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Privacy Policy
Our commitment to privacy: David Evans and Associates, Inc. (DEA), recognizes and respects your privacy while you use our website. In this spirit, we want you to be aware of the information that we collect and how that information might be used.
The information we collect: This policy applies to all information collected or submitted on DEA's website. You do not need to register to use our website. You may choose to submit your personal information to use DEA's careers section, which includes information that is required for Equal Employment Opportunity (EEO) reporting. The careers section requires that your browser accepts "cookies" in order to use the registration tool. This allows the site to remember who you are when you come back for a visit.
Our site's server logs your IP address, OS and browser type, pages and files that you access, length of your visit, your geographic information, and search terms you used to find our site.We collect the following information from you voluntarily:
- Your name
- Your home address
- Your work or home phone number
- Your email address
- Your resume, CV, or work history
The way we use this information: We use the information our server collects for site statistics to help us administer and improve our website. The server does not collect personal information.We also use return email addresses to answer email we receive. We will use the information you provide to answer questions or send information that you request.
Sharing your information: We will not sell, rent, or share your personal information you submit except with a third party that has been engaged by DEA to assist with the management of this information. While DEA is not responsible for the privacy practices of third parties, we have requested that they do not share your information.DEA reserves the right to disclose user information in special cases such as responding to a subpoena, court action or other administrative request, and to protect the rights, safety or property of DEA and other third parties.
Our commitment to data security: To prevent unauthorized access, maintain data accuracy and ensure the correct use of information, we have put in place appropriate physical, electronic, and managerial procedures to safeguard and secure the information we collect. We have also asked any third parties that we share information with to do the same.
How you can access, correct or remove your information: If you change your mind or wish to update personal information, we will endeavor to correct or remove the personal data you give us. You can verify the change of information on record by sending us an email at firstname.lastname@example.com.
Applicability of this policy and other disclaimers: DEA's website contains links to other sites. Please be aware that we are not responsible for the privacy practices or the content of these other sites.As a convenience, this Website may contain links to other sites, including social media, that are not controlled by, or affiliated or associated with, David Evans and Associates, Inc. David Evans and Associates, Inc. does not make any representations concerning the privacy practices or terms of use of these sites, nor does it control or guarantee the accuracy, integrity, quality, or the content that is on or made available on any of these sites. A site's inclusion or exclusion on David Evans and Associates Inc.'s Website does not imply any endorsement by David Evans and Associates, Inc. of the site, the site's provider, the links contained on that site, or the information on the site.DEA intends to comply with the United States' Children Online Privacy Protection Act (COPPA). It is our intent that the use of our website be limited to individuals over the age of 13. For that reason, we never knowingly collect or maintain information at our website from those who are under age 13, and no part of our website is structured to attract anyone under age 13.We recognize that international laws differ. Therefore, our website and this privacy policy are intended for and applicable to only residents within the United States of America.Except as specifically stated in this Policy, or elsewhere on this website, or as otherwise required by applicable law, neither DEA, nor it's officers, directors, employees, third party vendors, or other representatives will be liable for damages of any kind (including without limitation, direct, indirect, compensatory, consequential, special, incidental or punitive damages) because of your use of our website.
How to contact us: If you have a question or concern about this privacy policy, please send us an email at email@example.com, or mail to: Webmaster, David Evans and Associates, Inc., 2801 SE Columbia Way, Ste. 130, Vancouver, WA 98661.
This policy is effective May 1, 2013.


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"I need to get there. Now," Matt snapped, shoving Ian away as my eldest brother tried to talk some reason into him.
"Think this through, Matt," Ian growled back, pinning him against the wall. "You've been drinking. We all have."
There had been a fair few liqueur coffees, several beers and the odd tumbler of whiskey. It was Christmas after all.
"I need to get there," Matt screamed, wrestling against Ian fruitlessly.
"We can call you a taxi," Karl tried to reason with him, handing Grace to Elise to keep her away from our volatile adopted brother.
"It's Christmas Day," Ian looked at Karl as if he was an idiot.
Karl raised an eyebrow. He didn't like being spoken to in that way; I could tell by the tight bunching of his muscles. "Not everybody celebrates Christmas."
"Don't get all PC on me," Ian teased, still pinning Matt to the wall as if the effort was nothing to him despite his violent struggle.
"Get the fuck off me, E!" Matt flailed wildly with his free limbs.
"Not until you calm down," Ian answered calmly, unfazed by Matt's venom.
"I need to fucking get there now, Ian! You don't understand!"
"I understand more than you know," Ian whispered back but it wasn't quiet enough. I still heard him. "Let's try a few taxi places."
"Um, Ian," I squeaked.
"Not now, Jelly," Ian barked and I shrank back. This was soldier mode and no matter how much safer I felt with my brothers, I wasn't about to trifle with soldier mode.
I sat quietly back in Jason's arms and nibbled my lip whilst they all called every single taxi company in the city and surrounding areas.
"You okay, little squirrel?" Jason studied my face with concern.
"Yeah," I replied sadly. This wasn't the way things were meant to go on Christmas day. Poor Matt.
"Do you know what's going on?" He asked me, brushing my cheek with his thumb as he cupped my face.
I shook my head sadly. "Not really. With Matt it has to be his family though. Nothing else gets him this mad."
"Two fucking hours?" Matt screeched when Ian told him how long he would have to wait for a taxi.
"Don't even think about it, Matt," Ian warned him, predicting his intentions. "You are not driving."
"Um, guys," I spoke up.
They continued screaming so loud they couldn't hear me. Matt swung out at Ian but he dodged it, hitting Jake in the gut by accident.
"Guys!" I screamed.
Jake didn't like being hit for no reason so he swung back at Matt; Karl had to jump in to pull him away. Ian did the same with Matt.
"Shut up!" I bellowed as loud as I could to get their attention.
All eyes, sweaty faces, and bunched muscles turned to me.
"Thank you," I breathed a sigh of relief. "I'm sober and Berty is ready to go."
"Why didn't you fucking say so?" Karl dropped his head, obviously irritated with me.
"She tried but nobody listened," Jason jumped to my defence.
"I'll give you a lift," I told Matt softly.
He scowled. I knew I was the last person in the universe he'd come to for help but he had no choice. I was his only option.
The ride was possibly the most awkward I'd ever experienced. The silence was almost painful. Jason had wanted to come along but Matt was obviously struggling with something. I thought having Jason witness that might make it harder for him. I asked him to stay with the others.
"A and E," Matt grunted as I flipped my indicators to enter the massive complex.
"Okay," I answered softly.
He was staring blindly out of the passenger window, his jaw firmly set. The second I pulled the car into the bay, his door was open and he was running full speed into the hospital. He didn't say anything to me.
I wasn't sure what I was supposed to do. At the very least I needed to pay for parking, so I did that first.
How long will we be here?
I put two hours on the car just in case. I could always top it up later. Did Matt want me to follow him? Did he want me to stay in the car? It was Matt; of course he wanted me to keep my distance. The car was too cold though. I figured I could just sit in the waiting room.
With it being Christmas day, I half expected the waiting room to be chaos but it was almost empty save for an elderly man sat in a chair, half asleep.
I could see a few people rushing around through the door which lead to the beds but it didn't look as bad as it could have been.
I text Matt to let him know where I was and settled into the seat.
"Ms Carter," a familiar pair of eyes met mine from across the room.
It was one of the doctors I'd met during my stay in hospital whilst I'd been recovering from my meeting with Jason's father.
"Hi," I smiled politely.
"What are you doing here?" He greeted me. "Not gotten yourself into trouble again I hope?"
"No," I shook my head. "I'm waiting for my brother."
"Craig isn't working today," the doctor frowned in confusion.
"Not Craig," I chuckled. It seemed like everyone here new him. "Matt."
"Is he hurt?" He looked at the chart in his hands. "There are no Carters on my bed list."
I shook my head again. "Matt's here visiting somebody. His surname is Smith," I added in explanation. "He's my adopted brother.
"Smith," his face fell. "Oh."
"What?" My heart beat quickened slightly. That was not a good reaction.
"I think your brother might need you. Come with me."
There was no chance for me to explain that Matt wouldn't want me there. The doctor ushered me into the nerve centre, past a number of empty beds. I could hear the crying before I could see it. I didn't need to see who it was to know it was Matt.
"I'll give you two a moment," the doctor whispered to me, patting my shoulder and leaving me in front of the curtains drawn around the bed.
I took a deep breath. I didn't want to cross a line and upset Matt but he was family and I hated hearing the noises coming from the other side of the curtain. I'd never seen or heard him cry before.
I pulled the curtain to the side carefully. There was a woman of around forty lying in the bed, her face sunken and grey, her cheekbones jutting up against her skin. She looked like she hadn't eaten in a month. Her bright red lip stick was smeared across her face and she'd obviously been wearing mascara at some point because it still stained her skin.
Despite her battered and famished appearance, she was obviously a blood relative of Matt. They had the same dark hair and almost black eyes, only hers stared blankly at the ceiling above her head. This must have been his real sister, Stacey.
"Matt," I whispered softly, coming to a stop a few steps away from him. "I, um.."
I didn't really know what to say. He was hunched over her bed side, shaking and crying.
I sighed deeply, pushing past my fears to move towards him. He was known to have an unpredictable temper.
I took the seat next to him and cautiously placed a hand on his back. When he didn't lash out or yell at me. I gently rubbed his back.
I could barely take my eyes off the women in front of me, especially not once I noticed her bandaged hands. Or rather, what was left of them.
She was distinctly fingerless.
Bile rose in my throat as the reality sank in. Somebody had cut her fingers off. I stilled as I looked from the blood stained bandages to the face of the woman in the bed. She wasn't crying, wasn't visibly in pain. It was like there was an empty shell of a person in front of us.
The same couldn't be said for Matt – and I knew why.
I remembered what had happened at the club on the night of Craig's birthday. That ape like man had said Stacey owed him money and threatened to remove her fingers if Matt didn't pay up.
"It's all my fault," he whimpered, grabbing me and pulling me into an embrace.
I wanted to tell him it wasn't. He hadn't done this to her. He had no responsibility for this awful act of violence. But he was hugging me too tightly. I could barely breathe so I just hugged him back.
"Merry fucking Christmas," he added bitterly, trembling with his whole body.

subset: commoncrawl


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Today computers and internet are dependent on humans for information. But this is changing, ever since the Internet of Things (IoT) enters the field with humans. The IOT is a futuristic technology which states to become a system of interrelated computing devices. It is a network of physical objects embedded with internet connectivity enabling these objects to collect and exchange information.
2018 is when IoT will see a boom and e-commerce will see a halt. – Rohan Shravan, Founder & CEO, Notion Ink
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Read Related Article: Simple Thing To Know About Internet Of Things (IOT)
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Search Results for: the atlantic
Sailing Across the Atlantic in 30 Days—With Two Toddlers
When her youngest son was just a few months old, experienced sailor Janis Couvreux and her family determined to sail across the Atlantic Ocean–from a port city in Senegal to Rio de Janeiro, Brazil. This was the 1980s. There was no GPS, no 3G, no iPads. Armed with months' worth of supplies and her husband's sextant, they made the journey in 30 days. It was, by all accounts, blissful. Whether you're lounging on the beach or reading on your lunch break, lose yourself in Couvreux's adventure on the high seas.
So many questions I have been asked over the years about this part of our trip. How do you cross an ocean with an infant and a 3-year-old? How do you spend 30 days in such a tight space with two small children? How do you keep them from falling overboard? How do you get along with your husband all that time? What do you eat? Don't you get bored…? Well, getting bored was definitely not an issue. There was no time for that. Living on land with two small children is time consuming in itself. On a boat without modern conveniences, it's an all day job. Think of life in the old west: no refrigeration; no electricity; having to make one's own bread; conserving food by canning, salting, drying; washing clothes by hand…It's actually a "survival" mode lifestyle. However, since that's all we have to do, and not obliged to rush around in a car running errands, working, paying bills, meeting people for appointments and the like, that's part of the purpose: taking the time to live.
— Read the rest at Luna Luna Magazine.
What Happens When Four Guys Try to Cross the Atlantic…in a Rowboat
Four men make an attempt to break a world record by rowing from Senegal to Miami, Fla.:
"At the end of January, just 200 kilometres into the journey, the team is rowing in a wild nighttime sea when a rogue wave the size of a small house hoists their boat, tosses it into a valley and crashes over it. The force of the water snaps one of the oars in Kreek's hand. Equipment flies overboard, but the moon and stars offer enough light for him and Hanssen to frantically recover as many objects as they can. Two weeks later, in daylight, another wave breaks one of Kreek's oars. It's their last spare. Being thrashed by the Atlantic is terrifying and Kreek slips into shock. He goes cold, crawls into the cabin and falls asleep for four hours. 'You have to come to terms with the fact that you're this tiny little thing that can be eaten by the ocean at any moment,' Pukonen says."
Longreads Is Joining Forces with The Atlantic
We have some big news to share today: Longreads is teaming up with The Atlantic, in a partnership that will allow us to expand our site and membership model—and continue to serve this community of readers, writers and publishers.
When I first started the #longreads hashtag four years ago, The Atlantic was one of the earliest publishers to embrace it, and they understood what makes it special—the diversity of readers' tastes, sharing the stories they love, from a mix of well-known and undiscovered publishers and writers, across both nonfiction and fiction.
We're excited about the opportunity to work together with The Atlantic, and to continue expanding this site and community.
If you're curious about the business side of things, here are some specifics about how the partnership is set up:
Longreads remains an independent company and editorial team, just as we always have been. We're six people who have invested our time and resources into building Longreads—and we will continue to do what we do best, which is spotlight the best work from magazines, newspapers, books, and across the web.
Our site will be featured alongside the rest of The Atlantic's growing network of sites, and their team will be helping us with business and operations.
By now, you've already seen the two big pieces of the Longreads business model, and in the spirit of transparency, I'm outlining it here:
Our goal has been to create a business that supports readers, writers and publishers in different ways, through a mix of paid memberships and advertising.
With paid memberships, we're creating a system where you, our subscribers, are helping to pay writers and publishers for rights to stories and book chapters that are featured as "Longreads Member Picks." (Here's this week's Member Pick, a short story from Amelia Gray and Tin House.)
Through our membership, we want to keep building a secondary market for publishers and writers to make money off licensing, and we're doing so with your financial support. (You can join for $3 a month or $30 a year.)
On the advertising front, we teamed up with Virgin Atlantic last year on Travelreads, and we'd like to continue pursuing these types of creative initiatives. Advertising, done thoughtfully, will help support new channels like Travelreads, as well our daily editor picks across Twitter, Facebook, Tumblr and the weekly Top 5 Longreads email.
We're excited for what's next, and we're so thankful for this community's continued support. We can't do this without you, and we'll share more details as things come together.
–Mark and rest of the Longreads team (Mike, Kjell, Hakan, Jodi and Joyce)
Longreads Is Joining Forces with The Atlantic
We have some big news to share today: Longreads is teaming up with The Atlantic, in a partnership that will allow us to expand our site and membership model—and continue to serve this community of readers, writers and publishers.
Read more about our plans together, as well as details about our community membership and advertising model.
The Atlantic: 10 Essential #Longreads on Bin Laden and Al-Qaeda from The Atlantic archives
The Atlantic: 10 Essential #Longreads on Bin Laden and Al-Qaeda from The Atlantic archives
From The Atlantic archives, ten articles on terrorism, Bin Laden, Al-Qaeda, and more. Visit The Atlantic for most After Bin Laden coverage
Hunting The Taliban In Las Vegas, Robert D. Kaplan, September 2006
In trailers just minutes away from the slot machines, Air Force pilots…
The Atlantic: The Rise Of The New Global Elite
The Atlantic: The Rise Of The New Global Elite
F. Scott Fitzgerald was right when he declared the rich different from you and me. But today's super-rich are also different from yesterday's: more hardworking and meritocratic, but less connected to the nations that granted them opportunity—and the countrymen they are leaving ever further behind.
IF YOU HAPPENED to be watching NBC on the first Sunday morning in August last summer, you would have seen something curious. There, on the set of Meet the Press, the host, David Gregory, was interviewing a guest who made a forceful case that the U.S. economy had become "very distorted." In the wake of the recession, this guest explained, high-income individuals, large banks, and major corporations had experienced a "significant recovery"; the rest of the economy, by contrast—including small businesses and "a very significant amount of the labor force"—was stuck and still struggling. What we were seeing, he argued, was not a single economy at all, but rather "fundamentally two separate types of economy," increasingly distinct and divergent.
This diagnosis, though alarming, was hardly unique: drawing attention to the divide between the wealthy and everyone else has long been standard fare on the left. (The idea of "two Americas" was a central theme of John Edwards's 2004 and 2008 presidential runs.) What made the argument striking in this instance was that it was being offered by none other than the former five-term Federal Reserve Chairman Alan Greenspan: iconic libertarian, preeminent defender of the free market, and (at least until recently) the nation's foremost devotee of Ayn Rand. When the high priest of capitalism himself is declaring the growth in economic inequality a national crisis, something has gone very, very wrong.
Read the full article here. Read more articles from the January/Feburary 2011 issue of The Atlantic here.
"As an example, she described a conversation with a couple at a Manhattan dinner party: 'They started saying, "If you're going to buy all this stuff, life starts getting really expensive. If you're going to do the NetJet thing"'—this is a service offering 'fractional aircraft ownership' for those who do not wish to buy outright—'"and if you're going to have four houses, and you're going to run the four houses, it's like you start spending some money."'
"The clincher, Peterson says, came from the wife: 'She turns to me and she goes, "You know, the thing about 20″'—by this, she meant $20 million a year—'"is 20 is only 10 after taxes." And everyone at the table is nodding.'"
The Last Last Summer: Donald Trump and the Fall of Atlantic City
"Trump, a man addicted to success, and—if his oration is any indication—a man with extremely limited reserves of self-control, can't ever gamble, because he can't ever lose. I'd bet that Trump is barely even familiar with the table rules, for the simple reason that he doesn't have to be; all he has to know are the odds to know that he can't beat them. Having owned the house, he'll never tempt the house. All he can do is torch it. "
The Death and Life of Atlantic City
Paumgarten reports on the series of financial troubles that has befallen Atlantic City, which has struggled in the aftermath of Hurricane Sandy and several casino closings.


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No kids? No kidding
Let's set a few things straight.
None of us were promised that we could make it through our lives without ever being bothered, inconvenienced or made to feel uncomfortable. When that happens -- and it will -- you do what grown-ups do: Put up with it, or you leave the environment that is causing you such misery and go someplace else.
Someone is going to come into your space and do something that irritates you. But the proper response isn't always a smoking ban, a profanity ban, a fast food ban, etc. Sometimes, all you need to do is speak up and ask people to be more considerate. If they refuse, don't rush out and call your city councilman or pressure an establishment to bar entire groups of people. Just tolerate it, or leave.
You'll have a better, happier and more stress-free life if you understand early on the difference between private space versus public space. In your private space, you can do what you want and ask anyone who comes into that space to do what you want as well: "Before you enter my home, please take off your shoes." But when you step into a public space, you have to give up any expectation that you'll be able to control the behavior of others to make yourself more comfortable. When you drive your car to work, you can do as you please -- as long as you obey the law. But when you ride the subway, you need to learn to cope with behavior you might find irritating, such as loud talking, unruly children, etc.
This is common sense, but apparently not common enough. One person who seems to have missed his serving is Mike Vuick, the proprietor of McDain's Restaurant, a casual dining establishment in Monroeville, Pa.
Notice I didn't call it a "family restaurant." Vuick surrendered that title when he announced a ban on children under the age of 6. That's pushing the phrase "We reserve the right to refuse service to anyone" a bit far, isn't it?
Vuick says he decided on the new policy after receiving many complaints from customers about noisy tykes and crying babies at neighboring tables. In an email to customers, he explained the change this way: "We feel that McDain's is not a place for young children. Their volume can't be controlled and many, many times they have disturbed other customers." Vuick told a local television station that, while he personally has nothing against kids, he thinks that crying and screaming in restaurants is "the height of being impolite and selfish."
Of course, they're impolite and selfish. They're kids who haven't yet turned 6. Everyone knows that children don't magically morph into "polite" and "selfless" until they're at least 7!
Or maybe Vuick was talking about the parents of the little screamers. They probably can't control their kids, and they should try harder to do so. This much is true. But does that necessarily make the parents impolite and selfish? As for Vuick's complaint about children whose "volume can't be controlled," look, they're kids -- not television sets or boom boxes.
Let's give these parents a break. They could just be overwhelmed or afraid of making a bad situation worse by coming down too hard on their kids in public. Besides, if one of your children is screaming, you aren't thinking about the people at "neighboring tables." As the father of young children, I can tell you that you're just trying to put out the fire.
People need to lighten up and stop being so desperate to control every situation. We don't live in a bubble.
Still, it's Vuick's restaurant, and he can declare it a "no kids zone" if that's what he wants to do. This is not against the law. But, make no mistake, his policy is indefensible. It discriminates against -- and thus puts an unfair burden on -- parents with children; after all, barring a child from a restaurant means barring the parent as well.
But the real problem with Vuick's proposed "child ban" is that it's a harmful enabler. It'll only encourage more complaining by customers at "neighboring tables." It takes everything we know about how the world won't accommodate you and turns it upside down by making a special accommodation to those who complain the loudest.
Americans have spent years worrying about whether we're pampering our children. What we should really worry about is whether we're pampering our adults.
© 2011, The Washington Post Writers Group


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This is one of the six videos I shot on the second day of the irn event, 'Social & Digital Media for Financial Services' (London, 7-8 June 2011).
It was my first video interview with Jose Antonio Ritore - Head of Social Media at Obra Social Caja Madrid, and it was long overdue. Indeed, Jose Antonio and I have been following each other for quite some time, and he was supposed to contribute to my social media workshop in Madrid (June 2010). Unfortunately Jose Antonio had to cancel at the last minute, and we never had the chance to record an interview together...
The Obra Social Team at Caja Madrid started leveraging social media three years ago by creating online communities and online engagement via initiatives such as a blog network for NGOs, an active twitter account or a popular facebook page. Their motto: "good content, and an enthusiastic community manager, is the key to success".
A few stats from the team: 2 million unique visitors per year, 3,000 posts...
I invite you to watch some of my 100+ interviews with financial services Executives passionate about social media, all over the world, including some spanish banks such as BBVA, Caja Navarra, Banco Sabadell...
Interview with Jose Antonio Ritore - Head of Social Media
Please find below my interview with Jose Antonio.
- Greetings
- What is Caja Madrid's Obra Social (00:14)
- Leveraging social media since 2008 (00:57)
- Key stats about their online communities & content strategy (02:03)
- What about engagement and user activity / interaction? (03:12)
- Community management, content strategy and call-to-action (04:00)
- Two key achievements on facebook and twitter (05:00)
- Frequency & volume of content on facebook and twitter (05:31)
- How do you fully leverage every social media channel? (06:45)
- What's the best quality of a brilliant community manager? (07:20)
If you are interested in activites on twitter and facebook in the worldwide financial services industry, we invite you to check our updates on the Visible Banking Twitter Watch series, 1,500+ accounts in 70+ countries and Visible Banking Facebook Watch series, 900+ pages and apps in 70+ countries.
Working Together
We at Visible Banking would be delighted to help you and your team better UNDERSTAND and LEVERAGE social media in a strategic yet pragmatic way.
So please don't hesitate to call me, send me an email or DM me (@Visible_Banking) to book a meeting and talk about twitter, facebook, crowdsourcing, customer reviews, social media & social commerce in banking, financial services and insurance.
Related articles on Visible-Banking.com
* All my posts related to Twitter
* All my posts related to Facebook
* Visible Banking Directory: Social Media in Financial Services
* Visible Banking Social Media Watch Series (Twitter, Facebook, Blogs)


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Business News of Monday, 7 March 2011
Source: GNA
Accra, March 7, GNA - A new airline that will operate passenger and cargo services within Ghana and West Africa has been presented with its Air Carrier Licence (ACL) by the Ghana Civil Aviation Authority (GCAA). Togbe Afede XIV, Chief Executive of SAS Finance Group and Chairman of Africa World Airlines Limited, received the ACL on Friday from Air Commodore (Rtd) Kwame Mamphey, Director-General of GCAA, at a ceremony at the Kotoka International Airport.
A statement issued in Accra on Monday by the new airline said it would commence flight operations in mid-2011 with all-jet services from Accra to Kumasi, Tamale and Takoradi. Air Commodore Mamphey congratulated the management on achieving the milestone and welcomed the new carrier on domestic routes in order to increase competition and reduce airfares. Air Commodore Mamphey advised the airline to ensure that the highest standards of safety and reliability were maintained and assured it of GCAA's support.
Togbe Afede, who is also the Agbogbomefia of the Asogli Traditional Area, thanked the GCAA and the Ministry of Transport for their assistance through the licensing process. He assured the public that the airline intended to revolutionalise domestic air transport by making it affordable to many people. Africa World Airlines Limited is a Ghanaian private-sector joint venture between SAS Finance Group, an integrated investment banking and financial advisory firm, and Chinese investment and technical partners.
"Africa World intends to provide low cost scheduled airline passenger services from Accra to domestic and regional destinations, using jet aircraft throughout its route network," the statement said.


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There is an open learning centre with 6 networked workstations with Internet access and volunteer tutors. This service has successfully participated in an European Union funded IT training programme and provided a good model for refugee participation in lifelong learning.
The open learning centre is now open to access for the use of Day-Mer staff, volunteers and service users for internet access and word processing needs.
Please check availability before arrival.


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Actor Faran Tahir on "Iron Man" and "Star Trek"
|Faran Tahir has appeared in "Iron Man," "Lost," "Alias," "24" and co-stars in the forthcoming "Star Trek"
Who is Faran Tahir? Well, he's probably best known as the actor who plays the terrorist, Raza, the man who kidnapped and tortured Tony Stark in this summer's box office smash "Iron Man." But soon audiences will see Tahir in a new and heroic light as Captain Robau in next summers highly awaited "Star Trek" from director J.J. Abrams.
Often cast as the villain and no stranger to the world of J.J. Abrams, Tahir has appeared in several television shows including Abrams' own "Alias" and "Lost." He also matched wits with Jack Bauer on Day 4 of the popular Fox program, "24".
But before battling Tony Stark on the silver screen, Tahir had already compiled an impressive resume of film work including his big screen debut in the 1994 live action film, "The Jungle Book," and last year's "Charlie Wilson's War," acting along side Oscar winners Tom Hanks, Philip Seymour Hoffman and Julia Roberts.
CBR News spoke with Tahir about the making of "Iron Man," his knowledge of the Marvel Universe and what Trekkies can expect from next summer's relaunch of the Star Trek film franchise.
CBR: To start with, were you aware of the "Iron Man" character from the comics before you got the part?
Faran Tahir: Well, I knew the comic books because I grew up reading them. So, I knew who Iron Man was and how he fits into the Marvel Universe. I've always had this infinity for Iron Man because he was one of those superheroes who didn't become a hero because of some freak accident. He was a guy who built himself into a hero. And that, as a kid, gave me hope that you could do something and become something more than you are.
So I knew that, but as far as my character is concerned, I knew the context of "Iron Man." So it was easier for me to translate that into this newer version, updating the whole story to current events. It was easy to make that transition. It didn't seem too out of place and because I had that historical context, it kind of fit together.
|Faran Tahir in "Iron Man"
So you were a comic book fan growing up?
I was. I had a lot of comics when I was growing up. And then as I got older, as sometimes happens, I stopped reading them for whatever reason. I got some distance from them but then my son, who is nine, got into them when he was younger. So that kind of brought it all back to me. As he got more into them he would ask, "Who's this character? What's his power?" And I was glad that I could answer him.
One thing that my son and I used to do when he was younger, was that he liked to dress up in superhero or supervillain costumes. The rule was that you couldn't buy anything for it, you had to find the stuff at home. So we would raid everybody's closets and go through the garage to find stuff. Then he would go to his pre-school and slowly it became such an event that teachers and kids alike would be waiting to see what he would be dressed up as. So comic books and superheroes became a pretty regular affair in our house.
What was your reaction to the "Iron Man" script when you first read it?
When I first read it, I really enjoyed it. I thought that it was done in a very smart way. It had something for everybody in it. I also liked the fact that it was dealing with current realities and yet transcending all of that. Especially with my character, it's so easy to pigeonhole him because of what he represents. That it says, "Here's a terrorist", and so on. But the writers did a very smart thing and didn't really take the obvious route. These are guy's who are in the mist of all of this [terrorism], but they have a different ideology. And it wasn't about some fanatic religious goal or something. These are people who are actually true to the original idea of people just trying to grab as much power as they can.
So I really enjoyed it. They gave us enough freedom to make it original. There were little things that we ended up adding, like I speak foreign languages in it. I tried not to speak just one, so it didn't seem like this was a regional warlord. Even while I was barking out orders, I would pick different languages. I used Arabic, Farsi, Hungarian and even Russian. I used anything that I could find just so it wouldn't have that context. So, people who want to look for that in it will find it and for the people that don't want to look for it, it still works.
|Faran Tahir in "Iron Man"
What was it like working with director Jon Favreau, an actor-turned-director? What was that like being directed by him and do you feel that he had a clear vision of what he was going for?
You know, I think that you touched on it. The fact that Jon has worked in front of the camera and behind, gives him this really unique advantage because he knows what his vision is. But sometimes when you have a vision you also need to have the facility to articulate it to different people working on the film in different ways. You don't want to articulate the same vision to the cinematographer in the way that you would articulate it to the actor. We have different hooks into the way that we're going to get there. Because of the unique positioning in his career, he could switch it and talk to us rather then giving us an oral dictation on the character. He would throw out a few choice words. He knew that you could then take that word and make it into something that you could work with. So it becomes a very organic way of working.
What I liked about him was that all though he had a vision, he was not going to get there by driving it hard. When we were doing the screen test, I think he had me do the same scene ten or eleven different ways. He would look at the screen and come back and say, "Okay Faran, now try this. The guy has a headache. Now try, he just got in a fight with his wife." When I look back at it the thing that I really think is amazing is that what he was trying to see was if I was going to get stuck playing it just one way. Or could I keep it fluid and keep it immediate. Could I change if I needed to and have more of an improvisational dance rather than a waltz. So it was great working with him. He's a really focused and bright man.
You shared a bulk of your scenes with Robert Downey, Jr. What is he like to work with?
You know, the great thing about Robert is he's such a humble, nice guy off screen. I'll give you an example. When I was doing the screen test that I was telling you about, Robert and I were doing it together. I had never met him before. We were introduced and started to look at the script together. We read through the scene a couple of times and then he looked at me and said, "You know what man, if you need to throw me around, slap me around, whatever you need to do let's just do it and have fun with it."
When someone gives you that license at the get-go, it just takes a lot of weight off your shoulders. I mean here's a guy who just wants to have fun. That was the greatest thing about him. He's so focused and quick on his feet that you really have to play with him. You can't come in with a preconceived idea of how you are going to do the scene because he might change it on you.
|Faran Tahir in "Iron Man"
Again, I go back to that analogy of dancing. It is an improvisational dance. He'll change styles in mid-sentence and either your willing to go there or your toast. Having that type of quality, being such a nice, humble guy, who was open and generous off screen and on, you can't ask for anything more then that really.
While you were shooting, were you aware of Samual L. Jackson's cameo as Nick Fury, the tie-in with this month's "The Incredible Hulk" film, and the S.H.I.E.L.D. and Avenger references in "Iron Man?"
You know, there was talk. I knew that it was going to happen. I knew that if they're talking about making "Iron Man" and then they're going to follow it up with "The Incredible Hulk," and that Avengers and S.H.I.E.L.D. has to be brought in at some point. So there was talk about it. At the time we were shooting it wasn't certain if Sam Jackson would be available in time. But they really wanted him to do it. There were just issues that they needed to iron out. But they always had the idea to throw that in there and see what would happen. A little hidden gem for whoever would pick-up on that.
Was the Nick Fury scene in the original shooting script or was that added in later?
That was added as we went along. They hadn't really, in the original script, named that it was going to be Nick Fury because they wanted to keep it open and not have it leaked out either. But as we went along it became pretty apparent that, that was going to happen.
There were a few references in "Iron Man" to one of the villains from the comics, the Mandarin. Can you tell us anything about that?
|Faran Tahir in "Iron Man"
Again, people who know the story from the comics notice the hidden clues in the film. If you remember, one of my speeches is about Genghis Khan. So the people that know the story line know that the Mandarin is a descendent of Genghis Kahn. So there is that whole idea. Now through my [character's] obsession with Genghis Kahn, you can read in to it, but I think we wanted to leave it open. Because I think that there is a conduit to the Mandarin through the Ten Rings, [the terrorist group Raza leads of in the film]. Now, I don't know if in the coming movies, if my character becomes The Mandarin or if he is the conduit or right hand-man to him, but we wanted to leave that open.
But again, you can't have an Iron Man movie without The Mandarin references. That's why the terrorist group is called the Ten Rings [in the comics, The Mandarin wore a magic ring on each finger] and my character had an obsession with a gold ring with a red jewel that I wore on my finger. That's why I was twisting it and twirling it in the scene where I'm watching Tony Stark. So there is that linkage there and it is for the fans of the comic book.
It is not clear at the end of the film if your character survived or not. Has there been any talk about you returning for the announced sequel?
There hasn't been any concrete talk, yet. I think what they are trying to do is figure out what is the smartest way to go. My guess is that at some point The Mandarin needs to be brought to the forefront. What route they end up taking, we don't know yet. Those conversations are actually on going as we speak. Again, as we left my character, you can make the argument that he is dead. But if you also look at the parallels of what happens to my character and the way you see me in the last image, it is the same thing that happens to Tony Stark. Jeff Bridges character stuns him, his ear bleeds and then he's okay. So it's good to leave certain things hanging.
I think that as we go on in the next few months, as they get closer to figuring out what route they are going to take, we will know a little bit more about it. I was made aware that if this movie does well that there would be sequels, so that conversation started even before we were shooting. So there is a chance but not having the knowledge I can't confirm witch route it's going to go yet. It's only a month out and so much was hinging on this film doing well and of course it has. I think that we will know more soon and once we start shooting the second one we will know how the third one, if there is a third, will go.
|Faran Tahir in "Lost"
Talk about your role in J.J. Abrams' "Star Trek." What can you tell us about your character, Federation Captain Robau?
Well, you know we are trying to keep it hush-hush, of course. But what I can tell you is that Captain Robau is the captain of a Federation ship — a ship that really hasn't been seen before in the "Star Trek" storyline. So it's something that people haven't seen yet. My character is kind of a heroic character, which I thought was a great change of gears for me, doing "Iron Man" and then somebody a little different like a good guy.
How well has Abrams done re-imagining this legendary franchise?
I think J. J., again like Jon, understands the genre well. He also understands the fact that there are die-hard Trekkies out there that want things done right. He respects that and yet he also wants to challenge it. So certain things will be conformed and other things will be challenged. I also think that he understands that there is a whole generation out there that has not grown up with "Star Trek." All the shows are done and there hasn't been a movie in a while, so there is a nice gap in between. I think he also wants to cater to that group so they can be introduced to this on they're own ground. So it's not like something their father, uncle or older brother told them about but it's something that they really discover on their own and get to own it themselves. He's created a very nice balance and the feel to the movie is something that I feel he has really gotten right.
Do you think that the hardcore "Star Trek" fans will be happy with the film?
I do. I think because it keeps the spirit of "Star Trek" alive and yet has something new to offer. You know, you piece information together to give characters history or future in this case. [Abrams] has straddled both of those things, the conformations and the challenges at the same time and I think he's done a very smart job.
|Faran Tahir in "24"
You've worked with the writers, Roberto Orci and Alex Kurtzman, in the past on "Alias." What was their script like?
They really are great writers. They really understand how to pull you into it. They know how to see that audience in the dark room and take them to a whole other reality. And that's what I like about the script. This "Star Trek" will do that and you won't have that separation of fantasy and reality. You will be transported there and energized right onto the deck of the ship. So it's very well done.
Finally, you were on an episode of "Lost" this season, "The Shape of Things to Come." What was that experience like?
I was on the set of "Star Trek" when they asked me to do this. I went to J. J. and asked him about it and he just said, "Trust us. Things sometimes wont make sense to you but just trust us. Just go into it and play it out and leave it up to us beyond that. Just go have fun with it."
You know, they play with timelines all the time on that show. I got to Hawaii and I did the scenes. It's so well run, the whole thing, it's run like a well-oiled machine. Michael Emerson [who plays Ben] was great. He was really in there doing his thing. It was a great little scene.
You mentioned how they jump around timelines on the show. Your character was killed in that episode. If they found a need to bring you back, would you be interested in revisiting that role?
I would be totally open to that. I think it would be a great thing just as an actor to build a character and kind of go in reverse. Rather than learning new information, having to unlearn old information. I think that would be almost an extecential kind of path to take, to know where your end is and build a beginning to it.
Now discuss this story in CBR's TV/Film forum.
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Well my visit to Ho Chi Minh City did not go as planned. I had my three day trip and it was every bit as good as I'd hoped. I got a thorough introduction to Ho Chi Minh City. I especially loved the Saigon cooking class and the water puppet show. I also enjoyed the boat trip & meal on the last day. At the cooking class I had a bit of fun and shared one of my favourite recipes, Crispy Vietnamese Beef as learnt from the Hairy Bikers. What I did not expect was to follow in Simons footsteps, or as near as damn it. Simon King (one of the Hairy Bikers) broke his ankle while filming.
Me, I broke my wrist while falling, sober, off the motorcycle I had hired for the rest of my stay. So I had the rather unpleasant and painful experience of a broken bone, trying to negotiate a taxi to the nearest hospital and arranging care of my scooter until I could come and collect it. Fortunately an English speaking Vietnamese helped me out, as my limited knowledge of the language disappeared with the rising pain. He organized for the motorcycle firm to collect the bike and sent me in a taxi to collect my passport and insurance details. So glad he did that, although at the time I thought he was being over fussy. When I got to the hospital I found without my documents I would not have been treated. I am so glad I was sensible about taking out health insurance, Vietnam does not have the best reputation for health care and no health insurance scheme. There are public hospitals but private ones tend to have better facilities and staff, along with foreign language speakers. So I am now in plaster and a bit uncomfortable in this humid heat but I am planning on staying here a little longer and the bloke who helped me out is a city engineer and has offered me a room at his home until I leave. Actually quite excited at this development, to actually stay with a Vietnamese family will be great. For their hospitality I have agreed to spend 2 hours a day coaching his two children with their English. Let you know how it goes next time.


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RENO, Nev. - Mt. San Antonio College (Mt. SAC) Pole Vault Coach, Giovanni Lanaro, was named the 2016 National Collegiate Coach Of The Year (colleges and universities) by the USA Track and Field Pole Vault High Performance and Development Committee. The award was presented during the Opening Ceremonies of the National Pole Vault Summit (Friday; January 13, 2017), in front of 3,000 pole vaulters, pole vault coaches and fans.
"Giovanni was a unanimous decision amongst the selection committee." replied USA Track and Field Men's and Women's Pole Vault High Performance and Development Chair, Brian Yokoyama. "He has done an incredible job with his athletes and has kept the great Mt. SAC Pole Vaulting Tradition, of which he is part of, alive with outstanding student/athletes of great character."
Lanaro, a former elite vaulter himself, was a two-time Mexican Olympian who vaulted 19'01" (5.82M), which still stands as the Mexican and Hilmer Lodge Stadium (Mt. SAC) record. Lanaro competed for Mt. SAC during the 2000 and 2001 seasons and captured a state and national championship, as well as shattering legendary Olympic Gold Medalist, Bob Seagren's college record of 17'01" (5.21M), by jumping 17'06"1/2 (5.35M). An even more amazing accomplishment considering his best performance prior to entering Mt. SAC was 11'06" (3.51M). Lanaro continued his education and vaulting at California State University at Fullerton (CSUF), where he jumped 18'04"1/2 (5.60M) to set the CSUF record and also earned NCAA Division 1 All-American status 3 times.
In its 30th year the National Pole Vault Summit, presented by UCS/Spirit Vaulting Poles and Nike, is the largest gathering of pole vaulters, pole vault coaches and pole vault fans in the world. Each year, over 3,000 people attend the event, which is held in Reno Nevada, concurrently at the John Azcuaga's Nugget Hotel and Casino (Convention, Clinics, Lectures, Hall of Fame, Meetings) and the Reno Livestock Events Center. The "Summit" is a grassroots developmental clinic established to promote and advance the pole vault through education and safety. It consists of lectures, "Learn by doing clinics," meetings, coaching demonstrations, competitions (14 pole vaulting pits/runways) and roundtable discussions with the world's best pole vaulters and pole vault coaches. The "Summit" also serves as the official meeting/gathering for our nation's top men's and women's pole vaulters and USA Pole Vault National Staff.
(Release courtesy Mt. San Antonio College Athletics and National Pole Vault Summit)


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1924 Loar-signed Gibson F-5
The Gibson F-5 mandolins that are signed and dated by the man who designed them, Lloyd Loar, are acknowledged by most American players as the epitome of mandolin design.
This Loar F-5 was signed by Loar on March 24, 1924, and it exemplifies the F-5's ultimate combination of aesthetics, power and tone. As befits an instrument of this quality, it has been played and it has been refretted, but it is in otherwise excellent original condition. It is fitted with a Virzi Tone Producer. With original original rectangular hard case, this instrument (inv. #MF7331) is offered at $200,000.
For further appreciation...


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(NEW YORK) — A suspect has been arrested in connection with a stabbing of two children last weekend in New York City.
Police said Daniel St. Hubert, 27, was caught a short time after police publicized his name. He was charged with a crime that shocked the Brooklyn neighborhood where 6-year-old P.J. Avitto lived. Avitto and a friend were thinking of getting ice cream on Sunday evening when police say St. Hubert attacked the children in the elevator of their building with a kitchen knife.
The friend, seven-year-old Mikayla Capers, survived, but Avitto died at the hospital.
At the time of the stabbing, St. Hubert had been on parole little more than a week, police said.
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Air NZ takes delivery of new Dreamliner
Air New Zealand has taken delivery of the first of its Boeing 787-9 Dreamliners.
The airline is the first in the world to take delivery of the advanced new passenger aircraft and more than 1000 Boeing employees and dignitaries marked the handover near Seattle this week.
The black-liveried aircraft is flying to Auckland and due to land on Friday afternoon.
"Our team is looking forward to flying it home," said Air NZ chief executive Christopher Luxon.
"The 787-9 is a real game changer and we can't wait for our customers to experience it."
Air NZ is buying 10 787-9s. They will fly the Auckland-Perth route from October and to Shanghai and Tokyo later this year.
Delays have hindered the development of the Dreamliners but Air NZ says they are 20 per cent more fuel efficient than similar-sized aircraft and that should put downward pressure on airfares.
Another of Air NZ's 787-9s will be displayed by Boeing at the Farnborough International Airshow in England later this month.
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Yes, for the most part, school curriculum are based on what the student may decide to do post schooling. This type of focus detracts away from the personal development that students will need in order to be successful in business or whatever field he or she wants to enter. For a person to be successful, they must be able to communicate and work with others and in some cases it may be with people that are not necessarily likable. Personal development needs to be groomed into student just as much as job-oriented training.
The current school system lacks the classes required to focus on a single career unless you start taking college classes in high school. This makes the answer an easy one, and there should be little to no argument. Classes for dual credit are college classes too, and don't count as career classes in high school.
No, current school curriculum is not job-oriented, because school is mostly theoretical. At the high school level, very few students are actually trained for specific careers. The same is true for college students. School should be more career focused, so that students can find employment right after they graduate and enter the working world.


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I mentioned that I was going to get around to talking about this stuffing I've made for years, so it's about time I finally did so. It was passed down from a professor back at my doctoral institution. As part of it, you need to prep a pretty solid bird stock first, so let me detail that briefly.
You'll need some dark-meat bird parts first, be it the neck (ideally) or thighs. Take three of them (mix & match as desired), put them in a pot or saucepan large enough to lay them flat, and fill the spaces & cover the turkey parts with onion, carrot, and celery (don't need to chop it finely at all). Add a generous helping of sage, thyme, a bay leaf or two (if you have them), some peppercorns, and salt to your liking (I usually don't bother), and then cover the whole mess with water. Cover it, bring it to a boil, then reduce it to a simmer for at least two hours (I let it simmer for three). Pull all the meat out (mind you, the meat will literally fall off of the thighs), and strain out the remaining parts by pouring the mix through cheesecloth. Once the vegetables have cooled enough to handle, mash them up a little (still in the cheesecloth) and then wring the last of the juices from the vegetables. So much more flavor hiding in there, so don't neglect to do this step! Afterwards, feast on the delights of the amazing meat you've just prepared, and you have a batch of delicious stock!
Now, with that out of the way…onto the best part…the stuffing!


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About Sebastian Napiralla
Sebastian Napiralla, CFA, joined Lampe Asset Management in 2016. Prior to this he was working at Metzler since 2009 where he was a portfolio manager in the absolute return & portfolio insurance team and has been Head of the Absolute Return team since 2014. From 2009 to 2010, Napiralla completed a one-year trainee program at Metzler. He studied at Technical University in Darmstadt, Germany, and holds a master's degree in mathematics (German Diplom-Mathematiker). During his studies, he worked for Metzler as a part-time student trainee for two years.


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This book can be read before Mass to help prepare children for the celebration or brought to Mass so that children can follow each part of the liturgy. The goal is to help kids connect the actions of the Mass with Jesus' gift of himself in the Eucharist.
|Format: Hardcover
Number of Pages: 48
Vendor: Word Among Us Press
Publication Date: 2011
|Dimensions: 9.31 X 8.5 (inches)
Ages: 7-11


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Jason Borge
Affiliate Faculty — Ph.D., University of California, Berkeley
Associate Professor, Spanish and Portugese
Latin American film and media studies, intra-hemispheric cultural studies, early-to-mid 20th century cultural history, popular music and sound studies, new jazz studies
SPC 320C • Gringomania: U.S. In Lat Am
45415 • Spring 2019
Meets TTH 2:00PM-3:30PM BEN 1.102
(also listed as LAS 328)
Significant issues in Iberian or Latin American societies and cultures.
Topic 1: Jewish Voices from Latin America. An introduction to Jewish writers from Brazil and Latin America, with an emphasis on those whose works portray the situation of the Jewish communities in their respective cities and countries.
Topic 2: Mediascapes: Literature and Media in the Caribbean. Analyzes the relationship between literature and media technologies in contemporary Caribbean cultures.
PRC 320E • Spectacular Brazil
45425 • Spring 2018
Meets TTH 2:00PM-3:30PM MEZ 1.202
Focuses on significant issues in Brazilian society and culture.
Topic 1: Samba to Hip Hop: Brazilian Popular Music. Examines the role of popular music in relationships of power with subordination and the impact of music as a form of cultural expression.
Topic 2: Global Brazil: Immigration and Diaspora in Brazilian Culture. Examination of twentieth-century literature, films, and other cultural artifacts that capture the multicultural reality of Brazilian society and challenge the image of Brazil as a unified, harmonious, racially-mixed nation. Subjects include contemporary textual and visual representations of the Brazilian diaspora in the United States and Europe.
Topic 3: Afro-Luso-Brazilian Worlds. Study of the myths and realities in the Afro-Luso-Brazilian worlds and the connections and contrasts between them.
ILA 389 • Cinema/Sound/Cities In Amer
45765 • Fall 2017
Meets TH 2:00PM-5:00PM BEN 1.118
(also listed as LAS 381)
Music and sound have played an especially key cultural, political and social role in Latin America. This is particularly true since the simultaneous emergence of large urban centers and new mass media in the first half of the 20th century. In the early sound era of the 1930s and 1940s, film industries in Mexico, Argentina and Brazil proved instrumental in promoting populist political platforms, often using spoken and singing voices and urban music forms such as mambo, tango and samba to reinforce--and sometimes parody and criticize--what Ana M. López has called "pedagogical" narratives about race, gender and social class. In the 1960s and 1970s, a new generation of filmmakers would place music at the service of revolutionary agendas sometimes at odds with the very institutions (commercial radio, television) through which vernacular music had long thrived. In the globalized, neoliberal era of the late 20th and early 21st centuries, music and sound have served diverse functions, yet their centrality to film culture and society-at-large remains.
In this comparativist graduate seminar, students will analyze hemispheric cinematic production (particularly in Mexico, Cuba, Brazil and the United States) that makes the politics of urban landscapes and soundscapes a central thematic focus: from Hollywood musicals and tango, samba and "rumbera" melodramas of the 1940s and 1950s to late 20th and early 21st century reconfigurations of urban aurality. Focusing on transnational, media-saturated cities like Havana, Rio de Janeiro, Mexico City, New York and Los Angeles, we will draw from a diverse array of theoretical perspectives, from sound studies and urban spatiality to studies of transnationalism and global citizenship, not to mention current film and music scholarship.
Grades will be based on participation, two presentations, and a final research paper (18-25 pages).
Tentative list of films and topics:
New York/Los Angeles: Voices of (Dis)enchantment
El tango en Broadway (dir. Louis Gasnier, 1934)
Hollywood es así (Jorge Délano, 1944)
Mexico City I: Streets and Cabarets
Distinto amanecer (Julio Bracho, 1943)
Víctimas del pecado (Emilio Fernández, 1951)
La ilusión viaja en tranvía (Luis Buñuel, 1954)
Mexico City II: Gringo Strains
Los caifanes (Juan Ibãñez, 1967)
Güeros (Alonso Ruizpalacios, 2014)
Havana I: Revolutionary Notes
Guys and Dolls (dir. Joseph L. Mankeiwicz, 1955)
Cuba baila (dir. Julio García Espinosa, 1960), or Nosotros la música (dir. Rogelio París, 1964)
PM (dir. Sabá Cabrera Infante & Orlando Jiménez-Leal, 1961)
Havana II: Echoes of the Cold War
Buena Vista Social Club (dir. Wim Wenders, 1999)
Suite Habana (dir. Fernando Pérez, 2003)
Rio I: Marvelous Music
Carmen Miranda, "Aquarela do Brasil," from The Gang's All Here
Rio Zona Norte (Nelson Pereira dos Santos, 1958)
Orfeu Negro (Marcel Camus, 1959)
Rio II: Marvelous Noise
Copacabana Mon Amour (Rogério Sganzerla, 1970)
Cidade de Deus (dir. Fernando Meirelles, 2000)
Sao Paulo I: Paulista symphonies
São Paulo, Sinfonia da Metrópole (1929)
São Paulo, Sociedade Anónima (Luis Sérgio Person, 1965)
São Paulo II: Sounds of Megalopolis
Discos Durval (dir. Anna Muylaert, 2002)
Saudade do Futuro (dir. César Paes, 2000)
New York: Salsa Latitudes
Our Latin Thing (Leon Gast, 1972)
El cantante (Leon Ichaso, 2007)
New York/Havana: Outernational Forays
Buscando a Chano Pozo (Rebeca Chávez, 1987)
Before Night Falls (Julian Schnabel, 2000)
Chico y Rita (dir. Fernando Trueba, 2010)
Minor Soundscapes
O Som ao Redor (dir. Kleber Mendonça Filho, 2012)
Siembra (dir. Ángela Osorio Rojas & Santiago Lozano Álvarez, 2015)
SPN 350K • Latin Amer Film And Culture
46464 • Fall 2017
Meets TTH 12:30PM-2:00PM PAR 303
(also listed as LAS 370S)
Taught in Spanish. Overview of Latin American cinema from the silent era to present, with an emphasis on the last forty years. Subjects covered include: the development of the film industry (particularly in Argentina and Mexico in the 1930s and 1940s); the "New Wave" of Latin American cinema in the 1960s; and contemporary trends.
POR 350F • Brazilian Film And Culture
46020 • Spring 2017
Meets TTH 2:00PM-3:30PM JES A207A
(also listed as LAS 370P)
Audiovisual and media production treatment examined through themes in contemporary Iberian, Latin American, or African societies. Subjects include the analysis of the language, audiovisual, and media cultures and their implications.
Topic 1: Contemporary Brazilian Film.
Explores recent filmmaking in Brazil as an art form and as a method of articulating important aspects and concerns of contemporary Brazilian society. Topics include cinema and development, modernization, national and regional identity, race, social exclusion, violence, and neoliberalism.
Topic 2: Brazilian Film and Culture. Students will be given a critical overview of Brazilian cinema, from the silent era to the present day, with an emphasis on the late twentieth- and early twenty-first-centuries.
LAS 370S • Film/Music In Latin America
40380 • Fall 2016
Meets TTH 12:30PM-2:00PM CLA 1.108
(also listed as SPN 350K)
Music has played an especially crucial political and social role in Latin America. This is particularly true since the emergence of new mass media in the early 20th century. In the early sound era, film industries in Mexico, Argentina and Brazil proved instrumental in promoting populist political platforms, often using popular music forms such as mambo, tango and samba to reinforce--and sometimes question--national myths about race, gender and social class. In the 1960s and 1970s, a new generation of filmmakers would place music at the service of radical, sometimes revolutionary agendas. In the globalized, neoliberal era of the late 20th and early 21st centuries, music has served diverse functions, yet its centrality to film culture and society-at-large remains. This course will focus primarily on Latin American cinema and secondarily on other cultural expressions (stories, poems, lyrics, music videos, comics, etc.) that make the politics of music a central thematic focus: from melodramas of the 1940s and 1950s to rock- and rap-inspired pictures of the early 21st century.
LAS 381 • Gringo Identities
39820 • Spring 2016
Meets W 1:00PM-4:00PM BEN 1.118
(also listed as ILA 387)
Course Description: This new course will approach Latin American cultural production through one of the region's pivotal and enduring tropes: the stranger. Since the early 20th century, filmmakers, writers and artists have exploited the outsider—the North American tourist, the European explorer or immigrant, the CIA agent, the Hollywood star—to come to terms with the complex realities of modernity, from the vagaries of international politics to the seductions of mass culture. Through an analysis of a diverse range of cultural texts, from film and fiction to fine art and comics, students will examine how Latin American identity projects have been conditioned by hegemonic others, often (but not always) constructed as ambiguous Northern colonizers and invaders, modernizers and contaminators.
Over the course of the semester, students will interrogate identitary models focused on strangeness and foreignness, by such theorists as Julia Kristeva, Sarah Ahmed, Édouard Glissant, and Kwame Anthony Appiah. In addition, we will explore how these concepts dialogue with others common to Latin American cultural studies, such as mestizaje, mestiçagem, hybridity, cultural cannibalism, mimicry/mimesis and créolisation. Specifically, we will examine how figures unique to the Americas—the gringo, the pocho, the güero, the "galego,"— emblemize geopolitical imperialism, the ambiguity of the frontier, and the myriad cultural manifestations of posthegemonic Empire (Negri & Hardt, Beasley Murray).
Although this is fundamentally a comparative course with a transnational scope, the majority of the texts will center on Argentina, Brazil, Mexico and the US Southwest. The course will be taught in Spanish.
Course grades will be based on two oral presentations (40%), a final research paper (40%) and general participation (20%).
Required reading and viewing , grouped thematically (provisional):
Colonial strangers
Álvar Núñez Cabeza de Vaca, Naufragios [selections]
Hans Staden, The True History and Description of a Country Populated by a Wild, Naked, and Savage Man-munching People [selections]
Cabeza de Vaca (dir. Nicolás Echevarría)
Hans Staden (dir. Luis Alberto Pereira)
Gringos, near and far
H.A. Wise, Los gringos [selections]
"De los ambiciosos patones," "De las margaritas," "De la persecución de Villa," "De la extranjera" [corridos]
Justo S. López de Gomara, Gauchos y gringos: (bosquejo de costumbres argentinas en un acto y en verso)
Teutonic incursions
Florencio Sánchez, La gringa
Jorge Luis Borges, "Deutsches Requiem"
El médico alemán (dir. Lucía Puenzo)
Endgame of anti-imperialism
José Enrique Rodó, Ariel [selections]
Miguel Ángel Asturias, Week-end en Guátemala
La hora de los hornos (dir. Octavio Getino and Pino Solanas)
Celluloid seductions
Nicolás Olivari, El hombre de la baraja y la puñalada [selections]
Hollywood es así (dir. Jorge Délano)
Carlos Fuentes, Diana
Border anxiety
Octavio Paz, "El pachuco y otros extremos"
El rey del barrio (dir. Gilberto Martínez Solares)
José Antonio Villarreal, Pocho
The Black Gringo, and other oxymorons
Julio Cortázar, El perseguidor
El perseguidor (dir. Osías Wilenski)
Sampayo and Muñoz, Billie Holiday [graphic novel]
Chicano revisions
José Ángel Gutiérrez, A Gringo Manual on How to Handle Mexicans
Zoot Suit (dir. Luis Valdez)
Ruis, "México y los gringos" [comics]
Jailhouse rock
Parménides García Saldaña,"El rey criollo"
José Agustín, La nueva música clásica
The Last Elvis (dir. Armando Bo)
LAS 370S • Latin Noir: Film/Crime Lat Am
39570 • Fall 2015
Meets TTH 2:00PM-3:30PM BEN 1.124
(also listed as SPN 350K)
Taught in Spanish. Important themes in Iberian or Latin American societies and examines their treatment in audiovisual and media production. Students will be able to analyze the language of audiovisual and media cultures and discuss their implications
LAS 328 • Gringomania: U.S. In Lat Am
39640 • Spring 2015
Meets TTH 12:30PM-2:00PM BEN 1.124
(also listed as SPC 320C)
Since the 19th century, the United States has had an especially pervasive and crucial influence on the Latin American imagination, as North-South "contact zones" have become increasingly more fluid in an age of migration, mass media, and globalization. This course, therefore, will approach Latin American culture through one of the region's enduring figures and obsessions. Through an analysis of a range of cultural texts—primarily fiction and poetry but also film, music and essays--students will explore how Latin American writers and artists have used the United States and "gringo" tropes not just to come to terms with international politics, popular culture, crime, technology and race, but also to talk about themselves.
LAS 370S • Latin Amer Film And Culture
39745 • Spring 2015
Meets TTH 11:00AM-12:30PM MEZ 1.202
(also listed as SPN 350K)
This course will provide students with an overview of Latin American cinema from the perspective of cultural history. As a survey of film production in the region, we will be watching a wide selection of pictures, from the early sound era to contemporary cinema. Specifically, through a combination of close viewing and supplementary texts, we will study how the medium develops from fledgling industries in the early 20th century to the more sophisticated studio systems (particularly in Argentina and Mexico) of the 1930s and 1940s; later in the semester, we will see how the "New Wave" of Latin American cinema in the 1960s planted the seeds for the vital mode of expression that the cinema has become in the last decade. As we analyze each chronological stage of Latin America film, we will examine how historical trends and foreign industries (particularly Hollywood) have impacted the medium in the region.
LAS 392S • Cultural Politics Of Imitation
40800 • Fall 2014
Meets M 5:00PM-8:00PM BEN 1.118
(also listed as ILA 389)
The course will examine Latin American culture (particularly cinema) through what critics such as Néstor García Canclini and Nelly Richard have called the "paradigm of imitation," a prism encompassing a wide range of cultural practices, from appropriation to outright impersonation. After studying a selection of theories of imitation, ranging from Aristotle to Glissant and Bhabha, we will shift our focus to texts (mostly films, from both Brazil and Spanish America) that exemplify and at the same time challenge the commonly held notion that imitation is by definition a subordinate or even abject colonialist strategy. As we will see, celebrity and power play prominent roles in generating a rich diversity of Latin American imitative practices, as the pervasiveness of transnational mass culture enables local agents to scramble and resignify metropolitan and hegemonic discourses and institutions in ways that support and at the same time subvert local and national identity projects, often along lines of race and gender.
Grades will based on two presentations (40% of final grade), participation (20%) and a final research paper (40%). The class will be conducted in Spanish and Portuguese.
Chingolo (Lucas Demare, 1940)
El circo (M. Delgado, 1943)
Hollywood es así (dir. J. Délano, 1944)
Aventurera (dir. Alberto Gout, 1950)
Carnaval Atlântida (dir. Carlos Manga, 1954)
Alias Gardelito (dir. Lautaro Murúa, 1961)
Madame Satã (dir. Karim Ainouz, 2002)
Tony Manero (dir. Pablo Larraín, 2008)
VIPS (dir. Toniko Melo, 2010)
El último Elvis (dir. Armando Bo, 2012)
LAS 370S • Intro Spn Amer Lit Snc Mod
41050 • Spring 2014
Meets TTH 11:00AM-12:30PM MEZ 1.118
(also listed as SPN 325L)
Please check back for updates.
LAS 392S • Pop Vanguards In Latin America
41045 • Fall 2013
Meets TH 9:30AM-12:30PM BEN 1.118
(also listed as ILA 389)
This comparative course will study the avant-garde in Latin America as a crucial mode of 20th century cultural production encompassing literature, visual culture, popular music and politics. The seminar will begin with the concept of "vanguard" as it emerged in the early 20th century, paying particular attention to arrival of modern technologies and the concomitant rise of new models of cultural production, based in part on revisionist elaborations of criollismo, négritude, mestiçagem and latinidad. After examining the importance of both new mass media (particularly film and radio) and local vernacular practices in the development of cultural vanguards in the 1920s, students will study links between vanguardism and populist political regimes of the 1930s-1960s. Finally, students will analyze the radical projects of the New Latin American Cinema and other "neo-avant-garde" movements of the 1960s and 1970s, and how they at once dialogue with earlier vanguard production and establish a new creative matrix for contemporary Latin American filmmakers, artists, and intellectuals.
The course will draw primarily from works in Spanish and Portuguese; adequate reading knowledge and oral comprehension of these two languages is required. Student will be required to two give two oral presentations over the course of the semester, and to turn in one 18-25-page paper at the end of the semester.
Texts will include the following (subject to change):
Manuel Maples Arce, "Manifiesto Actual N. 1 (Manifiesto Estridentista)"
Oliverio Girondo, Veinte poemas para ser leídos en el tranvía
Juan Marín, Looping
Oswald de Andrade, "Manifesto antropófago" and other selected texts
Mário de Andrade, Macunaíma (selections)
Nicolás Guillén, Motivos de son
Julio Cortázar, El perseguidor and other selected texts
José Agrippino de Paula, PanAmérica (selections)
Limite (dir. Mário Peixoto)
¡Que viva México (dir. S. Eisenstein)
Los olvidados (dir. Luis Buñuel)
São Paulo, Sociedade Anônima (dir. Luís Sérgio Person)
Memórias del subdesarrollo (dir. Tomás Gutierrez Alea)
Terra em Transe (dir. Glauber Rocha)
La hora de los hornos (dir. Octavio Getino & Fernando Solanas)
El Topo (dir. Alejandro Jodorowsky)
Macunaíma (dir. Joaquim Pedro de Andrade)
La mujer sin cabeza (dir. Lucrecia Martel)
LAS 370S • Contemp Spanish Amer Prose
40515 • Spring 2013
Meets TTH 12:30PM-2:00PM MEZ 1.210
Please check back for updates.
LAS 370P • Luso-Brazilian Film
40300 • Fall 2012
Meets TTH 11:00AM-12:30PM MEZ 1.210
Please check back for updates.
LAS 392S • Transnationalism Lat Am Cinema
40505 • Fall 2012
Meets T 1:00PM-4:00PM MEZ 1.212
(also listed as SPN 380K)
This course will explore the theme of transnationalism in Latin America primarily through cultural theory and the medium of film. From its inception in the silent era until the present day, Latin American cinema has continually dialogued with other nations and industries—particularly Hollywood, which has historically depended on Latin American actors, writers and technicians, not to mention the region's vast symbolic repository of "otherness." Using a number of U.S. films as points of comparison and sources of influence, students will examine how Latin American film history (both in Spanish America and Brazil) has been shaped through its constant exposure to foreign cultures and imaginaries. Whether through appropriation of North American and European cinematic models, focus on problems of exile or cultural imperialism, or, more recently, collaboration with international production companies, Latin American filmmakers have elaborated diverse methods of interrogating local and national identities through frequently contentious encounters with their "neighbors," both near and far. The course, therefore, traces the evolution of transnationalism as a politically complex, multi-faceted and collective enterprise, manifested not only in the visual language of film, but also through language and popular music—the latter a crucial and often underappreciated source of subjectivity since the beginning of the sound era.
Students in this course will be expected to watch two full-length feature films prior to each class. In addition, they will regularly be assigned one or two theoretical/critical readings and the occasional work of fiction and/or poetry, depending on the specific topic.
Each student will give two presentations over the course of the semester: the first a 20-minute lecture centering on one of the films they have watched outside of class, and the second a 15-20 minute paper previewing/summarizing their final research paper; the professor will give written feedback on both presentations. The final research paper will be between 18-25 pages in length, and will focus on some innovative aspect of transnationalism and at least one of the films we have watched during the semester.
Below is a preliminary list of the films to be covered in the course:
El tango en Broadway (Louis J. Gasnier, 1934)
Allá en el Rancho Grande (Fernando de Fuentes, 1936)
Down Mexico Way (Joseph Santley, 1941)
The Gang's All Here (Busby Berkeley, 1943)
It's All True (Orson Welles [Bill Krohn et al], 1942 [1993])
Aventurera (Alberto Gout, 1950)
Carnaval Atlántida (José Carlos Burle & Carlos Manga, 1952)
Guys and Dolls (Joseph Mankiewicz, 1955)
El jefe (Fernando Ayala, 1958)
Orfeu Negro (Marcel Camus, 1959)
Yo soy Cuba (Mikhail Kalatozov, 1964)
El perseguidor (Osias Wilenski, 1965)
El Super (León Ichaso & Orlando Jiménez Leal, 1979)
Gaijin--os caminhos da liberdade (Tizuka Yamasaki, 1980)
El exilio de Gardel (Fernando Solanas, 1985)
The Mambo Kings (Arne Glimcher, 1992)
Terra estrangeira (Walter Salles & Daniela Thomas, 1996)
Tudo é Brasil (Rogério Sganzerla, 1997)
Bolivia (Adrián Caetano, 2001)
Babel (Alejandro González Iñárritu, 2006)
Sleep Dealer (Alex Rivera, 2008)
LAS 370S • Latin American Film & Culture
40230 • Fall 2011
Meets TTH 11:00AM-12:30PM PAR 208
(also listed as SPN 350K)
Please check back for updates.
SPN 381M • Film/Lit/Celeb In Lat Amer
46590 • Fall 2011
Meets TH 1:00PM-4:00PM BEN 1.118
The main purpose of this course will be to introduce students to film in Latin America as a polemical subject, a literary topic, an aesthetic model and as a cultural practice in its own right. The central theoretical focus of the course will be celebrity and celebrity studies, since fame—what Jesús Martín-Barbero calls the simultaneously hegemonic and "empowering" aperture of celebrity—has consistently been one of the main prisms through which Latin American writers and filmmakers have imagined themselves and their work. Indeed, the star system (particularly Hollywood, but also those of Mexico, Argentina and Brazil) has arguably functioned as a kind of grey eminence in much contemporary Latin American literary and cultural production. In this course, therefore, students will read/view and discuss a broad selection of 20th and 21st century Latin American literature and films that foreground cinematic production, mass media, spectatorship and fame.
Students' grades will be based on: active class participation, including exercises such as leading class discussion (40%); and a final research paper (60%).
Classes will be taught in Spanish. Reading knowledge of Spanish and Portuguese is required. Class participation and the final paper may be in Spanish, Portuguese or English.
TEXTBOOKS AND/OR CLASS MATERIALS (tentative):
Horacio Quiroga, "Miss Dorothy Philips, mi esposa" and other stories
Clemente Palma, XYZ
Jaime Torres Bodet, Estrella de día
Carlos Fuentes, Zona sagrada
Guillermo Villarronda, Poemas a Walt Disney
Clarice Lispector, A hora da estrela
Manuel Puig, El beso de la mujer araña
Alberto Fuguet, Las películas de mi vida
El tango en Broadway (dir. Louis Gasnier)
Carnaval Atlántida (dir. José Carlos Burle)
Reportaje (dir. Emilio Fernández)
Cinema de lágrimas (dir. Nelson Pereira dos Santos)
Tony Manero (dir. Pablo Larraín)
LAS 370S • Intro Spn Amer Lit Snc Mod
40670 • Spring 2011
Meets TTH 11:00AM-12:30PM GAR 0.120
(also listed as SPN 325L)
In this course students will read representative Spanish American texts from the late 19 th to the early 21 st century. Although students will be exposed to a wide range of literary works, the emphasis will be on short fiction, crónicas, and poetry. In addition to learning about the main literary genres and artistic trends in the region-including literature's overlap with art, music and film-students will examine how Spanish-American writers have positioned themselves in the popular milieu of the street, the public square, the circus, the brothel, the stadium, etc. Besides examining common themes like race, gender and violence, we will ask ourselves how these public spaces and practices and "real-life" encounters challenge writers' conception of themselves and, indeed, that of literature itself.
Required reading assignments will come from Voces de Hispanoamérica (3 rd ed) as well as electronic texts (Blackboard).
Grades will be based on regular and active class participation (20%), one mid-term examination (15%), two papers (40%) and one final exam (25%). Class participation includes regular, on-time attendance and active participation in class discussions; students will receive a participation grade once every three to four weeks. Study questions will be made available on Blackboard at least 24 hours prior to every class. Students should prepare written answers to these questions, as the instructor will ask for responses in class, and may at any time ask to read and evaluate written responses.
SPN 325L • Intro To Spn Amer Lit Snc Mod
47023 • Spring 2011
Meets TTH 2:00PM-3:30PM BEN 1.124
Main literary trends and principal writers in Spanish America since Modernism.
LAS 370S • Latin American Film & Culture
40199 • Fall 2010
Meets TTH 12:30PM-2:00PM PAR 208
(also listed as SPN 350K)
Please check back for updates.
LAS 392S • Pop Perf And Lit In Latin Amer
40400 • Fall 2010
Meets T 3:00PM-6:00PM MEZ 1.104
(also listed as SPN 380K)
Since the advent of modern mass culture in the late 19th and early 20th centuries, live spectacles such as carnival, circus, sporting events, and popular music have continued to play a prominent role in the Latin American imaginary. One of the main goals of this seminar is to examine the persistence of such popular performance in Latin American and Caribbean narrative, poetry, theatrical expression and cinema in the 20th and early 21st centuries. Rather than seeking to isolate performance from the literary archive, however, we will also explore how the archive has confronted and assimilated live performance. In this seminar, therefore, students will study a range of texts (from such authors as Machado de Assis, Nicolás Guillén, Raúl González Tuñón, Julio Cortázar, Bernardo Kordon, Guillermo Meneses, César Aira and Edwidge Dandicat) that deal thematically with different aspects of popular spectacle, reading them as cultural practices emblematic of artistic creativity, political praxis, social, racial and sexual conflicts, and contentious encounters with modernity.
Course requirements:
* Regular class participation (20% of final grade)
* Two presentations on reading assignments (30%)
* One final research paper (50%)
LAS 370S • Circus/Carnvl Lat Am Lit/Film
40629 • Spring 2010
Meets MWF 2:00PM-3:00PM MEZ 1.212
(also listed as SPN 350)
Please check back for updates.
LAS 370S • Intro Spn Amer Lit Snc Mod
40679 • Spring 2010
Meets MWF 12:00PM-1:00PM JES A207A
(also listed as SPN 325L)
Please check back for updates.
LAS 370S • Latin American Film & Culture
40907 • Fall 2009
Meets MWF 2:00PM-3:00PM MEZ 1.120
(also listed as SPN 350)
Please check back for updates.
SPN 325L • Intro To Spn Amer Lit Snc Mod
47997 • Fall 2009
Meets MWF 1:00PM-2:00PM PAR 204
Main literary trends and principal writers in Spanish America since Modernism.


text:
Faced with three choices, the party (sans their resident artificer) decided that the likeliest source of immediate information on The Dicing Lords was the most pressing matter.
Thus, they traveled to the city of Splenome, familiar to some already. There they were to meet Cobblegrim, a dwarf information broker with something to sell. Some careful reconnaissance in the tavern gave them a sense of the other patrons, including a party of freelance adventurers of some renown (now deceased/redeceased). Though the party's rake plied his charms at the bar, it is Brother Barbounian who makes first contact with Cobblegrim.
Moments later, Cobblegrim made second contact with the cellar floor, while a horde of zombified flesh took his place in the tavern proper. Quick action from Sievel, the party's mage, dramatically reduced the undead ranks—but moments later they nearly removed her from the fight. The conflict was brief and decisive, but followed immediately by a revelation even more unpleasant than basement zombies: the undead were, in fact, still-living townsfolk.
Almost too quickly to be believed, the head of the city guard—himself a winged dragonborn—arrests the party and brings them before the Lord Marshall. They must plead their case and display their innocence, or face an assuredly swift sentence.
*Credit where credit's due, this adventure (and probably at least two more sessions) are modified from the surprisingly excellent IDW Shadowplague Dungeons and Dragons comic. It's also important to credit the players, though, who fleshed out the NPCs and situations within minutes of me throwing them in the bar.


text:
NoHo 2 Bedroom 2 Bath Loft
Over 168 million social connections have been made. Join your friends and see where they've stayed.
Two bedroom, two bathroom loft, located in NoHo off of Broadway Ave. Situated on the 4th floor with a lift.
The loft features an open concept living, dining and kitchen area. The living space has high ceilings, large windows, custom kitchen, and spacious bedrooms.
Located in Manhattan's NoHo area close to restaurants, shopping and entertainment. Just a short walk to the metro stop allowing easy access to mains sights.
Living roomThe living area is expansive and features a large dining table with seating for six, a sofa bed, and a single bed.
Bedroom(s) and Bathroom(s)There are two bedrooms each with a queen size bed, and two bathrooms each with a toilet and shower.
KitchenThe kitchen area is large and features everything you need to cook meals.
Other informationThis is an older building with a freight elevator and has an industrial look at the entrance and main areas. The property is suitable for groups of friends and families and not really ideal for young children.
10% discount for stays of 10 nights or more
Summary of Rates Rate Minimum Stay Extra Guest Rate
13 June - 20 December
General Rate
Where and how do I get the keys to the property?
Your confirmation mail will include the telephone number to contact the greeter\owner upon arrival at the aiport of train station, You can arrage a time to meet the contact person at the property to make payment and get the keys
Check in time is from 3:00 and Check out is before 11:00
Please note that some owners have an extra charge for late check in
Can I check in early or where can I leave my luggage until check in time?
Early check in is only possible if the property is not booked the night before you arrive. You can arrange this with the owner 24-48 hours before your arrival.
How can I get from the airport to the property?Your confirmation mail will include instructions for getting to the property from central station.
If l have any questions or problem while I am in the city or at the property, how can I get help?
If have any problems with the accommodation or need any advice. we are on hand to help. Our Live Concierge Senvice is manned sixteen hours per day. Just click the Live Chat button on the site You will also have the contact number for the owner/greeter
The Emergency phone number is 001.646.468.6000


text:
UNC Pembroke officially launched the 2010-2011 academic year with Convocation ceremonies on August 25 in the Givens Performing Arts Center.
Chancellor Kyle R. Carter
Chancellor Kyle R. Carter presided over his first Convocation and welcomed a packed house with about 1,400 attendees, many of whom were freshmen. He offered some fatherly advice to the newest members of the UNCP community.
"To be successful here, you will have to do your part," Chancellor Carter said. "You will have to be a serious student, be involved, manage your time wisely and make good choices. These are ingredients for a successful college experience.
"I am also asking you to take pride in this wonderful institution," he continued. "You can show your pride by attending academic, cultural and athletic events, and by celebrating the accomplishments of your friends and faculty."
As he did in his University Address, Dr. Carter invoked UNCP's mascot, the red-tailed hawk, as a symbol of "strength, determination, focus and achievement."
"The next time you go to the University Center, stand before the big stone and read the plaque," he said. "It says 'Seek the Hawk Within Yourself.'
"That's why you're here, to find what you're best at and how you will excel," Dr. Carter said. "We, the faculty and staff of the University are here to help you find your own individual 'hawk' and be the best you can be at whatever you choose.
"We're all about fulfilling opportunities," he concluded.
Dr. Virginia K. McClanahan
Dr. Virginia K. McClanahan, a senior faculty member and assistant chair of the English and Theatre Department, gave the keynote address.
She enthusiastically welcomed the class of 2014 as if she already knew them. In fact, Dr. McClanahan, who specializes is linguistics and speech, is already acquainted with the freshmen, Interim Provost Dr. William Gash noted in his introduction.
"Dr. McClanahan has a unique perspective on each new class at UNCP," Dr. Gash said. "You probably don't know her yet, but she has heard your voice, just as she has heard every class for the past 11 years.
"She is the one who listens to your recording that is part of the University's speech requirement," he said.
In her talk, Dr. McClanahan put a twist on the "live for the moment" motto of another generation.
"For me, enjoying the moment and having options are two keys to happiness in life," she said. "Don't be too busy worrying about the future or the past to enjoy the moment.
"Some students attend college thinking about only about finishing," Dr. McClanahan said. "Please don't be in such a hurry; enjoy the process.
"Of course, I am not talking about enjoyment at someone else's expense, and I'm not suggesting that we should attempt to spend all our time seeking out things that are fun," she cautioned.
"By all means enjoy those Thursday night parties, but — and there is always a but — enjoy working on the paper that is due on Monday morning, or perish the thought, on Friday morning," she said.
She welcomed the newest members of a "community of learners." Dr. McClanahan encouraged them to experience new things, including diverse academic subjects.
"That is why I really hate to hear students complain about general education courses," she said. "These courses help you learn about options. You might discover something absolutely fascinating.
"Explore areas you know little or nothing about and things you have little experience with," Dr. McClanahan said. "Learning is exciting, fun and fulfilling, and you will never have a greater opportunity to do this than in the next four years that you are here.
"Take advantage of other options on campus, too," she concluded. "Look around, there is a lot to do here; you just have to be open to them."
Offering welcoming remarks were Dr. Freda Porter on behalf of the Board of Trustees, Arjay Quizon on behalf of the Student Government Association and Dr. Rami Maysami for the Faculty Senate.


text:
1. The Joint Committee has asked for a memorandum on five
points on the set of rules appended to the Order referred to above.
The First point:
2. This is a drafting error. The General Medical Council
("GMC") confirm that the reference should be to "(4)(c)(ii)".
The Second point:
3. The word `and' should appear before the words `the Registrar
shall'. Following this correction, the introductory words appear
to be clear. The version of the Rules appended to the Order signed
by the Clerk to the Council was, in fact, correct. This error
occurred at the printing stage and will therefore be corrected
by the issue of a correction slip.
The Third point:
4. The statutory provision relied upon is paragraph 5A(2)(c)
of Schedule 4 to the Medical Act 1983 (as inserted by paragraph
20 of the Schedule to the Medical (Professional Performance) Act
1995). This provision allows the General Medical Council to make
rules specifying the procedures to be followed following the making
of a report by an Assessment Panel. The "Statement of Requirements"
drawn up by the case co-ordinator represents the action to be
taken by the doctor which, if agreed by him, will avert a reference
to the Committee on Professional Performance. The intention is
that, if a doctor agrees to comply with measures contained in
the Statement of Requirements, then he can be dealt with in a
manner which avoids the need to refer his case to the Committee
on Professional Performance which is seen by the GMC as a "last
resort". Paragraph 1(2B)(a) of Schedule 4 to he Medical Act
1983 (as inserted by paragraph 16 of the Schedule to the Medical
(Professional Performance) Act 1995), contains a case where a
matter must be referred to the Committee on Professional Performance.
This provision is however not exhaustive. In circumstances where
a doctor does not agree the contents of any Statement of Requirements
drawn up by the case co-ordinator, then his case must be referred,
at that stage, to that Committee. The intention is that where
questions relating to a doctor's performance cannot be dealt with
in a "consensual" way, then the case co-ordinator will
have no choice but to place the matter before the Committee.
The Fourth point:
5. Rule 31(1) deals with notices or documents which are required
to be served on any person or body pursuant to any provision of
the Rules. Rule 31(2) is intended to deal with the situation where
there is no duty on the General Medical Council to serve a document,
but they do so for another reason. So, for example, a notice of
referral referred to in paragraph 3 of Schedule 1 to the Rules
will be sent in accordance with Rule 31(1). However, other sorts
of documents such as transcripts (see paragraph 12(2) of Schedule
1 to the Rules) and routine correspondence will simply be sent
by post in the normal way pursuant to Rule 31(2).
The Fifth point:
6. As to the word "their", we confirm that this
is a drafting error and should read "his". We also confirm
that the word "but" has been accidentally omitted in
the printed version of the rules but did appear in the version
of the Rules appended to the Order signed by the Clerk to the
Council, and will therefore be dealt with by the issue of a correction
7. The General Medical Council inform us that they regret
the drafting errors referred to above and intend to remedy them
at the first available opportunity. It is also regretted that
the errors were not detected during the approval process. We are
grateful to the Committee for drawing them to our attention.
12th November 1997


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