.00 - 15,000.00Contact Numbers: +639209318924 +639174957945
Marketing Director: Mark Hughes
Website: www.aninuanbeach.com Email Address: email@example.com
SOL Y MAR LODGEPrice Range in Php: 2,000.00 - 6,000.00Contact Person: Teresita ThalerContact Numbers: +639065166176 +639166627337
Email Address: firstname.lastname@example.com
You can also read: 10 Things You Can Do in Puerto Galera


text:
Donation Form Display Donation Form Display
Publicador de contenidos Publicador de contenidos
UNL Speech and Debate Suit Fund
This fund supports students of financial needs abilities to compete in speech and debate. The UNL team is dedicated to making sure all students, regardless of income can compete. Proceeds from the fund will be used to help students purchase suits for competition, visual aids, debate boxes etc.
Give with confidence—Your gift is secure
We are committed to protecting your privacy
Contact Person By Category Contact Person By Category
Joye Fehringer
800-432-3216 toll free
Amy Kloefkorn
800-432-3216 toll free
Joanna Nordhues
800-432-3216 toll free
Times have changed. Technology now allows our voices to carry farther and our message to reach people we could never reach before.
If you believe, as we do, that the University of Nebraska Foundation's message is worth spreading and that our causes are worth supporting, please help us spread the word.


text:
But again Ralph shook his head.
"Then you are resolved to die?"
"Yes! But for my old friend here—save him if you will and can."
"You will give me no word as to the warrant?"
"Then all is over."
But going at once to the stables in the courtyard, he called to a stableman,—
"Saddle a horse and bring it round to my quarters in half an hour."
In less time than that Wilfrey Lawson was riding hard towards Newcastle.
Next morning after Rotha's struggle with Mrs. Garth at the bridge, the rumor passed through Wythburn that the plague was in the district. Since the advent of the new preachers the people had seen the dreaded scourge dangling from the sleeve of every stranger who came from the fearsome world without. They had watched for the fatal symptoms: they had waited for them: they had invited them. Every breeze seemed to be freighted with the plague wind; every harmless ailment seemed to be the epidemic itself.
Not faith in the will of God, not belief in destiny, not fortitude or fatalism, not unselfishness or devil-may-care indifference, had saved the people from the haunting dread of being mown down by the unseen and insidious foe.
And now in very truth the plague seemed to have reached their doors. It was at the cottage by the smithy. Rumor said that Mrs. Garth had brought it with her from Carlisle, but it was her son who was stricken down.
The blacksmith had returned home soon after Rotha had left him. His mother was there, and she talked to him of what she had heard of the plague. This was in order to divert his attention from the subject that she knew to be uppermost in his thoughts—the trial, and what had come of it. She succeeded but too well.
Garth listened in silence, and then slunk off doggedly to the smithy.
"I'm scarce well enough for work to-day," he said, coming back in half an hour.
His mother drew the settle to the fire, and fixed the cushions that he might lie and rest.
But no rest was to be his. He went back to the anvil and worked till the perspiration dripped from his forehead. Then he returned to the house.
"My mouth is parched to-day, somehow," he said; "did you say a parched mouth was a sign?"
"Shaf, lad! thou'rt hot wi' thy wark."
Garth went back once more to the smithy, and, writhing under the torture of suspense, he worked until the very clothes he wore were moist to the surface. Then he went into the house again.
"How my brain throbs!" he said; "surely you said the throbbing brain was a sign, mother; and my brain does throb."
"Tut, tut! it's nobbut some maggot thou's gitten intil it."
"My pulse, too, it gallops, mother. You said the galloping pulse was a sign. Don't say you did not. I'm sure of it, I'm sure of it; and my pulse gallops. I could bear the parched mouth and the throbbing brain if this pulse did not run so fast."


text:
April 17, 2003
Jonathan G. Katz
Re: Compliance Programs of Investment Advisers and Investment Companies (Release Nos. IC-25925, IA-2107: File No. S7-03-03)
Dear Mr. Katz:
The Investment Adviser, Investment Company and Self-Regulation and Supervisory Practices Committees (the "Committees") of the Securities Industry Association (SIA)1 welcome the opportunity to comment on the rule proposals and concept release described in the above referenced SEC release ("the "Release").
While we will offer some observations regarding compliance programs for investment companies, the major focus of this letter will be on investment adviser compliance programs, and most specifically on such programs in the context of advisers who are dually registered as broker-dealers and members of the New York Stock Exchange Inc. ("NYSE") and/or NASD.
As a general matter, the Committees believe that the utilization of written compliance procedures developed and supervised by qualified compliance professionals, and the periodic review of such procedures to assure continued viability, are critical components of any effective compliance program. Furthermore, regardless of whether a client has a brokerage or advisory relationship with a firm, he or she is equally entitled to the protections that such programs provide.
All SIA members are members of the NASD, and a substantial percentage are also NYSE members. As such, they are all subject to the jurisdiction of at least one, and often multiple self-regulatory organizations ("SROs")2.
Nearly all SIA members are dually registered broker-dealer/investment advisers. In virtually all dual registrant situations, our members utilize integrated compliance programs which provide unified oversight of both broker-dealer and investment advisory activities. From a policy standpoint most compliance procedures have equal applicability to both types of activities.
Additionally, NYSE rules require member firms to designate a qualified compliance official to oversee its compliance programs,3 and the NASD, while not requiring an individual to be designated as a chief compliance officer or official, does require its members to designate principals responsible for supervision of each component of its business4.
We recommend that any adopted rule clarify that dual registrants with integrated compliance programs may rely on these programs, and the compliance professionals charged with administering the programs, to satisfy the rule's requirements. We also recommend that any adopted rule include a safe harbor from supervisory liability for these compliance professionals where they have reasonably performed their duties.
As referenced in the rule proposal, broker-dealers have long been required to develop and implement compliance procedures.5 As a result, the compliance programs employed to comply with SRO rules relating to broker-dealers also establish the compliance framework for overseeing the vast majority of investment adviser activities. In the relatively few instances where investment adviser regulation has unique characteristics, dual registrants supplement their integrated procedures accordingly.6
With respect to the nine specific areas identified in the rule proposal7, almost without exception, all are already addressed in the integrated compliance procedures of dual registrants. Indeed, dual registrants would not be in compliance with applicable SRO rules unless they had written procedures addressing each of these areas, as well as any other areas that relate to their businesses.8
Similarly, dual registrants already have in place personnel responsible for administering compliance policies and procedures. Any adopted rule should make clear that a firm's chief compliance officer could continue to oversee both the broker-dealer and investment advisory procedures. With respect to the standards applied to compliance professionals, the Committees recommend that a safe harbor provision be included in any adopted rule. This safe harbor should contain the same type of protection currently afforded to broker-dealer compliance professionals to the extent they may be deemed supervisors under Section 15(b)(4)(E) of the Securities Exchange Act of 1934 (i.e., procedures were established that would reasonably prevent and detect violations and responsible persons reasonably discharged the duties and obligations incumbent upon them).
In light of all of the above, the Committees believe that any final rule should clarify that with respect to dual registrants, they may rely on their integrated compliance programs to satisfy SEC requirements. To do otherwise would lead to a bifurcated and less effective compliance regime.
1. Formation of Additional SROs or Other Private Sector Involvement
In recent years there has been an increasing awareness of the costs and confusion often engendered as the result of the layering of tiers of regulation and self-regulation on the securities industry. Even in areas where self-regulation has worked reasonably well, such as with respect to NYSE and NASD regulation of broker-dealers, it has become necessary to develop a coordinated examination program to eliminate duplication of effort. Also, at the urging of the SEC, the NYSE and NASD conducted a survey of members last summer to identify inconsistencies between SRO rules that cause operational inefficiencies. In a comment letter to the SROs, SIA identified 19 significant areas in which NYSE and NASD rules were inconsistent or even contradictory9. This list was not all-inclusive, and did not identify areas in which these or other SRO rules and regulations might also be inconsistent with those of the SEC. Thus, formation of one or more additional SROs would run counter to a pre-existing, SEC-supported effort toward consolidating and unifying the regulatory structure.
It is noteworthy that the North American Securities Administrators Association ("NASAA"), which had previously endorsed the formation of an investment adviser SRO, voted earlier this month to rescind that endorsement. In so doing, it noted that the division of labor concerning investment adviser oversight between NASAA and the SEC following adoption of The National Securities Markets Improvement Act of 1996 has been working well. It also expressed concern that an adviser SRO could result in unnecessary and overlapping regulation and potentially become a burden on small business. NASAA's view that the current allocation of regulatory responsibilities is functioning well, is particularly significant because it is state regulators that examine the smaller advisers who are less likely to have comprehensive compliance programs. Since the states believe they are providing effective oversight of the thousands of smaller advisers for whom the SEC no longer has examination responsibility, and the SEC will be receiving substantial additional funding, a portion of which could be utilized to enhance its examination capabilities of large advisers, we believe that the current oversight regime will protect fully the interests of investors.
We also note that a significant percentage of all investment advisory activity is effectuated through broker-dealers, either in their capacity as dual registrants, or custodians. Therefore, clients receiving these services would derive the collateral benefit of the applicable panoply of broker-dealer compliance oversight required under NYSE and/or NASD rules, including the nine core areas articulated in the proposing release.
There would be a similar collateral benefit with respect to investment company transactions, since broker-dealers are the primary distributors of mutual fund shares and the NASD has delegated authority from the SEC to regulate mutual fund advertising10, and also has oversight responsibility for mutual fund sales practices of broker-dealers.
Given the significant impact which existing SROs thus have on investment advisory and investment company activities, there would be little, if any value added by creating more SROs. The Committees would similarly oppose third-party compliance examinations and expanded audits because concerns such as the lack of uniformity of such reviews and additional costs would seem to outweigh any potential benefits.
2. Fidelity Bonding Requirement For Investment Advisers
In its discussion in the Release, the SEC observes that investment advisers are among the only financial service providers handling client assets that are not required to obtain fidelity bonds11. Broker-dealers are subject to such requirements under NYSE Rule 319 or NASD Conduct Rule 302012. The fidelity bond which meets these requirements is referred to as a Standard Form 14 Brokers Blanket Bond, and it is generally similar to fidelity bonds of other financial institutions that custody client assets13. By virtue of the broker-dealer SRO rules, dually registered broker-dealer/investment advisers already maintain fidelity bonds covering their advisory activities, and many affiliated investment advisers of broker-dealers maintain fidelity bonding coverage as named insureds on the broker-dealer's fidelity bond. We believe there is no reason why an unaffiliated investment adviser should not be required to maintain similar fidelity bonding coverage.
The Committees support the proposal to require written investment adviser compliance procedures, and to periodically review same, provided it is clarified that dual registrants may rely on integrated written procedures and may conduct periodic reviews of such procedures to satisfy the requirements of any adopted rule.
The Committees believe that given the substantial percentage of advisory and fund activities that are conducted through broker-dealers already subject to extensive SRO regulation, there is little added value to creating an additional SRO layer, or imposing additional reviews by third-parties, which will result in additional cost and create further opportunities for confusion and regulatory inconsistency.
Finally, the Committees would support an investment advisory fidelity bonding requirement, provided it conformed to the requirements to which dual registrants are already subject with respect to their broker-dealer operations.
Thank you for the opportunity to comment. If you have any questions regarding this letter, or if we can otherwise be of assistance, please contact SIA Vice President and Associate General Counsel Michael D. Udoff at (212) 618-0509 or email@example.com.
cc: Paul F. Roye, Esq.