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HYPERLINK "http://www.cfo.com/index.cfm/l_emailauthor/8869853/c_2984287/2985161" Abe De Ramos, CFO Asia Anyone working in the Indian film industry probably knows a Ganesh Gaitonde. The antihero of Sacred Games, the new bestseller from novelist Vikram Chandra, is the head of the Mumbai mafia whose fondness for Hindi movies gets him into film financing with strings attached. Eventually, Gaitonde arm-twists a producer into casting his girlfriend in a leading role, but her lack of popularity ensures that the film is a flop. While a work of fiction, this plot was acted out in Bollywood for many years � not on the set, but behind the camera. Sacred Games recounts the uneasy relationship that once tied India's colorful filmdom to its bloodstained underworld. "This was more true a few years ago," says Chandra, himself a onetime scriptwriter and son of a successful director. These days, Bollywood is acting out a different plot, one that marks the beginning of a shakeout that just might take it into Hollywood's league. From industrial conglomerates wanting to build entertainment empires to foreign fund managers seeking to profit from individual projects, Bollywood, as the Indian film industry is widely known, is attracting new money like never before, putting behind its underworld link as if it never happened (see "Married to the Mob," below). "There's now a proper channel of money that flows into the system," says Venkat Devarajan, CFO of Adlabs Films, a newcomer backed by Reliance Group, India's largest conglomerate. "Gone are the days when financing was done by dubious, unethical means." Five years ago, it would have been hard to imagine media-and-entertainment giant Walt Disney, or international private-equity firm Blackstone Group, taking a slice of this celluloid world. But both have recently made multimillion-dollar deals in the sector with the expectation of rich dividends. It's easy to see why. "In India, the entire population has only two passions: Bollywood and cricket," says RDS Bawa, CFO of Television Eighteen Group (TV18), a news-network operator that set up its own film studio last year. "Movies will never run out of fashion, and the business can only grow." The numbers back him up. According to a PricewaterhouseCoopers (PwC) report, film revenues will reach an estimated 79 bn rupees (US$1.8 bn) in 2006, and grow 18% a year to reach 153 bn rupees by 2010. Driving this is a fast-growing economy that adds 30m people to the middle class every year, and an urban population that spends up to 30% of disposable income on entertainment. At a time when global film markets are losing steam, Bollywood is becoming a dream factory to the executive set. In fact, a new industry is emerging � one that looks at filmmaking as a business, even as it searches for the right model to capture the market potential. While India makes over a thousand movies a year � twice as many as Hollywood, making it the most prolific in the world � Bollywood has just begun to "corporatize", a term executives use to describe how they are streamlining the chain of financing, production, distribution, and exhibition. Since India saw its first silent feature film in 1913, Bollywood has been a hodgepodge of creative spirits, wily financiers, and enterprising distributors, numbering in the thousands and all working independently. Now, they're realizing there's no point in sharing profits with others when they can boost their margins by venturing into the other parts of the value chain themselves, as Hollywood studios do. Mission: Consolidate "Ultimately, what people are looking for is the consolidation of distribution," says Andrew Heffernan, CFO of London-based Eros International, the largest distributor of Indian films overseas, which is now also seeking to become dominant in India. Currently, 90% of Eros's revenues are generated from abroad, and the rest from India. Heffernan says the company aims to bring it to 50-50 in the next two or three years through organic growth and acquisitions. For this purpose, Eros raised a combined US$85m in an initial public offering and rights issue last year, and remains open to other forms of investment. "As the business grows, there may be potential for partnerships with not just private- equity firms but also some of the major players within the media and entertainment space," says Heffernan. "Being a pure play doesn't give you the scalability beyond a certain point," agrees Ronald D'Mello, chief operating officer and corporate-finance strategist at UTV Software Communications, a film-and-television entertainment company in which Disney bought a 14.9% stake last year. "Initially, people had apprehensions, but now everyone realizes that it's the model of survival, growth, and risk control. The standalone models are collapsing," D'Mello adds. For now, "co-productions" are becoming a fad among the studios as a way of sharing financial risk, even as they build their own distribution networks across the 14 major territories or "film circuits" in India � tying up only with regional sub-distributors to reach the last mile. Analysts say, however, that these relationships forebode further consolidation, partly through acquisitions, but more so by bumping smaller players out of the picture. In the end, the game will be won by those with the widest reach. As it is, the new Bollywood players adopting the Hollywood model of integrated production and distribution have barely scratched the surface. In fact, Bollywood refers only to the Hindi-language film industry in Mumbai, which in 2005 accounted for 245 out of 1,041 films produced in India � fewer than the 298 made by Tollywood, in the Telugu-speaking southern state of Andhra Pradesh. Not surprisingly, Bollywood players are starting to make moves through tie-ups or acquisitions. In January, Adlabs bought Synergy Communications, a diversified TV network in the south. "We're already in the Tamil market," says Devarajan. "If a project makes sense, we won't allow any language barriers to stop us." And then there is the underserved market of the 25m-strong South Asian diaspora, as well as the potential for home video and non-theatrical exhibition that Bollywood players are just learning to exploit. Combined, revenues from overseas box-office receipts, DVD and VCD sales, as well as cable, satellite, and direct-to-home broadcasts will account for a third of the total film market by 2010, from 25% last year. With piracy as competition in these markets, companies are getting creative. Eros, for one, has forged a subscription- based video-on-demand service with Comcast, the largest cable-TV provider in the US. "It serves us to use new media as a way of targeting the Indian population abroad," says Heffernan. "Because they're so dispersed, there's a host of them who aren't able to go to a local cinema to watch Bollywood films." Meet the Parents Who will start the Bollywood shakeout? While some established directors and producers have created corporate entities and sought institutional funding to grow, many of the new players making a splash in Bollywood have in fact never been in the film business before. What they have is strong financial backing � and the promise of a steady stream of income � to rope in independent talents and distributors. TV18, which broadcasts the Indian editions of CNN and CNBC, became the latest TV network to get into Bollywood in January by listing a holding firm that includes its film subsidiary Studio 18. "We studied the industry carefully, and we're not approaching it with baby steps," says Bawa. Studio 18 aims to make one film a month and 1 bn rupees in revenues by 2008. That's a lofty goal, considering the average box-office receipts of the films released in 2005 amounted only to 55m rupees. For its initial supply of films, Studio 18 tied up with five-year-old production outfit Shree Ashtavinayak Cine Vision � led by a 24-year-old short-film hobbyist, Dhilin Mehta � which raised funds last December through an IPO. "By getting into co-production, you share the financial risk, the movie is already on the floor, and you don't waste time," Bawa adds. Bollywood's glitter also dazzles India's largest conglomerates. The cars-to-tea Tata Group, which in January acquired British steelmaker Corus, was a trendsetter, forming Cutting Edge Entertainment in 2002 before selling it to a venture- capital firm in 2003. The cement-to-telecom Aditya Birla Group followed in 2003, setting up the production-and-distribution outfit Applause Entertainment, which has so far released six films. The airline-to-banking Sahara India Group started with two films in 2003 that quickly grew to 30 as of December. Garnet Paper Mills, meanwhile, abandoned its traditional business in 2002 to become K Sera Sera Productions. Last year, it set aside 2.5 bn rupees to produce 20 new films by 2008. That's an average of 125m rupees per film, three times the budget of a typical Bollywood movie. Equally ambitious is Reliance Group, which acquired Adlabs in June 2005, then transformed the film-processing outfit into an entertainment group eyeing the movie business down to the tills. In the same year, CFO Devarajan arranged for Adlabs to issue � 84m (US$109m) in convertible bonds to finance its expansion not just in production, processing, and distribution, but also in film exhibition. The company is capitalizing on the growing popularity of malls, a new concept in India, to run multiplexes � an even newer concept in a country where most of the 12,900 theaters are single-screen. "In the next year or two, we should be in the number- one spot in all the spheres we are into," says Devarajan. Giants of the Screen Can Bollywood create Hollywood-style, Godzilla-scale studios? There's no shortage of acquisition targets. On one hand, more than 30 media and entertainment companies are listed in the Bombay Stock Exchange. Of them, analysts consider 12 to be positioned to grow aggressively in the movie business � from Shringar Films, Bollywood's distribution pioneers that has also entered production, to Mukta Arts, one of the first producer-driven outfits to incorporate and launch an IPO. On the other, the characters that typified the old Bollywood � families and individuals driven by creative urges and backed by private financiers � continue to exist. "They will never go away," says Girish Swar, analyst at brokerage firm Raymond James & Associates in Mumbai. But without the financial wherewithal to deliver big-budget films that distributors are now demanding, many of the small players will eventually fold. "Three, even two, consecutive flops, and they will have difficulty moving forward," says Swar. Eventually, Bollywood could be dominated by only a handful of giants. "Consolidation will not happen overnight; we don't see the industry as mature enough to do any M&A at this stage," says D'Mello of UTV. He predicts, however, that the shakeout will happen in the next three to five years. Heffernan agrees. "The market within India is still very fragmented, but that will change over a period of time when there will be four, five, or six dominant players in the arena," he says. That's a vision that brings Bollywood in line with Hollywood, where the seven studio majors � Universal, Fox, Paramount, MGM, Warner Bros., Disney, and Columbia � account for 80% of box-office receipts from films they either produced or distributed. But whether that would actually happen in India is far from certain. Emerging trends � such as film digitization, which can disrupt industry economics; feature-film animation, in which India is gaining competence; and gaming, which exploits film-related content � are creating a new breed of players. In short, the scope of the Indian film industry itself is expanding, aided by foreign money. Last September, New York-based private-equity firm D.E. Shaw invested US$40m in Crest Animations, which is producing 3-D feature films for the Indian and overseas markets. In January, London-based private-equity firm 3i pumped US$22m into Mumbai-based digital-distribution outfit UFO Moviez. "There are plenty of opportunities in the theatrical film industry globally, and India offers tremendous potential for financing," says Marlene Wittman, managing director of Hong Kong-based Aquitaine Investment, which recently raised US$250m for a media-and-entertainment fund aimed at China and India. Half of the amount will go to individual film projects � Aquitaine has already identified three Bollywood films aimed at international audiences a la Bend It Like Beckham � out of which Wittman expects a minimum 20% internal rate of return. The other half will go to new-media ventures such as digital cinema and animation, from which she expects a 30% return. Frisky Business Wittman might not be disappointed. Studios claim that, even before hitting the screens, their films can break even, thanks to their ability to pre-sell the rights to exploit them. "Bollywood is not the risky business people portray it to be," says Devarajan of Adlabs. "By the time we release the movie, the production cost is more or less covered, because we would have already sold the rights." Bawa of TV18 counts 30 to 35 opportunities for a Bollywood studio to sell film rights, from local and overseas cable and satellite broadcasts, to airline in-flight entertainment, to pay-per-view TV, to mobile-phone ring tones and CD sales. (The Indian music and film industries are practically inseparable. Most films feature seven to 10 original song numbers, sung by "playback" artists, then lip-synched by the stars.) "The film business is now totally de-risked," says Bawa. "As long as you have a reasonably good product, you're sitting on a goldmine." That means box-office receipts almost immediately count as profits. And because theatrical receipts make up 70% of a typical Bollywood film's revenues � compared with 35% for a Hollywood movie, according to a KPMG report � returns of up to 500% are not unheard of. To be sure, not every film can be a blockbuster; even then, "de-risking" them through the pre-selling of rights ensures a reasonable payback. Says Bawa: "In one year, if you have five super hits, five average movies, and five super flops, your return still comes to more than 30%." Devarajan adds: "Most Bollywood producers will make money in one or two years, if one in three movies becomes a hit." This explains why Bollywood believes that integrating the "verticals" of the business � production, distribution, and exhibition � is the way to go. "We want to capture the last rupee in everything we do," says D'Mello of UTV, which has 19 films in the pipeline. The company is eyeing revenues of 10 bn rupees by 2010 from a likely 1.8 bn rupees this year, based on estimates by brokerage firm Raymond James. UTV, which prefers to make big-budget films � anywhere from US$5m to US$20m � has distribution offices across India and one each in the United States, England, and Mauritius. It struck gold last year with Rang De Basanti, a film that rouses the Indian youth, amid song-and-dance sequences, to be more politically involved. It was nominated for best foreign-language film at the British Academy of Film and Television Arts awards � the British Oscars � and grossed US$27m in India and US$2m overseas out of a budget of US$5m, according to box-office tracker The Numbers. Going one further, Adlabs, which aims to produce at least eight big-budget films a year, wants to capture a chunk of potential box-office receipts by running its own cinemas. The company now has 50 multiplex screens and plans to bring them to 200 in two years, in line with the growing number of malls in India. "We plan to penetrate further into the country," says Devarajan. "There is no risk of the purchasing power in India coming down, and there is a huge potential to be tapped still." Currently, a typical Bollywood film intended for wide release is first shown in 300 to 400 cinemas in big-city locations, which account for 70% of total box-office revenues. (Mumbai alone makes up 15%.) If Adlabs achieves its goal, then it will not have to split far more than half of the profits that can be made by the films it distributes. The reason? Multiplexes have completely changed box-office economics in India. For one, they charge an average of 120 rupees per ticket, compared with 30 to 40 rupees for single-screen theaters in big cities and 10 rupees in small towns. The conveniences they offer � such as proximity to other retail areas, air conditioning, and reclining seats � attract an average occupancy of 85%, compared with 15% for single-screen cinemas. As such, while multiplexes account for fewer than 700 of 12,900 screens in India, they generate over 60% of box-office revenues, according to PwC. "We've identified multiplex locations that can ensure a 20% EBITDA," Devarajan says. At this rate, he reckons Adlabs can recover its capital outlay in five years. "That's the reason a lot of multiplex players are also pushing out," he adds. Show Me the Money The profitability of Bollywood studios depends on how well they manage production costs. But in a country where budgets are already low, having a steady flow of films is the most critical factor in sustaining the business. "Ultimately, as we generate more and more interest from the market, lack of content is the biggest risk for any CFO," says Heffernan. Prior to the "corporatization" of Bollywood, when a film got started and when it finished were anything but predictable. For one, the absence of legal contracts with talents meant that actors, directors, and scriptwriters � who accepted only cash � were free to work on multiple projects at a given time. This not only resulted in production-cost overruns, but also made planning a monumental challenge, in turn creating a cycle of inefficiency. To impose method on the madness, one of the first things emerging studios have done is to keep a stable of creative talents working for them, if not exclusively, then on a contractual basis bound by legal agreements. UTV has forged exclusive alliances with 15 directors, from top-ranked to emerging, with whom it builds a pipeline of projects. "Our model is exactly what Hollywood does," says D'Mello. "We give them enough creative freedom; we take care of the commercial aspects." True to its Hollywood aspirations, UTV compensates its talents variably, some for a fixed fee, others for a share of the box office. At TV18, management talent is being attracted by a new currency. "We're all being incentivized with stock options and bonuses," says Bawa. "You need these to retain your people as much as you can." More recently, Adlabs pioneered signing actors for multi-picture deals, long a norm in Hollywood and other countries. Last December, it signed a 360m-rupee, three-picture deal with Hrithik Roshan, the muscular superhero of last year's top-grossing film "Krrish," making him the highest-paid actor in Bollywood. This was followed in January by a 220m-rupee, three-picture deal with John Abraham, who starred in the Hindi film "Water," produced by a Canadian outfit and nominated at the Oscars this year for best foreign-language film. Other studios are following suit, both with actors and directors. Yash Raj Films is reportedly in negotiations with Abhishek Bachchan, son of India's most revered actor Amitabh Bachchan, for a similar deal. What Bollywood has yet to adopt from the West is the use of completion bonds to instill cost discipline in film production. A completion bond is a guaranty subscribed to by the producer, assuring financiers that the film will be delivered on schedule and within budget, and that budget overruns are not the financier's responsibility. So far, lenders in India don't require them. (Only nine countries in the world make use of film-completion bonds.) Only one Bollywood studio, Kaleidoscope Entertainment, claims to use them in all its films. That's partly because it has a joint venture with Film Finances International, the world's largest provider of completion bonds, to introduce the instrument in India. Even film-production insurance is new, having been introduced only in the last three or four years. That doesn't stop studios such as Adlabs from being innovative in managing its budget. The company employs a team of auditors on-call 24 hours at shooting locations, to monitor costs as production goes along. These are people who know the market prices of line items such as props and extras. "Recently, we had to blast a car, and the production team came with a proposal of 75,000 rupees to purchase a scrap," says Devarajan, who gives final approval on film budgets. His auditors, it turns out, knew where to find one for only 15,000 rupees. "They minimize my worry, because everybody knows we have a system of controls and there's no way any hanky-panky can happen. We're in the business of fun, but we take it seriously." Now, Adlabs can produce films in six months, a quarter the time it takes most Bollywood studios. This financial discipline is sure to help Devarajan shoulder the cost of Adlabs' expansion. And as box-office receipts remain strong while studios follow a "de-risking" strategy through pre-selling of rights, Bollywood CFOs are understandably confident that, going forward, they will be able to fund their expansion with internal cash flows. This, in effect, gives Indian studios the confidence to push their ambitions beyond their boundaries, says Raj Pande, Hong Kong-based partner at law firm Paul Hastings, who advises clients on M&A and private- equity investments in India. "Bollywood is growing a lot faster than other industries, and certainly than the economy," he says. "You can see them partnering with Hollywood studios on major projects." UTV is one of the few doing just that, having forged two coproduction deals with Fox Searchlight � the arm of Fox Studios responsible for this year's Oscar best-picture nominee "Little Miss Sunshine" � with a third in line. The first was last year's "The Namesake," an English-language Indian film directed by Mira Nair of "Monsoon Wedding" fame, at a cost of US$12m. The second was "I Think I Love My Wife," a mainstream release starring comedian Chris Rock, due this month. UTV is also coproducing an animated feature with Overbrook Entertainment, owned by Hollywood A-list actor Will Smith. In all cases, UTV evenly splits the cost of production. And while no announcement has yet been made, the company is likely to enter into similar deals with Disney, whose head of international business, Andy Bird, sits on UTV's board. "We're working closely to explore synergies in activities like movies, animation, content, and gaming," says D'Mello. "When you think about it, there's no reason why, while you're sitting here growing your India pie, you can't be a content producer in the mainstream Hollywood scene." Perhaps, stealing Hollywood's glitter will be in Bollywood's next script. Married to the Mob Ever since the short films of the Lumiere Brothers were shown at the Watkins Hotel in Bombay in July 1896, India has had an enduring love affair with cinema. By the 1930s, the local film industry was making 200 films a year, produced by Hollywood- type studios with their own roster of directors, stars, and musicians. Bollywood's early success quickly drew other players, and it has been fragmented since then, dominated by individuals or families with a flair for the arts and an even bigger attraction to its glamour. While many were self-funded, most were relying on costly moneylenders (by the 1990s, they were charging up to 40% a year). The Indian underworld saw an opportunity, and with their cash influenced both the creative and financial aspects of film-making, calling the shots on casting and film-star salaries. The industry took an ugly turn in 1997, when several high-profile producers suspected of underworld connections were brutally murdered, some for their inability to repay their lenders, others for resisting extortion threats. The scandal peaked in 2000 when a popular director, Rakesh Roshan, was shot six times outside his office, reportedly for refusing mob pressure to cast his heartthrob son, Hrithik Roshan, in his film. Under the glare of the public eye, Mumbai authorities cracked down on the mob and, in 2001, seized reels of a high-budget film and arrested its producer and financier after intercepting their phone calls with a mob leader. Both were imprisoned after a two-year trial. The incident was a wake-up call for the government, which until then had treated the film industry as a trivial pursuit. In 2001, after six yeas of lobbying by industry veterans, it finally recognized the world of filmmaking as an industry, an effective go-signal for financial institutions to extend loans to Bollywood. Since then, according to a 2005 study by the private-sector Yes Bank, the contribution of institutional funding sources � from bank loans to private equity to the equity market � ballooned from 485m rupees in 2001 to 2.6 bn in 2004. In a report, auditing firm KPMG projects that half of all movies will be corporate-funded by 2010. The "corporatization" of Bollywood � both in terms of filmmakers establishing business entities, and established corporations venturing into films � has brought discipline to studio finance. "Ten years back, everything used to happen in a haphazard manner � bring the car and I'll pay you in cash," says Adlabs Films CFO Venkat Devarajan. "There was no documentation of how money flowed in and out." With their financiers demanding balance sheets and cash-flow projections, Bollywood changed the dynamics between studios and talents, introducing contracts and insisting on timeliness, consequently avoiding schedule and cost overruns. "Corporatization brought project-management skills," says Devarajan. "It used to take 18 to 20 months to make a movie; now you can finish a film in five to six months." What's the future of Bollywood? Now that organized film financing is in place, the industry is tackling value-chain integration � the consolidation of production, distribution, and exhibition activities. The next challenges for the industry, says the KPMG report, are controlling piracy (the audit firm estimates Bollywood loses 14% of revenues to piracy), expanding the international market, and Indian studios gaining technical expertise in areas such as animation � enough to make Bollywood an outsourcing provider of animation services. 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- 61% Cotton/22% Polyester/17% Acrylic Bouclé
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- Fully Lined
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- Hand Washable; Imported
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Bouclé Jacket is rated out of 5 by 8.
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Date published: 2017-04-10
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Date published: 2017-04-17
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Date published: 2017-03-21
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Date published: 2017-06-08
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Date published: 2017-07-12
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Date published: 2017-07-26
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Work Begins on West Miami Apartments
Ground has been broken on Gables Prado, an apartment development in West Miami, an inner suburb of Miami also near Coral Gables. The property, at 950 S. Red Road, includes 194 units.West 25 November 2014 20:25
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Looking for a particular topic? Use our Keywords page to locate the sermons by popular topics.
Sermons (352)
|Righteousness (Part 2)
|Romans 10:1-10 (Part of the Miscellaneous series).
|Deut 30 references Rom 10:5. One must complete the law in its entirety. No one has been able to keep the law perfectly therefore we are guilty. The works of the flesh will not be accepted as a payment into Heaven. Jesus Christ would have never been sent as a sacrifice if there was another way into Heaven. Do you think you're a good person? If you're trying to get into Heaven by any other way but by Jesus Christ then you're creating a self righteous religion that will get you into Hell. There is a way that seems right but it WILL lead to death, Hell. How many people go to the doctor if they are well? Likewise, how many people will go to Jesus when everything seems to be going good? Most people judge their relationship with Christ by watching others. If that person lives just as good as they do then everything just be ok.
Perfection is the only thing that will go to Heaven. There is not a single person that has mastered perfection. What makes a person perfect is by accepting Christ as their savior. Who in their right mind would say that they would rather go to Hell than to Heaven? Christ has already done everything He can to allow you to go to Heaven.
So how do you get saved? There is one thing required and that's to believe that Jesus Christ died for your sins, Rom 10:9-10;13.
|Preached by Tommy Boring on January 7, 2018 (Sunday Morning).
|The Will of God
|Romans 8:26-28 (Part of the Miscellaneous series).
|Have you ever been in a place where you didn't know what to do?
Things that are known of the will of God, everything that's inside the Bible is His will. Gal 1:14; Jesus Christ gave Himself for our sins. It wasn't something that just happened. It's not Gods will that anyone should die lost. It's a personal choice when God calls that Salvation is excepted. 1 Thes; it's Gods will that we all to be holy. We should try to live sinless at all times. 1 Thes 5:13; we should also give thanks to God no matter what happens. Those are things that are known about Gods will. One must read and study Gods Word in order to know what His will is for our lives.
Just as we know what His will is, there are also things we don't know. Don't we beat ourselves up over doing the right things? Most all people don't want to do the wrong things. Now the devil likes to confuse and he can come to us and whisper to us and we are fooled into thinking it was God. This is why we are to try the spirits. Rom 8:26 is clear stating that we usually don't know what to do. Christ Himself wrestled with it in the garden making sure He was to follow thru with His sacrifice, His crucifixion. So how do we know we are doing the right thing, the Spirit of God dwells inside those that are saved and it makes intercession for those. This is the direct connection to doing the right things. Now if you've got sin in your heart then you're going to have a really hard time hearing and knowing what God says to you. This is because sin blocks out Gods communication because He can't help over the sin. Rom 8:27 this speaks about the shepherding of Jesus Christ searching out the heart and knowing the mind and whether it's truly yearning for God. If the mind of the spirit yearns for God then He makes intercession in our behalf to God His father. Rom 8:28 clearly states that ALL things work together for those that love God. The variable is that if we love the world or some of it then you're not 100% in love with God. That has always been the problem with us as humans. We should love Him more than anything else and if we do, nothing else will matter because it will ALL be taken care of.
This all sounds simple but the devil comes against us and causes us to doubt and fear. This happens because he wants to destroy us all. The little things are usually what we struggle with but put your focus on God and your relationship with Him.
|Preached by Tommy Boring on December 27, 2017 (Wednesday).
|Rules of Gift Giving
|2 Corinthians 9:6-8 (Part of the Miscellaneous series).
|The gift of God is simply, John 3:16. He gave the unspeakable gift. Beginning from the last, everything comes from God. Not one person has anything unless it comes thru God first. We as humans are selfish creatures by nature. God wants to give you His undeserved love. Many holidays come and go and they revolve around giving, however we should be a giver everyday. If you're judging the gift by its size then you've missed the point. One doesn't give because of self, one gives because they are loved. We've been given the greatest gift, love, that it should cause one to give it back.
There should be a time when you've found yourself in want. Bills to pay, missing food on the table or even gas to fuel the car. During that time, God might come to you and ask you to give to someone else. Now money is not something that can be controlled and many of billionaires worry about it till they die.
One point to be a good giver is to give abundantly and not sparingly. Just as sowing seeds, one doesn't plant one seed expecting hundreds of plants.
Point two, give purposely. One should purpose in their heart to love God and to pray for the need or gift. God knows the need and therefore we should obey what He tells us to give.
The third point is to give freely. This doesn't mean to smile while you gift it. Without a grudge or necessity. If it bothers you to give then you're giving wrongly.
If how you give is based on how you feel at the moment then the devil will talk you out if it every time. God tries to teach His lesson on giving by your obedience. When God tells you to give, give without question. No matter how much one gives, one can NEVER out-give Gods giving. We give because if we sow it, we will reap it as long as it's done by the above three points. The second reason is because God loves a cheerful giver. Wouldn't we all want to please God? Now when the offering was being taken, God is always watching. He knows what's in your pocket, He knows what's in your heart and He knows what He told you. It's not about how much is put it but why it was put in. Our church does not tell you how much to give because an amount is not biblical in today's time. The Old Testament explain a tenth but the New Testament explains that it's based on what God tells you to give and what you're willing to give. If you're worried about giving then you're worried about the wrong thing. 2 Cor explains that always God will take care of all needs.
|Preached by Tommy Boring on December 24, 2017 (Sunday Morning).
|The Emblem of Deliverance and the Provider
|Exodus 17:8-16 (Part of the Miscellaneous series).
|Shepherds usually had a staff, a stick. Exodus 3:4 tells a story of Moses experiencing a bush that was on fire but wasn't consumed by it. The burning bush being God told Moses to take his shoes off because he was on holy ground. Just today, we should condition ourselves for the presence of God.
Thinking about the staff of Moses, God used this staff as a proof. Exodus 4 explains that this staff was the rod of God. This rod was powerful tool of God that was used as the beginning of the plaques, turned into a snake that ate the magicians tricks. The rod of God was also used to split the Red Sea for the Israelites to cross on dry ground. It was also used to close the Red Sea. It was used to strike a rock for water to burst forth in order to water the Israelites cattle and themselves. The rod of God was held up above Moses' head and as long as it was, the Israelites people were able to prevail against the army of Amalek.
Now we often think we ourselves can do anything. The truth is that we can't do anything of ourselves. The rod was a symbol of the future to come, Jesus Christ. We can't do anything without Jesus Christ. The rod, just a Christ, is used as deliverance in any time of need. We have an emblem that we can hold high which is the cross. The reason one goes to Hell is because they reject Christ as Gods only son and Him being crucified and raised again for our sins.
The rod was also a provider as it provided safety and water. Safety from Pharos and the Amalek armies. Provider of the water when the rock was struck. In our arrogance we often think we can provide and to give safety. When the bills are due and they become paid. When the cupboard is barren but the food comes in. Satan is a coward and always strikes from the back. When he begins to attack Jesus comes from the front and chases the enemy away. Just in today's time we should help out each other and lift them up, hold the up in order to fight against the devil. We should also lift Jesus Christ up for all to see. The purpose of the church is to lift up Jesus Christ and if we can do that the job will get done.
|Preached by Tommy Boring on December 17, 2017 (Sunday Morning).
|A Voice Above All Other
|John 10:1-5 (Part of the Miscellaneous series).
|God speaks to people in different ways. In Genesis you'll read how God spoke in the dreams of Joseph. Yet in Matthew 1:20-24; 2:13; 2:19; 2:22 we read where another Joseph was talked to in his dreams by God. However still today, God still speaks in many ways. Make sure when you think you hear God speak that it's of God. Gods made of wood, gold or stone will never speak back. Some are confused about Gods speech and expect Him to verbally speak in a loud voice to them. Some confuse His voice with things of this world. In the end, you WILL know when He speaks because His voice bares witness with your soul.
Have you ever thought about your kidneys functioned? How about your lungs when they expanded? Have you ever stopped to be thankful for those simple but very important things?
Not only does God speak to our mind but He also speaks to our hearts. Thru Gods speech to our hearts, conviction of sin is made therefore bringing forth repentance or Salvation. We should at all times pray without ceasing. Prayer is not just a one way speech but a two way conversation.
John 10:1-5 notice how the shepherd calls the sheep and they hear his voice and will only answer to his voice. If you're one of His then you know His voice and you should follow Him always.
|Preached by Tommy Boring on November 22, 2017 (Wednesday).


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10 Fun Indoor Games with Balloons - iHomeschool Network
Bed Sheet Parachute ~ Bounce balloons, small, lightweight balls, or even rolled up socks on a bedsheet for simulating fun parachute game/exercises // Other fun, cheap ways to get kids moving (Ribbon lim?
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Get moving with these fun balloon games for kids! Great gross motor activities for kids and awesome for blowing off steam. Perfect for birthday party games too!
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Water Balloon Games for Kids - help with visual and tactile skills as they blow them up, toss them, and bat them around without breaking them! Thanks Artsy Momma!


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THE Government has sold its final stake in the Royal Mail for just over £591million.
A total of 13 per cent was sold at a price of 455 pence per share, with the Government's final one per cent holding gifted to eligible UK employees, raising their stake in the company to 12%.
The price is notably lower than the 500p per share achieved in the most recent sale over the summer, when a 15% stake raised £750m for the Government.
In total, it has raised £3.3billion from the sale.


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SUNY Cortland application status
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Information about SUNY Cortland application status, and registering for elective seminars and lectures. Which college degrees give you the best chances of entering a successful career path after graduation? Concentrating on SUNY Cortland application status, for example, may give you additional focus in the admissions selection process. Check with the admissions office for assistance with prerequisites, course registration deadlines, and college degree program requirements. Please use the form above to request admissions info for SUNY Cortland.
Essays are gaining importance as a way to judge potential, and essays largely have replaced personal interviews. Writing an email may be easy, but rewriting a serious college admissions essay is much more challenging. Rewrite your application essay as many times as you feel is needed, and have people that you trust read it. Essays as well as letters of recommendation should emphasize personal development, demonstrate intellectual curiosity, and show concern for the community.
The admissions essay topic should be something the applicant cares about, and which shows how you've helped others to enjoy greater success. The best essay topics are like a short story, with poignant details, in which the writer shows by example. There should be no grammar errors or punctuation mistakes in your college essay, and even if the college application says that the essay is optional, you should treat it as an admission requirement. Beyond major requirements within the admissions department, you may consider Frank Phillips College online undergrad courses for complementary electives to your primary course of study.
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Salon Institute
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Seton Hall University
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One of the tasks of secretaries and shorthand-typists used to be to produce copies of documents such as letters and papers for meetings. There were of course no photocopiers, but there were alternatives, although the copies that they produced were much inferior to what we are used to today.
The most common way to make just a few copies of a document was with paper called 'carbon paper'. This had to be used at the time of typing. Unlike a photocopier, it did not copy a finished document.
Carbon paper was thin paper coated on one side with what I assumed was carbon. I now understand that it could have been dried ink or other pigment bound with wax. It was always black, although in later years, other colours became available. Whatever, it was, the name 'carbon paper' stuck.
The typist had to prepare for the copies by putting the carbon paper, coating side down between the paper she would be typing onto and the paper which was to be the copy. Then the 'sandwich' of carbon paper and ordinary paper were rolled into the typewriter and typing was begun. The banging of the keys pressed onto the coating and caused an imprint to be transferred onto the paper under the carbon paper.
A double 'sandwich' of paper/carbon paper/paper/carbon paper/paper was used to produced two copies. Similarly a triple 'sandwich' could produce three copies and so on. The top sheet of typed paper was known as the 'top copy', the next sheet the 'first copy' and the next the 'second copy', etc.
The 'first copy' was usually completely legible, provided that the carbon paper was fairly new, but the quality certainly deteriorated as the number of copies increased. Naturally, though, when several copies were required, typists tried to work with as large a 'sandwich' as possible, so that they didn't have to repeat their typing. However, the last copy often left much to be desired and was often hardly legible.
In order to get as many copies as possible from a single typing, the paper had to be thin so that the banging of the keys was transmitted as forcefully as possible. So the copies were normally made on special thin paper, known as a 'flimsy'.
As a child and a teenager, I used flimsies as tracing paper for drawings because it was so thin as to be almost transparent. It was cheaper than proper tracing paper which was thicker and treated in some way to make it less opaque.
The coating on unused carbon paper was shiny, but where it had left imprints on paper, it was matt. Viewed from the coating side, these imprints were mirror images of the typed letters. So it was perfectly possible to look at used carbon paper in a mirror and read what had been typed. Detectives in old films would have been in their element. After a number of uses, though, the letters were so jumbled together that it would have been a very difficult task to decipher them.
Carbon paper coating was black and dirty and one had to be careful not to touch it against hands or clothes. For 100 or so sheets, it was bought in a thinnish box and for smaller numbers in a protective wallet. Even used sheets were kept in the box or wallet until needed again, in order to keep them crease free and prevent their dirt from spreading.
The black coating on carbon paper gradually wore off with re-use making the quality of its copies unacceptable. Then it had to be discarded and replaced with a new sheet.
By the time that I was old enough to attend meetings with circulated papers, photocopiers were in use. So I never saw carbon copies used in meetings. I can imagine, though, that copies were distributed according to who was deemed to be most important, with the chairman having the top copy, etc.
Today carbon paper is still available, but it is mainly used in craft work and for single copy receipts, often in what are known as 'duplicate books'. In the 1980s, I had to use a duplicate book with a ball point pen for handwriting students' reports.


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Mailbag for November 13, 2006
Jerry Pournelle firstname.lastname@example.com
Copyright 2006 Jerry E. Pournelle, Ph.D.
We can begin with a comment from Dr. James Woosley, physicist, about last month's book of the month (Chaos Manor Reviews last week). I don't intend to start a long discussion of quantum physics, string theory, and whether or not it is futile to look for a unified field theory.
Shortly after I published my story "He Fell into a Dark Hole" - sometime in the 1970's as I recall - Dr. Robert Forward invited me to come to the Hughes laboratory out near the then new Pepperdine University campus. I took Niven and we had a delightful tour and lunch in Malibu afterwards. Dr. Forward thought he had detected gravity waves, and wanted to congratulate me on postulating them in my story.
I have since learned that most of the physics community interprets Dr. Forward's findings as not proving the existence of gravity waves. Since I have no expertise in this matter, and my only stake is a minor claim to have been the first science fiction writer to use gravity waves as a key plot point, I certainly have no right to an opinion on whether gravity waves have been proven.
Dr. Woosley is helping me put together a believable spacedrive for my in-the-plotting-stage novel about an asteroid civilization and a young girl who grows up there.
Subject: Mr. Holmes
I'm advised not to undertake any tasks requiring "important decisions" today due to mild sedation for a procedure earlier, but I wanted to comment about Mr. Holmes' e-mail about Dr. Smolin's book in the November 6 mailbag. So take two grains of salt, instead of the usual one...
1. I haven't read Dr. Smolin's current book; I did read about half of his earlier book on similar topics (Three Roads to Quantum Gravity) before I became unable to suspend my disbelief...
2. To the best of my knowledge, neither Dr. Forward nor anybody else has detected gravity waves. I think I have to agree with Mr. Holmes that this may begin to indicate that gravity waves as described in classical (i.e. non-quantum mechanical) general relativity may not exist. While this accords with my long-time contention that Dr. Einstein was brilliantly wrong, it doesn't address where he went wrong -- and, unfortunately, many aspects of the current multi-dimensional quantum theories also go astray on the same point that I would criticize general relativity on.
3. The preceding statement of course cries for an explanation of where I think that Dr. Einstein went wrong. It actually goes back to a fundamental principle of physics that Dr. Einstein got right: dynamics is an expression of relative geometry (and of course the time change in relative geometry) of measurable objects in space-time. While this understanding permits one to model the forces between measurable objects as also being geometric objects (in classical general relativity, the curvature of space-time), the fallacy lies in assuming that the underlying forces are in fact geometric objects, rather than of some not-yet-defined nature. The 1921 extension of general relativity to include electromagnetism as a geometric object by Theodor Kaluza, and all derivatives of such multidimensional space-time theories including string theories, at least partially embrace the same fallacy. Note that this does not mean that the theories are wrong, any more than Newtonian theory or general relativity themselves are wrong; nor does it mean that multidimensional theories are wrong. It does mean that the assumptions require review.
The introduction of virtual particles, and the concomitant admission of entanglement, among other consequences, by quantum mechanics does provide a non-geometric mechanism for force generation. But there remain problems, particularly in the integration of the successes of classical general relativity with quantum mechanics, as Dr. Smolin discusses in the earlier book cited above.
In conclusion, Mr. Holmes' contention that gravity waves are not observed because they propagate in the higher dimensions of string theory is at least a recognition of the fallacy noted above, and as such is (at least to me) an interesting suggestion. It doesn't "feel right" in the sense that it flies in the face of the successes of classical general relativity, but it is a suggestion worth considering precisely because the fallacies make those suspect. (My personal belief is that it remains rooted in the local nature of general relativity, which is the area which is most likely to be exploited for faster than light transportation, but I am far from being able to prove such a statement, and I'm certainly not as knowledgeable of string theory as I am of classical general relativity.)
Jim Woosley
Another comment on last week's column:
Subject: Backups of bootable drives
Hi Jerry,
Here's another approach to backups:
Install identical hard drives PCs and make a duplicate bootable copy on the second drive after major software upgrades have proven stable AND BOOTABLE. I myself use Casper XP software that I find dependable and reasonably priced (http://www.fssdev.com/).
A different strategy is needed for interim changes to data files, e.g. burning them to DVD (for high volumes) or keeping zipped copies in a reserved directory on the second hard drive (as I do with my low-volume changes).
Cheers, Alan Messer
And of course most motherboards come with ways to set up RAID with mirrored drives. None of this protects against operator error.
The best backup software I ever used or know of was Palindrome, which I used until the company was purchased by Seagate and vanished from view. I sure miss it.
And a story to note:
Subject: Not all XP discs are the same Dr. Pournelle,
I found out the hard way that you're incorrect in saying in your 6 Nov column that all windows XP discs are the same, and are differentiated by the activation key. I have a horror story and minor rant regarding how I found this out.
My winXP MCE (OEM CD) system I use for a home theater PC became corrupted, and although I had the key I was unable to locate the CD. The microsoft support guy almost choked trying not to laugh when I tried to ask if there was a way to get a replacement OEM CD, so no joy there. I tried illegal means, and was not able to find one that way either (I suspect incompetence on my part). Being military stationed in Korea, I could easily get an OEM CD from a street vendor but then I'd have to learn how to read Hangul. Knowing that windows CDs USED to be all the same as you say in your column and MCE is really winXP Pro plus some utilities, I located a winXP MCE retail CD, a winXP pro OEM CD, and a winXP MCE upgrade CD, and proceeded to attempt to use them to repair my bad winXP MCE installation.
To make a long story slightly shorter, exactly as MS intended, I lost all data on the hard drive because not only would the machine refuse to proceed past the key entry screen during a repair installation, the system was locked tight enough in the installation script that I couldn't even get it to boot far enough to copy data off the drive even with an un-activated installation. Attempting a full install resulted in the same thing, except now the hard drive was freshly formatted and just as unusable, locking up after rejecting the key. The key was simply refused even though it was 100% valid, because not all XP discs are the same anymore, even for the same version of XP. OEM, retail, and upgrade XP CDs will apparently utterly reject keys for the other versions during the installation process, and as I found out this can inadvertently result in the total loss of the installation if you can't find the cd that your key belongs to.
Not being willing to go so far as to use an illegal key, I gave up, gave MS the virtual *finger*, and installed linux on that machine in 1/10th the time I spent in my winXP re-installation attempts, and have had no problems since. I will be hard pressed to come up with a reason to buy windows vista knowing that the licensing restrictions are even tighter. They think they can charge me a $109 fine for losing my CD (the going price for winXP MCE OEM cd) because I was foolish enough to buy an OEM license as part of a do it yourself system build? Not in this lifetime. When winXP is no longer sufficient for my needs, I suspect linux or a Mac will be good enough.
Sean Long
I stand corrected.
Subject: Comment on Computing column
I was reading your November 6 column, and note that in the segment detailing the e-mail flood you commented: "We'd have no choice but to let them download and let my rules reject the bogus returns".
I have my Outlook mail account properties set to "download headers only", thus I only deal with headers on a refresh, allowing me to delete items without downloading if I find them suspect or suspiciously large.
If I'm being naïve in assuming you don't use this mode of operation, I apologize.
(Tools->options->[mail setup tab]send/receive->edit) in my version.
John Morales
I fear that we get far too much mail to make it feasible to examine the headers by hand before downloading the mail; and headers do not, alas, identify spam, spyware, and phishing mail. I have a number of rules that will do that, and another secret weapon in InBoxer, a Bayesian expert system that learns when the bad guys develop new forms; but alas, it has to read the mail, not just the header.
More satisfied Intel Mac users:
Subject: Brief Update on my iMac 24"
Since my first note to you on my iMac experiences, I've got Boot Camp working.
Briefly, the problem with Boot Camp on 24" iMacs appear to be firmware based in some weird way. The symptom is that Windows cannot use the builtin display *on some machines* -- attaching an external monitor allows Windows to be installed and used but even installing the Boot Camp provided drivers doesn't resolve the issue. The problem is not apparently video card specific as Mac Pro users with 23" Cinema displays report the same problem.
As a posting online pointed out, the test for whether any given machine has the problem is simple -- just boot your Mac using any DOS or Windows CD by holding down the "C" key during boot (I used a NAV 2002 install CD that boots Win98) -- if you can see the text on your display, Boot Camp will work fine, if not (you have only a black screen) you'll have to wait for Apple to fix the problem, whatever it is.
FYI, because I'd already activated XP Home under Parallels, the activation using Boot Camp failed (the real hardware obviously looks nothing like the virtual hardware). A simple phone call to an 800 number and answering the question that I was installing on a single machine, got me an activation code -- both copies are now activated and can use Windows Update, etc.
Sean Keeley
Toronto, Canada
Captain Morse also has a new Intel Mac, which he got just after Peter Glaskowsky got his. Brian Bilbrey's remark to Ron Morse was "You didn't!" Of course Brian is very much a Linux enthusiast.
I did. Core2Duo. 15 inch, 120GB. 1GB RAM. Way too much money.
It just works. Literally. All I did was turn it on.
It gets hot...not so much as the Compaq or the iBook, but hot. Display is...the aspect ratio is all wrong until you work with it. Then, it's perfect. It's too small, but then again, it's just fine. Everything about this thing is like that. It's wrong, but use it and...it's perfect. Not right, mind, perfect.
It's like the first time I went to China. It's all there, but totally different...incomprehensible in many ways, but you can still get things done even if sometimes what happens is different from what you thought you wanted when you started. There's a Zen to this thing I don't get quite yet, but I can see it.
As a laptop it probably sucks...I mean Compaq has a model for half the price that does the basic laptop thing as well, or perhaps better (certainly faster), but there are things going on here that transcend form factor. It knows what to do with objects. Images, DVD, audio CD...you give them to the machine and what is supposed to happen...happens. I can't yet describe it more cogently because I'm not used to this experience with computers.
I couldn't figure out how to get e-mail...configuring the account was easy enough but once all that was entered, how do I get mail? Look in the inbox...it's all there! How?
It's for the spousal unit. I've been warned that if I touch it again I am a dead man, but she takes naps and I don't. Certain risks...
Peter Glaskowsky noted:
Just so this doesn't get misunderstood, I'll point out that the MacBook Pro is offered with the fastest laptop processor on the market. I don't know anyone selling a machine with the fastest Core 2 Duo for half the price of Apple's, either-- that would be $1,250 or so, which is only about twice the nominal wholesale price of the processor (maybe 2.5x the actual price after all discounts and co-marketing incentives).
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All of which caused me to say, you guys are making me hope I can get 100 new subscriptions this week so I can afford one of those things! It sounds absolutely yummy.
Captain Morse continued:
The setup process is illuminating. Things...just happen.
I think a good example of how different Apple's approach to users (as opposed to customers...I really had to work hard to buy this thing, but that's another story) is what happens when you set up the user account and profile. There is a space in the form for an image, so the software automatically activates the little camera in the unit's lid so you can put a picture of yourself into your profile. You get a monitor so you can see what's the camera sees and this makes for convenient pose and preen until you're satisfied. The image automagically gets inserted into the form when taken. The _only_ user action needed is to click on the take picture button (and preen and pose). I can only imagine what this would be like in Windows, and I simply can't imagine what it would be like in Linux.
Another telling example. When the unit is closed and sitting on table or desk, the apple logo appears to be upside down. Until you open the lid and realize that anyone looking across at you would see the logo right side up. This kind of thinking does not happen by accident.
It's not all sweetness and light, of course. I am really bothered by the abject proprietariness of it all, to the point where I would not want to use a Mac as my primary machine simply on principle. But, my wife is not so encumbered and she has to live with it.
Philosophy aside, though, it's a great little box, full of neat tricks and I'm blown away by some of the things it has shown me so far. Tomorrow it goes to work.
Once a bit of the new wears off I'll be looking at what is involved in getting a Linux of some sort working on that platform.
Many years ago, Peter Glaskowsky observed me trying to do something complicated with my PowerBook Mac. He said "You will find that with the Mac everything is either very simple, or impossible." I have repeated that remark so often that I am usually credited with having said it. I later modified it to "With the OS X Mac, everything is either very simple, or impossible unless you know a lot of UNIX in which case some impossible things just become very difficult."
And that will do for this week's mail.


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BMW is recalling 1.3 million 5 Series sedans and 6 Series coupes worldwide from model years 2003 to 2010 to repair a battery cable cover that can cause a car to stop working, or even catch fire.
Read This Article
If you've been following Automotive.com's European sales reports at the start of every month, you will have noticed sales of German autos have been scorching here in the U.S.
BMW's online configurator for the 2014 BMW 4 Series coupe has gone live.
BMW is gearing up for a U.S. launch of the i3 electric city car.


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What You'll Get
Choice of:
- Compustar Remote Car Starter (One-Way) Single Button with Bypass
- Compustar Remote Car Starter (Two-Way) Single Button with Bypass
- Installation of One Heated Seat
- Installation of Two Heated Seats
Remote Car Starters: The Key to Keyless Ignition
Remote car starters are as easy to use as TV remotes, but the technology that turns over your engine without turning any keys isn't quite as simple. Read on to learn what's behind this automotive wizardry.
From a technological standpoint, remote car starters function much like another popular, if criminal, mode of keyless ignition: hot-wiring. By now, the image is familiar from action films. A thief busts open the panel under the steering wheel, examines a tangle of multicolored wires, and rubs the correct ends together to bring the engine to life. This sequence sends a current through the ignition wire, initiating the engine's activation process, which would otherwise be triggered by the act of turning the key.
Remote car starters circumvent the need for keys by activating the same electronic cycle, but rather than joining frayed wires, they use a module that conjoins the wires beneath the panel. The module communicates with a radio-equipped remote control that, when pressed, tells it to send an electric current through the ignition wire, thus starting the car. Most standard car starters only communicate with the engine, though some advanced models can connect to other systems to unlock the doors or adjust the heat and air conditioning inside your car.
To prevent hot-wiring, most modern vehicles have built-in immobilizers, electronic security devices that prevent the car from starting if they do not detect the radiofrequency identification code broadcast by a microcircuit inside the key. To overcome this hurdle, most remote car starters include a bypass module, a computer chip that is uniquely programmed to communicate with the vehicle in which the starter is installed. Bypass modules make car starters feasible to install in just about any car, so owners can warm their engine up before entering the car on an icy morning or give the air conditioning a head start if it's been parked for a long time in a volcano.
The Fine Print
Promotional value expires 90 days after purchase. Amount paid never expires. May be repurchased every 180 days. Limit 1 per person, may buy 1 additional as gift. Appointment required, subject to availability. Cannot be combined with any other offer or promotion. Not valid for - Audi, VW, Porsche, Saab, BMW, Mercedes, Volvo, Tesla, Jaguar. Upgrades available at standard pricing through business. Tax not included. Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services. Offer is not eligible for our promo codes or other discounts.