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Latest News
- 'Northern Ireland Schools' Acrobatic Gymnastics Championships' success!
- Annual Spring Concert 2019
- Belfast Under 15 hockey selection
- Ulster Youth Choir and Training Choir selection
- Medallion Plate Success!
- 'Eating Disorder Association NI' workshops
- 'Lessons from Auschwitz' 2019
- BBC 'News Day' event
- Spring Concert 2019
- Ben Watson: Table Tennis - continued excellence
- GCSE and A Level Drama Trip – 'Macbeth'
- Lord-Lieutenant of Belfast Invitational Recognition
- Scottish Universities Tour 2019
- Year 14 Careers - Danske Bank visits
- 'Brexit and the Next Generation'
'The Addams Family'
The week beginning Monday 21st January 2019 saw Grosvenor stage its annual whole-school Drama Production, performing 'The Addams Family' to in excess of 1500 audience members over four entertaining and action-packed performances.
Under the leadership of Director Mrs Orla Young and Musical Director Mr Jonathan Arnold this year's cast and crew, comprising in excess of seventy pupils from Years Eight to Fourteen, combined to deliver a vibrant and entertaining take on the show, which follows the story of the eponymous Addams clan; a quirky, macabre family who are forced to face up to the reality of change, for the first time in generations, when daughter Wednesday falls in love with Lucas Beineke, a sweet, smart boy who could not be more different to what the Addams' are accustomed.
Monday 21st and Tuesday 22nd November saw the cast deliver matinée performances to visiting Primary School children in the William Moles Hall, while on the evenings of Wednesday 23rd and Thursday 24th the show was staged for members of the paying public. The production saw a number of acclaimed performances delivered by lead actors Tyler Smith (Gomez), Anna Smith (Mortica), Maddie Gribbon (Fester), Stephanie Wallace (Wednesday), Anna Cousins and Beth Vance (Nanny and Granny), Aaron Fisher (Pugsley), Robert Orr, (Lurch), Emily Woods (Mona Lisa), Stephen Wright (Mal Beineke), Sarah Whittle (Alice Beineke) and Mark Crooks (Lucas Beineke). In addition, the show's acting leads were ably supported by a large and enthusiastic supporting cast, as well as a talented band of musicians, comprising Jack Brown (electric guitar), Ben Russell (bass guitar), Joshua Harvey (drums), Abbie Myles (alto saxophone), Bethany McKittrick (tenor saxophone) and Ben Simpson (trumpet) that, as has become customary, delivered its distinctive score with vivacity and aplomb throughout.
Following four accomplished, professional and entertaining performances, all in attendance were left wowed by the level of application and effort which enabled Grosvenor's cast to produce such a superb series of shows. In recent times the school has deservedly earned a name for delivering Musical Drama productions of the highest quality and 'The Addams Family' served only to enhance this reputation.
Congratulations to everybody involved in Grosvenor's production of 'The Addams Family' who helped to make the show such an overwhelming success - we look forward to seeing many of its talented actors and actresses treading the boards again before long.
Anna Smith (Mortica) takes centre stage during one of the School's evening performances of 'The Addams Family' on Wednesday 23rd January.
Year Thirteen pupil Tyler Smith waxes lyrical as his character, Gomez, during this year's school drama production.

subset: commoncrawl


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IBM Retirement Fund cut its holdings in Danaher Co. (NYSE:DHR) by 6.4% in the 4th quarter, according to the company in its most recent filing with the Securities and Exchange Commission. The institutional investor owned 10,611 shares of the conglomerate's stock after selling 725 shares during the period. IBM Retirement Fund's holdings in Danaher were worth $1,094,000 as of its most recent filing with the Securities and Exchange Commission.
Other hedge funds have also bought and sold shares of the company. Robeco Institutional Asset Management B.V. boosted its holdings in Danaher by 44.9% in the 3rd quarter. Robeco Institutional Asset Management B.V. now owns 133,342 shares of the conglomerate's stock worth $14,492,000 after acquiring an additional 41,326 shares during the period. Stone Ridge Asset Management LLC boosted its holdings in Danaher by 15.8% in the 3rd quarter. Stone Ridge Asset Management LLC now owns 5,872 shares of the conglomerate's stock worth $638,000 after acquiring an additional 800 shares during the period. JPMorgan Chase & Co. boosted its holdings in Danaher by 14.1% in the 3rd quarter. JPMorgan Chase & Co. now owns 3,426,709 shares of the conglomerate's stock worth $372,344,000 after acquiring an additional 424,317 shares during the period. MML Investors Services LLC boosted its holdings in Danaher by 12.4% in the 3rd quarter. MML Investors Services LLC now owns 9,864 shares of the conglomerate's stock worth $1,072,000 after acquiring an additional 1,087 shares during the period. Finally, Commonwealth Bank of Australia boosted its stake in shares of Danaher by 2.2% during the 3rd quarter. Commonwealth Bank of Australia now owns 45,768 shares of the conglomerate's stock valued at $4,967,000 after buying an additional 1,000 shares during the last quarter. 78.29% of the stock is owned by hedge funds and other institutional investors.
In other Danaher news, CAO Robert S. Lutz sold 17,822 shares of the stock in a transaction on Wednesday, February 27th. The stock was sold at an average price of $126.95, for a total value of $2,262,502.90. Following the sale, the chief accounting officer now directly owns 22,251 shares of the company's stock, valued at $2,824,764.45. The sale was disclosed in a filing with the Securities & Exchange Commission, which is available through this link. Also, insider Rainer Blair sold 37,859 shares of the stock in a transaction on Wednesday, February 27th. The stock was sold at an average price of $127.45, for a total value of $4,825,129.55. Following the completion of the sale, the insider now directly owns 32,661 shares in the company, valued at $4,162,644.45. The disclosure for this sale can be found here. Insiders sold 183,150 shares of company stock worth $23,279,637 over the last ninety days. 11.90% of the stock is owned by corporate insiders.
Shares of DHR opened at $128.69 on Friday. Danaher Co. has a 12-month low of $94.59 and a 12-month high of $129.42. The firm has a market cap of $90.32 billion, a P/E ratio of 28.47, a PEG ratio of 2.35 and a beta of 1.04. The company has a current ratio of 1.47, a quick ratio of 1.07 and a debt-to-equity ratio of 0.34.
Danaher (NYSE:DHR) last announced its quarterly earnings data on Tuesday, January 29th. The conglomerate reported $1.28 earnings per share (EPS) for the quarter, topping the Thomson Reuters' consensus estimate of $1.27 by $0.01. Danaher had a return on equity of 11.64% and a net margin of 13.33%. The firm had revenue of $5.40 billion for the quarter, compared to analysts' expectations of $5.33 billion. During the same period last year, the business posted $1.19 earnings per share. The firm's revenue for the quarter was up 6.2% on a year-over-year basis. As a group, analysts predict that Danaher Co. will post 4.76 EPS for the current fiscal year.
The company also recently disclosed a quarterly dividend, which will be paid on Friday, April 26th. Investors of record on Friday, March 29th will be paid a dividend of $0.17 per share. The ex-dividend date of this dividend is Thursday, March 28th. This is a boost from Danaher's previous quarterly dividend of $0.16. This represents a $0.68 annualized dividend and a yield of 0.53%. Danaher's dividend payout ratio (DPR) is 14.16%.
DHR has been the subject of several research analyst reports. Needham & Company LLC reiterated a "buy" rating and set a $138.00 target price (up from $114.00) on shares of Danaher in a research note on Thursday, February 28th. Jefferies Financial Group raised their price objective on Danaher to $140.00 and gave the stock a "buy" rating in a research note on Tuesday, February 26th. Deutsche Bank raised their price objective on Danaher to $130.00 and gave the stock a "buy" rating in a research note on Tuesday, February 26th. UBS Group raised their price objective on Danaher from $125.00 to $144.00 and gave the stock a "buy" rating in a research note on Tuesday, February 26th. Finally, Janney Montgomery Scott upgraded Danaher from a "neutral" rating to a "buy" rating in a research note on Monday, February 25th. Two analysts have rated the stock with a hold rating and thirteen have assigned a buy rating to the company's stock. The company presently has a consensus rating of "Buy" and a consensus price target of $123.31.
About Danaher
Danaher Corporation designs, manufactures, and markets professional, medical, industrial, and commercial products and services worldwide. The company's Life Sciences segment provides laser scanning, compound, surgical, and other stereo microscopes. This segment also offers filtration, separation, and purification technologies to the biopharmaceutical, food and beverage, medical, aerospace, microelectronics, and general industrial sectors.
Recommended Story: Diversification in Your Portfolio
Want to see what other hedge funds are holding DHR? Visit HoldingsChannel.com to get the latest 13F filings and insider trades for Danaher Co. (NYSE:DHR).
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4 - Bedroom Unit (sleeps 8 -10)
Special rates!
The dates below are due to be updated, but all rates are staying the same!
01-02-19 to 14-04-19 from $119/night
15-04-19 to 28-04-19 from $129/night
29-04-19 to 30-06-19 from $119/night
01-07-19 to 01-09-19 from $129/night
02-09-19 to 15-12-19 from $119/night
16-12-19 to 05-01-20 from $149/night
06-01-20 - 31-01-20 from $119/night
Weekend nights are charged at a $20 supplement per night, if booked as less than whole week bookings.
We offer discounts for repeat guests and offer discounts or $25 for referrals!
Last minute discounts!!
5% discount if booking start date is less than 2 weeks away.
10% discount if less than 7 days away!
For stays longer than 7 nights we offer a 5% discounted rate!
Long stay discount!! 10% discount if booking length is more than 21 days.
Long stay discount!! 15% discount if booking length is more than 28 days.
Long stay discount!! 20% discount if booking length is more than 2 months.
Long stay discount!! 25% discount if booking length is more than 3 months!!
For Stays of 4 nights or less there is a $95.00 cleaning fee
All guests are required to pay the $11.95 per day resort fee per house, upon check-in. This charge is per house, not per person!
When comparing prices remember our town home is furnished to a very high standard, no lumpy pillows or uncomfortable beds here!.
Note: Until confirmed, rates are subject to change without notice.
Rates Include Florida state tax of 12%
For guestbook comments please click here!
For current availability please see our availability calendar.
Email me at email@example.com. I will come back to you as soon as possible with availability and prices. Please note, only an adult 25+ years of age may reserve this house.
To secure your dates, I require a non-refundable deposit of $250 US dollars (or £140 if booking in £ UK Sterling) or 10% of the booking value (whichever is the higher). Your dates are not secure until the deposit has been paid. Once you have paid the deposit, the house is reserved in your name. No-one else can book it and I will not offer it to anyone else. Please also note for legal, insurance and emergency purposes I also need the names of those in your party, your address and home phone number. The balance should be paid in full 8 weeks before you arrive at the Regal Palms Resort. If your reservation is within 70 days before your arrival, you will be required to pay the full amount with your reservation. There are reasons for this which I will be happy to explain if you contact me.
Please also note that prior to occupation, we will require a security deposit of $250 which will be returned after the house inspection, made upon your departure.
Prices and Availability


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Watch Now
on Prime Video
on Prime Video
When Harry mysteriously disappears, a substitute Whitelighter, Tessa surprises the sisters. With Galvin's return imminent, Macy knows she must tell him her decision about her demon side...
|Series cast summary:
|Melonie Diaz
|Mel Vera 22 episodes, 2018-2019
|Madeleine Mantock
|Macy Vaughn 22 episodes, 2018-2019
|Sarah Jeffery
|Maggie Vera 22 episodes, 2018-2019
|Rupert Evans
|Harry Greenwood 21 episodes, 2018-2019
|Ser'Darius Blain
|Galvin Burdette 13 episodes, 2018-2019
|Ellen Tamaki
|Niko Hamada 12 episodes, 2018-2019
|Nick Hargrove
|Parker 12 episodes, 2018-2019
|Natalie Hall
|Lucy 10 episodes, 2018-2019
|Aleyse Shannon
|Jada Shields / ... 10 episodes, 2018-2019
This reboot of the original series centers on three sisters in a college town who discover they are witches. Between vanquishing supernatural demons, tearing down the patriarchy, and maintaining familial bonds, a witch's work is never done. Written by Deadline Hollywood
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The AFC Wimbledon audio fanzine
EP174: The Mary Whitehouse Experience
April 17, 2019 10:07 PM PDT
Thoughts on ... oh man, this was such a weird show. There is football chat in there somewhere. Promise.EP173: Line up your soldiers
April 10, 2019 10:30 PM PDT
As our relegation battle enters the final five games, we look at each and every remaining fixture of importance.EP172: Excellence of Execution
April 03, 2019 10:30 PM PDT
How we see the League One relegation battle shaping up - and what did we think of our potential new club crests?EP171: Gripping your pillow tight
March 27, 2019 11:51 PM PDT
We review the craziness of the League One table and who we think are now free from the relegation battle.EP170: The Outsiders
March 21, 2019 12:24 AM PDT
Another win, the AFCW accounts, and we start selecting our Player of the Year.EP169: A Sudden Sense of Liberty
March 13, 2019 11:57 PM PDT
Wins, a Head of Recruitment, and international call-ups for injured players.EP168: That's no good for me
March 06, 2019 10:52 PM PST
Nearly an hour of Nick and Stu trying to avoid talking about Wimbledon.EP167: I've heard it said too many times
February 27, 2019 10:53 PM PST
Should we enter into a sponsorship deal with a betting firm? And oh yeah, we lost. Again.EP166: Even though you're gone, we still a team
February 20, 2019 10:09 PM PST
Beating Rochdale, losing to Millwall, and mourning the loss of a fan favourite.EP165: I'm a done fool for to ask for more
February 13, 2019 10:43 PM PST
Answering your questions, and discussing the attitude of and towards the players, and the immediate future of the club,
Next Page
Podcast Summary
Hosted by Nick Draper and Stuart Deacons, the 9yrspodcast drops every Thursday during the football season, with some variable audio quality and occasional insightful comment.
Subscribe to this Podcast


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Rex Talion stands triumphant as the invasion of Earth has begun. The Degans and their allies roam the world destroying everything in their wake. Yar is no more. The Synod sits in the Beyond indecisive while the rest of the Collective follows suit. The way is clear and seemingly nothing can stop Talion and the Degans.
The Discarded One has taken notice and the all-consuming evil being moves across the cosmos towards the planet he vowed to destroy centuries ago. If Earth falls, the universe will follow.
Evil and darkness will reign supreme.
Regina Tate has watched her world literally crumble around her. Regina's son and best friend were murdered by her brother, Rex Talion. Quentin, the man she loves, and the one being capable of halting the horrors befalling the planet, has gone into a self-imposed exile on the moon in an attempt to atone for his past crimes.
Earth is alone because each planet in the Collective fears for its own survival and will offer no assistance to the war-torn planet. The outlook for Earth is overwhelmingly bleak.
There are a few special individuals who decide to rise to the challenge and oppose the forces of evil.
The war to end all wars has begun. The battle for Earth and all of existence is at stake.
This is the story 4.6 billion years in the making. More secrets are revealed. Lives are lost and worlds are destroyed.
The universe will never be the same again... if it survives.
Product Details
|CreateSpace Publishing
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|6.00(w) x 9.00(h) x 0.51(d)
About the Author
Once an alternative school teacher and psychological consultant, Mr. Howard is now a director for a non-profit transitional housing program for young adults as a civilian and a volunteer for the homeless in southern California.
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Category: Documentary
¡Viva! 25 #5: A Journey to the Fumigated Towns (Viaje a los pueblos fumigados, Argentina 2017)
Fernando Solanas is a veteran documentarist and political activist who is now an Argentinian Senator. Along with Octavio Getino he wrote the statement that formulated the concept of Third Cinema in 1969. Fifty years later Solanos is still attempting to make films that demonstrate a different voice and a different argument in global cinema. This new film is a detailed and coherent attack on multinational agri-business and its rape of the Argentinian ecology. As a film it does have flaws but they don't prevent the powerful message from being communicated.
I had expected a documentary using various non-conventional devices to make its argument, but formally this is quite conventional with Solanos and his crew moving around Argentina, starting in the far north around Salta. The footage that is captured is almost low-res and I wonder if some of it was pre-digital video. Even the higher-res footage seems de-saturated at times and the overall impression is of greens and greys. The strength of the film is the ways in which different aspects of the central problem are explored in detail and then brought into the overall argument.
In the beginning we see the felling of vast acreages of 'centenarian forest' and the burning of the stumps so that the land can be cleared for yet more soybean monoculture (Argentina is the third largest global producer of soybeans and a major exporter). The focus here is on several different but connected issues. The first of these is that the deforestation ignores the land rights of the local indigenous people the Wichí. Interviewed, one of the Wichí leaders says they have been living on the land for 200 years. As well as the large trees the bulldozers also uproot the smaller trees, one of which bears a fruit that is a major food source for the Wichí. Indigenous people seem to receive little support from local or national government in the face of actions by the large multinationals behind the deforestation. The film returns to the plight of indigenous people at the end of the film. The planting of soybeans is accompanied by heavy spraying of the crop with pesticides and fertilisers. Crops of various kinds are hybrid varieties and farmers are trapped by the large companies who are making profits, often benefiting from state-funded research into new seed varieties. Hybrid seeds cannot be saved for planting next year and farmers must buy new seed for each crop. Large bio-tech companies like Monsanto are going one-step further and genetically modifying cash crops to be able to withstand the toxins that kill insects. They have persuaded some governments that these GM seeds are produced by a unique process that can be patented so that the companies can charge even higher prices without fear of competition. (The same practice which operates in some pharmacy contexts – Monsanto is now owned by Bayer.) Monoculture also destroys jobs. Large acreages of a single crop are easily harvested by modern computer-controlled machinery. The groves of peaches that might have existed previously employed armies of pickers. Latin America has suffered heavily from the migration of the rural unemployed to already overcrowded cities.
The new monoculture has other bad consequences. The ecological change has forced out beekeepers and the crop is now at the mercy of global prices for soybeans (and the oil and flour extracted). Like all monocultures, moving away from traditional and largely organic methods requires more inputs of fertilisers and insecticides. These are all noted by Solanos and his team as well as the impact of spraying which is often carelessly done by aerial delivery that allows spray to drift over schools and villages. The documentary extends this investigation to show that the high levels of spraying (fumigados) have created a major problem of agri-toxins entering the water supply and being ingested by large groups of people. As well as visiting hospital wards, the team led by Solanas interview many local people, including teachers and parents of young children and claims are also made about the damage to various groups of workers in silos, nurseries and transportation.
Having established the range of problems with the monoculture, the alternatives are also explored – mixed farming and organic farming/horticulture – before returning to the plight of indigenous peoples. There is some comedy in these sequences which leavens the relentless presentation of the damage being done. Solanas is offered a glass of 'chlorophyll juice' (a smoothie of wheat grass) which he reluctantly accepts and swallows, putting on a brave face. There is also a strange contradiction in two of the statements we hear. On the one hand we are told that the agri-toxins from spraying and run-offs into the water supply are everywhere in Argentina and everyone tested has traces of them in their bloodstream and on the other we are told that Argentina has more certified organic growing land than anywhere else. Perhaps I misread the subs?
This film succeeds as a 'social documentary'. It isn't just about voiceover narration, facts and figures and talking head experts. Solanas and his crew travel to all parts and meet people and talk to them. Also important is the way the different issues are brought together. On the downside, I think some of the issues could be explained a little more clearly. I'm not sure what local audiences and other Latin American audiences will make of the film. From a European perspective and I should state, that of someone who has thirty years of practising organic horticulture, most of the issues in the film were familiar. What I learned was the detail of how indigenous people are once again marginalised and made almost invisible. The damage to eco-systems is a global problem (the palm oil plantations of South East Asia present some of the same issues) and it would seem to be that Argentina needs to strengthen regulation of agri-business practices to a considerable degree. It also makes me aware of the dangers facing the UK if we leave Europe and are pushed into trade deals without the same protection we have as part of the EU.
This documentary was followed by a discussion after its first screening at ¡Viva!. It would be interesting to know what was said. Below is a French trailer for the film and a snippet with English subs (which ends very abruptly):
I Often Think of Hawaii (Ich denke oft an Hawaii, Bundesrepublik Deutschland, 1978)
This was an experimental documentary that plays with style, representation and recreation. The subject is a young woman, Carmen who lives with her mother Ruth and brother Tito in a high-rise housing estate.
Her father, a Puerto Rican soldier, abandoned the family. All that is left to remind them of him is a handful of exotic postcards and his record collection of Caribbean and Hawaiian music.
The film is a documentary and includes observational film: for example Ruth leaving the tower block in the morning to go to work. We also see her and Carmen carrying out the cleaning duties involved. Then there are interviews, with Carmen, Ruth and Tito, talking direct to camera.
But these are intercut with far more oddball sequences. In these Carmen dresses up in flamboyant clothes and enacts fantasies for the camera;
I dream of a great love.
In other sequences the title is made sense as the collection of post-cards and records are presented. In the case of the records Carmen [for most] translates the lyrics, variously in English, Spanish and Portuguese, into German. The English sub-titles translate the German dialogue not the original sound tracks. Something similar happens when Carmen quotes poetry, here by Paul Éluard and another French poet.
The film mainly uses colour but some of the fantasies by Carmen are in black and white. The emphasis is on mid-shots and close-ups which generates a strongly subjective feel. The film runs for eighty-five minutes and nearly half of the film must be non-realist sequences. The film also lacks an obvious chronology which gives it a Brechtian feel. The film does have an opening and closing sequence, in both cases we see Carmen on the Berlin S-Bahn. It is as if the bulk of the film is a dream sequence.
The director Elfi Mikesch was there to introduce the film. She owns that the film was
"Inspired by the camp aesthetics of American (USA) underground films …"
This was her first film and she continued in a career that predominately worked on documentaries.
Some of the fantasy sequences have a definite kitsch sense. But there is also a sense of montage techniques in the manner of the Soviet avant-garde. Visually we have discontinuities and disruptions and aurally we have asymmetrical sound. This is really a melange of stylistic tropes.
In fact we were fortunate to see the film. It was shot of 16mm reversal stock and when the technicians at Deutsche Kinemathek came to attempt the restoration they found much of the print had decayed. But they were able to rescue the film and produced a digital restoration which we watched on a DCP.
I noted that this is very much Carmen's world. Ruth, the mother, is mainly presented in terms of her work. The brother Tito appears several times talking to camera but I did not feel we learnt about his world. He did seem to be unsympathetic to Carmen's point-of-view.
The setting of the film is important. The family lived in one of the towers in Berlin's Gropiusstadt. This was a housing project designed by the modernist architect Walter Gropius. He was the founder of the famous Bauhaus School. This was a post-war housing complex designed along the lines and values of the Bauhaus. However other factors intervened. The erection of the Berlin Wall restricted the space for building which resulted in tall tower blocks. Apparently by the 1970s the complex was dominated by poor families with the resultant economic and social problems. As a background to this portrait the sense of that area was important.
I did notice one oddity in the Brochure, which suggested that Carmen's 'tropical world' provided a counter-point to the 'barren projects';
. . . it suddenly seemed as if the conditions in these petty bourgeois living rooms could, in fact, be changed.
Everything about Ruth, her work, and her children, as indeed about the projects, suggested a working class environment. I suspect the reference to 'petty bourgeois' refers to the content of Carmen's dreams of escape.
The film was also the object of a particular discussion in a seminar organised by Deutsche Kinemathek. 'The Translation of Films'. This engaged with the
the translation of films into other languages . . .
including both the silent and sound eras. So,
director Elfi Mikesch. film restorer Julia Wallmüller, and translator Rebekah Smith will discuss the subtitles created for the 2018 digitally restored version [of this title] . . . A comparison of the new subtitles and the ones from the film's release year demonstrate how standards and available methods have changed over the years . . . (Retrospective Brochure)
It was clear that the new subtitles offered a more accurate rendering of the German and also that they fitted into the editing of the film more effectively. Unfortunately there is no surviving material about the process of translation in 1978. But comparing clips demonstrated that the titling did not give complete rendering of the German. Rebekah and Julia made the point that modern digital methods enabled a higher degree of pinpoint accuracy in inserting these titles.
Elfi Mikesch made an interesting comment that she had felt that the 1978 subtitles made the film seem slower and longer. Unfortunately there was not an opportunity to explore this issue further. I had to leave for another screening but a friend advised me that the discussion only considered the issues around subtitles. So it seems there was no discussion of the translation from several languages into German; in that case German viewers heard not the original but a translator version; and English language viewers would be twice removed from the original lyrics of the songs and the words of the poetry.
So this is a complex issues that only in the last decade has become the subject of detailed research. The film was interesting in its own right as an example of avant-garde cinema and with its portrait of a subjective take on a particular place and people in 1970s Germany. But as a 'text' it offered an object for exploring the medium of cinema.
Berlin – Prenzlauer Berg (Deutschland 1990)
The actual full title is Encounters between 1st of May and 1st July of 1990 / Begegnungen Zwischen dem 1. Mai und dem 1. Juli 1990. This documentary offers a portrait of one area in that hiatus between the capitulation of the DDR and the formal reunification of Germany.
bracketed chronologically by International Workers Day and the monetary and economic unification of the two Germanys. Retrospective Brochure).
The district of Prenzlauer Berg is close to the centre of Berlin and dates from the 1920s. Its population is now about 160,000. In 1990 part of the district ran right up against the dividing wall.
We meet a rock band playing on abandoned east German border territory, Antifascist demonstrators from both sides of the Berlin Wall, and squatters trying to turn an occupied building into a cultural centre.
This is what the Brochure calls the 'short summer of anarchy'.
In between these actions we see an hear from local residents. Seniors at a dancing session; bohemians involved in squatting along with transvestites; women workers at what was a state run textile factory; and owners/managers of a clothing store and snack bar. In the early stages of the film the sense of anarchy is powerful. Institutions appear to have stop operating. Some people carry on as before, like the dancing pensioners,; others strike a radical new note as with the squatters.
But in the latter stages as unification approaches the economic dominates. The Osmark (East German currency) is replaced by the West German mark. On July 1st suddenly people must change over their currencies, bearing in mind the exchange value. For ordinary citizens the rate was at par; but large holdings were at lower rates. The liveliness in the film is replaced by emptier streets. It is early in the day but it seems like a metaphor of the uncertainty for people.
The director Petra Tschörtner worked with cinematographer Michael Lösche and then editor Angelika Arnold to produce this tapestry of activities and people. We saw the film in its original format of of 35mm. The director commented
I wanted to document the special attitude towards life in this neighbourhood. The people of Prenzlauer Berg always tolerated greater freedom of action than others.
The local people appear to have enjoyed the licence and freedom associated with Carnival. The area itself is changing, not necessarily for the better. The final shot is of a demolished building disappearing in clouds of dust. An ambiguous symbol of the changes.
Who's Afraid of the Bogeyman (Wer fürchtet sich vorm Schwarzen Mann, Deutsche Demokratische Republik 1989)
This DDR film is full of unintentional irony, offering a portrayal of the East German state only a short time before its collapse. Whilst this documentary does not address the social and political contradictions in East Germany the portrait it offers clearly presents a state that is mired in the out-of-date technologies and social administration: the writing is on the wall.
The 'bogeyman' of the title is the coal delivery man. A literal translation would be 'Who fears in front of Black Man'. We visit a private coal company which is run by a woman but whose workforce is entirely male. One sign of outmoded technologies is how many of the homes, including apartments in tower blocks, rely on coal as a heating fuel. Besides running on long after the use in advanced western economies the coal delivery business in Berlin has other distinctive features. The coal can come in sacks but also pre-packed in what look like small suitcases. And the wood for fires comes in neatly bound bundles. When we see customers calling in to place order we hear them asking for hundredweights of fuel. This is a different world from Britain, even when the working class kept their coal 'in the bath'.
The seven man team faces heavy physical labour and dirty work. By the end of a day they are covered in grit and grime. Whilst there are showers at the depot they are fairly primitive. This applies to all the machinery. The deliveries are made in a motorised truck with some sort of petrol engine but with very low horse power. In the course of the film what seems to be an axle needs repair. The repair work is completely heath-Robertson. It seems to take a couple of days, with hammers. sledgehammers, acetylene torches and sundry other tools. Finally and triumphantly the axle is removed, but how the truck is then made roadworthy stretches beyond the length of this film.
The owner of the business is a resolute and extremely competent woman. She is assisted by her daughter who would take over thee businesses one day. Whilst the machinery might seem primitive the organisation is efficient. The owner is also articulate and talks of her firm and of it social context with fluidity. There is something similar when we hear the workforce answering questions.
The discussion subjects range from the building of the Berlin Wall and possible escape, [one tried], to child abuse and suicide as well as prison and alcoholism." (Retrospective Brochure)
All are extremely good natured. The view of this segment of society suggests a working class with solidarity and satisfaction. There is no hint of impending doom. As one historian remarked the film has an air of whimsicality but its characters and their situation are completely engaging. The less than sixty minutes of the film offers us in their lives and their work with both sympathy and affection.
The director, Helke Misselwitz, was there to introduce the film. She remarked that when the topic was broached she was determined to find a firm with a woman at the helm. She successfully found one and also one that offered a fascinating set of portraits. The film was also visually satisfying, down to the cinematography of Thomas Pienert which captures the place and the people with unassuming grace. Pienert also worked on the screenplay with Helke Misselwitz. It does seem that this narrative emerged from their working study at the depot.
We also had as short film from the DDR, Nude Portraits – Gundula Schulze / Aktofotografie , Z. B. Gundula Schulze, directed by Helke Misselwitz in 1983. It seems that Gundula Schulze, a young graduate at the time, has become a famous photographer. Then she wrote a thesis on 'nude photography in East Germany'. At the start we are shown some fairly stereotypical nude portraits, not any different from those that circulate in capitalist societies. Then the film introduces two strands. Nude photographs taken by Schulze of women aiming to present them as 'whole women'. At times this colour footage is intercut with black and white 16mm footage of working women, here as cashiers at a line of tills in a supermarket. The contrasting images make the point well. And Schulze's portraits are fine examples of women presented with their own character.
This film ran 11 minutes and had been copied onto a DCP. The feature documentary was screened from a good 35mm print. Both films had English sub-titles.
Is This Fate? (Von wegen ,Schicksal', Bundesrepublik Deutschland 1979)
This bears a resemblance to fly-on-the wall documentaries but it includes sequences of the making of the film which add a layer of complexity.
Irene Rakowitz, 48, is a divorced mother of four, who lives with her two youngest children in Berlin's Märkischer Viertel district, surviving on disability payments." (Retrospective Brochure).
She lives in the same high-rise block as her ex-husband. The two eldest children are closer to the father than to the mother. The Märkischer Viertel district was built between 1964 and 1974 by GeSoBau Gesellschaft für sozialen Wohnungsbau (Association for Social Apartment Construction). Close to what was the Berlin wall separating east and west Berlin it appears to be a concentrated area of relatively m modern working class housing. From what we saw of the buildings the tower blocks have the advantages and disadvantage of equivalent development in Britain in the same period.
What we see is the every-day life of Irene and her two children with her talking direct camera about how she manages. Later in the film we see similar sequences presenting the ex-husband and the elder daughters. There is clearly a high level of antagonism between the two now separated families.
Her [Reidemeister) documentary of a family hell, in which conflicts escalate instead of abating, had a strong point of view and was not uncontroversial in 1982. [when screened on West German television].
In fact this is not a family but two separate families who seem at war. But one point that concerned me was to what degree this 'war' has been facilitated or even aggrandised by the documentary. In a reflexive style the film opens with Irene at a 16mm editing table watching some of the footage; shot in black and white. Later in the film we see her watching her two daughters, now either married or partnered and working, commenting in stark and virulent terms on their mother. Remarkably at this point Irene does not seem especially fazed by this. At another point we watch some earlier footage from 1972 but I was uncertain what point this offered.
This struck me as a typical example of the television work in the period as fly-on-the wall became a recognisable genre. This example has the fascinating strengths but worrying weaknesses of the genre. It also seemed to me to go beyond the acceptable in the particular sequence where Irene watches her daughters holding forth. But straying beyond the ethical norms of traditional documentary was a common feature or failing of fly-on-the-wall.
The director, who scripted the film with Irene, Helga Reidemeister, was a social worker in the area. This production seems to have been the start of a filmmaking career. Her choice of title seemed to me odd. Did she think that the situation was fated? Did she think that it was an example of how people suffer in certain social conditions? In fact the people studied were all fairly articulate. Their lives and comments were always fascinating. But I did not sense that the film actually noted whether they were typical or atypical, and thus, what they represented.
The film had been restored in 2014 by Deutsche Kinemathek, so that and the programming presumably reflect a particular period and approach. But I wondered how far this work was representative or a unique take.
Do Right and Fear No One (Tue recht und scheue niemand, Bundesrepublik Deutschland 1975)
The catalogue described the film thus:
A portrait of a woman's life between 1915 and 1975, in Jutta Brücker's documentary, her mother looks back at the 60 years of her life . . .
In fact, I felt that this was only part of the film and most notable in the early stage. This in part due to the style and content that is used,
An ingenious collage of picture and sound accompanies the mother's narrative, a tapestry of proverbs [as in the title], pop songs, marching music , and the noise of war.
Jutta's mother provides much of the narration, some of it personal some of it commentary on the incidents displayed. The picture that emerges if a complex interaction between one life and the broader social canvas.
This is less a criticism that noting how the film works. The key element are family photographs together with 100s of photographs taken by August Sander between 1901 and the 1940s; and more recent photographs by other artists. This is effectively a montage as is the soundtrack. Black and white photographs, when handled effe3ctively, are powerfully resonant of their subjects.
The film does generate a sense of the mother's milieu, lower-middle class, but at the same time takes in other classes and situations, both of the bourgeoisie and of the proletariat. As the Brochure adds,
references that transcend the personal.
The photographs are well chosen, Sander has become a famous artist in more recent years. The sixty years of the film, [presented in 62 minutes], contain some of the most dramatic and tragic events in modern German history. And the series develops a real sense of the times and the people involved.
Jutta Brückner was there to introduce her film. Her project was decided before she was able to develop an effective form. There were only limited photographs from her family. The discovery of Sander's photographs enabled her to broaden the narrative into the social and historical area. She remarked that when she made the film Sander was not well known. This meant that she was able to acquire access to the photographs at a low rate. She reckoned now that he has an international reputation the photographs would be beyond any likely budget.
The film was shot on 16mm and in black and white academy. So there is little reframing of the photographs. We watched a digital version restored by Deutsche Kinemathek in 2016. Like most of the digital versions at the Festival it looked fine. Note, IMDB has another German film with the same title from 1976, but with little detail.
The main feature was preceded by a 16mm black and white short documentary, The Father (Der Fater, 1986). [The change in formats was something that the projection team handled with aplomb]. This was a compilation of films shot by the director's father who was doctor based in Shanghai in the 1930s. The home movies also included Egypt and India. The film was intercut by colour film shot by the director, Christine Noll Brinkmann. I did not find these particularly revealing though the aim was,
to make the father's footage speak, so it would reveal its meaning to the daughter
But the footage of Europeans benefiting from a colonial situation was interesting.
Island of the Hungry Ghosts (Germany-UK-Australia 2018)
Australian filmmaker Gabrielle Brady tells an important tale about the 21st century concentration camps where asylum seekers are processed in ways that dehumanise and are intended to act as a deterrent against others following. Her subject is Australia's Christmas Island prison which represents the toxic attitude toward migration that many countries have; particularly Britain.
However she constructs the condemnation through metaphors: the millions of migrant crabs on the island and the Chinese folk who take part in ceremonies to guide the 'hungry ghosts' – that is those who weren't buried properly – to peace. The amazing crabs, who migrate to the ocean to lay their eggs, are treated better by the authorities than people trying to find sanctuary in Australia. A 'lollipop lady' stops traffic to help them cross; roads are closed; sweepers escort cars to avoid squashing the crustaceans. In the other metaphor, Chinese residents create bonfires and chant to help the ghosts on their way; the asylum seekers are therefore characterised as hungry (for safety) ghosts (as they have no agency as they wait to be processed).
The key migrant narrative is shown through therapist sessions: Peter Bradshaw states these are recreations and as we hear a radio news broadcast stating that anyone talking to the media about detention centres could face up to two years imprisonment that is hardly surprising. It's a symptom of growing authoritarianism in government that such draconian laws are passed; in the UK non disclosure agreements are increasingly used to avoid embarrassing information being given to the media. It's a failure of democracy that those in power cannot be held to account.
Unsurprisingly the sessions are harrowing as Poh Lin Lee (playing herself) tries to help the traumatised migrants. Such therapy can only work long term and she is constantly frustrated by the authorities who refuse to give her information about the detainees and ignore her recommendations. She's living on the island with her family and time is taken to observe their everyday life; I'm not sure what this adds to the documentary.
Brady is to be commended for the film but outrage is probably a more pertinent emotion and although it will manifest itself in audiences with compassion the film cannot work as a call to arms against the disgusting treatment of the most vulnerable in the world. I would have preferred more direct information but that is a light criticism as Brady has made the film she wants which is certainly worth seeing. MUBI.
The Salt of the Earth (France-Brazil-Italy 2014)
New German Cinema director Wim Wenders made his first feature documentary, Lightning Over Water (Sweden-France-Germany, 1980), about American film director Nick Ray. Although he still makes fiction films, documentaries have been increasingly important to Wenders and this one, co-directed with Juliano Ribeiro Salgado, won 'Un Certain Regard – Special Jury Prize' at Cannes. His co-director is the son of the subject of the documentary, the extraordinary photographer Sebastião Salgado.
Although Wenders occasionally speaks on the voiceover, and appears in a few 'reverse shots' of him filming Salgado, he lets chronology structure this 'sort of' biopic. That works perfectly because it brings us full circle back to Brazil, which Salgado had to leave because of the fascist government in the 1960s, to see the results of the ecological project Salgado had instituted at the suggestion of his wife, Lélia. Throughout we get to see the extraordinary images that constitute the photographer's career, often from extreme places such as the gold mines of Brazil and the genocide in Rwanda. It is after the latter that Salgado loses his will to document the evils of men and turned toward the environment; he has lived an incredible life.
What's missing from the documentary is the cost to his family. He'd spend months, maybe years, away from his wife and children; they seemed to have stoically accepted his absence though the cost to them must have been high. I would also be fascinated to hear about Salgado's technique in creating his incredible shots. All we get is a brief interjection about how it is important to frame shots against the background.
It's a small quibble as that was clearly not the sort of documentary that Wenders and Salgado (jr.) wanted to make. Similarly the economics of the gold mine are barely explained and so reveals the limitations of photojournalism. If all we get is the image then we will not understand the world better. Particularly when they are as great as Salgado's as the 'breathtaking moment' works against intellectual consideration of the social context. This isn't to criticise Salgado and, as we see at the end of the film, he is trying and succeeding in 'doing good'. The fact that his books cost an 'arm and a leg' further restrict his impact: a coffee table book for the bourgeoisie to show how much they care is not going to change the world.
Enough grousing, this is a brilliant film.
An earlier post on this film is here.


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Finally she was convulsive upon repeated his hand stimulation.
I would love to fill her mouth while she sleeps.
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Local elections 2 May 2019
kaytie replied to Sheffield87's topic in Sheffield News & DiscussionsOh I don't know. There's satisfaction in writing 'All a load of w#####s on it' 😃
Rules for smoking in sheffield
kaytie replied to Jason302's topic in Sheffield News & DiscussionsDoes anyone ever abide by rulings anyway? Woman using one of those yucky stink vape things inside Yates Bar on Sunday. ( Far more vomit inducing smell than "proper" cigarettes imo).
Berkeley precinct parking?
kaytie replied to stylefree's topic in Sheffield News & DiscussionsThis is the reason I now walk to Eccy Road ect. And only park at places like the gym where the system is free and crystal clear. The cowboy parking companies and the retailers in their catchment lose my custom at the end of the day. And they wonder why the High Street is dying and online shopping thrives!
Debenhams goes into Administration
kaytie replied to iansheff's topic in General DiscussionsHave to agree about service at the Moor store. (Not been to Meadowhall for years as I can't stand the place, so don't know what happens there.) Have to say that I prefer John Lewis's , which does seem considerably more customer friendly and therefore my first choice.
Jared Omara MP ..
kaytie replied to hackey lad's topic in Sheffield News & DiscussionsWhen I checked which way he'd voted this morning I kind of knew I was onto a loser!! What a complete and utterly useless waste of oxygen!
Blocking every junction? Brilliant idea guys! Just hope none of you or your loved ones need an ambulance or the services of the Fire Brigade while this is going on!!!
I'd have thought they'd be Remainers, given forecasted queues at custom checks post Brex****.
CATS The Musical @ The Lyceum 12-16 March
kaytie replied to Fiondi's topic in All Other EventsWent to this. Excellent.
St Patricks Day 2019
kaytie replied to GOLDEN OLDIE's topic in Going out in SheffieldNo tent in Fargate, much to my surprise. Personally I blame Brexit 🤣
Lyceum theatre balcony seats
kaytie replied to vwkittie's topic in Going out in SheffieldI am only 5ft3, but have an old knee injury and the only time I sat in the balcony I was in real pain due to the lack of leg room. Never again.
£1bn Chinese investment in Sheffield
kaytie replied to Bilge's topic in Sheffield News & DiscussionsNo, it's Japanese
£1bn Chinese investment in Sheffield
kaytie replied to Bilge's topic in Sheffield News & DiscussionsOh I do hope so! Avoid everything Chinese.. Rubbishy cheap goods, yukky bland food! No thanks.
Shamima Begum
kaytie replied to RiffRaff's topic in General DiscussionsAgree totally and now the child sadly is no more there's no reason to even contemplate accepting her back. Made her bed so now should lie in it.
Ecclesall Road in trouble
kaytie replied to bendix's topic in Sheffield News & DiscussionsFrom what I heard from someone with a business on Ecclesall Road, rents there are astronomic, which I suspect is at the root of problems.
Is This Really Offensive.
kaytie replied to ANGELFIRE1's topic in General DiscussionsSpot on! I'm offended that people are offended 😀


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Thank you so much for this resource! I used it to download a bunch of great images that we have put on custom olive oil labels and big canvas shopping bags that have ironed on images. Each person/family will get a bottle and bag that coordinate, but no two are alike. We did the olive oil through The Olive Oil Source. This is what we are giving this year as our homemade gift! (We will add some spiced nuts too because our family would kill us if we skipped them.) I just cannot get over how awesome the feed is, but I do have one piece of advice (learned the hard way): Leave it open in a tab as you go through and download, so that you can pick up where you left off. I stopped after about 75 pages, but when I wanted to venture back I had to leap frog about 8 pages at a time.
A year passed. 2014 was drawing to a close and I had made a whopping total of...$186.00 Then, in December of 2014, I decided to put together something that was a little more exciting than a single page printable. I created what I called the "Plan, Do, Review" kit. It was super simple but useful, and yes - assembled painstakingly with Picmonkey. (Pssst! I no longer sell that kit in my Etsy store, but you can get it here for free with this secret link ;) >> Click HERE for the Plan, Do, Review kit.)
Anymore, the price of a card can nearly equal a premium coffee, so "free" is a breath of fresh air, and you won't encounter fine print exceptions or surprise fees. Complete your Printable Card project using your home printer or send your creation as an eCard from our site via email or Facebook from your computer, phone, or tablet. You can even download the image or PDF file and save it to portable storage media, if you'd like to take your design to a local shop for printing. As always, there's no charge from us.
When someone near and dear to your heart turns another year older, you'll want to do everything you can to make their day extra memorable. Whether you're throwing a birthday party, a cocktail party or planning a dinner at the honoree's favorite restaurant, it's tradition to give the guest of honor a Happy Birthday card. As if picking out a card wasn't tough enough, on top of that you'll need to craft a happy birthday message too.
Definitely an idea but less time consuming to do just one or the other. Also I'm thinking of the confusion for the customer. From what I see some digital download shop owners will offer physical prints but they do it as a "blank" store item customers can buy and then reference the image they want printed so I might do that. Do you sell digital downloads or physical prints?
Another surprising video result: Beth Anne found a tutorial video she created for her and Sarah's now-defunct Mommy blog on making cappuccinos at home with a frother. That video has almost 5,000 views on it! Again, this video wasn't promoted in any way, it just sits on their Mommy blog which gets about 10-20 hits per day... so it's essentially dead. The video is getting viewed because it's ranking for keyword phrases on Google and YouTube.
On July 28, 2015, one day prior to a scheduled ruling, Nelson's attorneys Betsy Manifold and Mark Rifkin presented new evidence that they argued was conclusive proof that the song was in the public domain, "thus making it unnecessary for the Court to decide the scope or validity of the disputed copyrights, much less whether Patty Hill abandoned any copyright she may have had to the lyrics". Several weeks prior, they had been given access to documents held back from them by Warner/Chappell, which included a copy of the 15th edition of The Everyday Song Book, published in 1927. The book contained "Good Morning and Happy Birthday", but the copy was blurry, obscuring a line of text below the title. Manifold and Rifkin located a clearer copy of an older edition, published in 1922, that also contained the "Happy Birthday" lyrics. The previously obscured line was revealed to be the credit "Special permission through courtesy of The Clayton F Summy Co.". Manifold and Rifkin argued that because the music and lyrics were published without a valid copyright notice as was required at the time, "Happy Birthday" was in the public domain.[38]
Numbers nerd. Guilty. I have always completely geeked out when working in Excel and creating spreadsheets that provide the information I need quickly and easily. I hate wasting my time in activities that do not add value and focus my efforts on being efficient as possible. My desire is to help others do the same! The files I create are tailored to the spreadsheet novice and do all the calculating for you. They are also always formatting to print out just right in case you need a hard copy.


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insurance jobs in Accrington
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Assistant Merchandise Planner
Assistant Merchandise Planner When registering to this job board you will be redirected to the online application form. Please ensure that this is ...
Bank Manager
Bank Manager Remuneration: Competitive salary, Bonus Scheme, 33 Days Holiday, 36 Hour Week, Great Pension, Private Medical Insurance plus many oth...
Optical Assistant - Accrington
Optical Assistant - Accrington Role summary Let us develop your career and take you further- previous experience for this role is essential. J...
Marketing Assistant
New Role – Marketing Assistant - £16-18k – Accrington – Apply now! Are you looking for your next challenge and an exciting new role? Reed Business...
Marketing Assistant
Marketing Assistant Accrington £16,000 - £18,000 12 Month Maternity Cover One of the North West's leading food wholesalers are now recruiting for ...
Learning Support Assistant
An independent specialist school for boys and girls aged from 11 to 16, catering for children with a wide range of needs. The school have a dedica...
Accounts Assistant - Study Package
A local East Lancashire based company are looking to grow the team with an Accounts Assistant. Based at the site in East Lancashire you will work ...
Trainee Teaching Assistant
The Trainee Teaching Assistant role is subject to successful completion of the training course - details of costs & fees will be discussed at regi...
Finance Manager - Services
Finance Manager – Established Organisation – £comp Your New Employer Based in East Lancashire in the area of Accrington, this established and reco...
Marketing Manager
As the Marketing Manager you will be responsible for ensuring that the products and product lines resonate with current and potential business cus...
Legal Assistant - Civil Litigation
Target Temps are recruiting for a Legal Assistant's to join their clients team in Accrington, to work in their civil litigation department. The rol...
School Office Manager - Accrington
School Office Manager - Accrington Primary School Experience working within an admin role at a school is essential You must be computer literate w...
Nursing Home Manager Elderly
Would you be interested in working with one of the UK's leading providers of elderly/dementia nursing care? Domus Recruitment are currently workin...


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Who is install this firmware (Chinese version is available)?
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Who is install this firmware (Chinese version is available)?
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Over a 43-mile stretch of river that runs through the British capital, you can explore a range of events that run the gamut from arts, culture and river-based activities. The idea behind the festival is to get people visiting the mighty river which flows through London, with a highly varied program of 150 events.
If eating out is your thing, a number of exclusive riverside restaurants offered discount prices as part of the Dine by the River program. Participating eateries include Skylon Restaurant, The Gun and Tom's Kitchen at Somerset House.
Further downstream was art, literature, music and film events as part of Estuary 2016, which invites you to find out more about Thames Estuary communities. All along the river, popular tourist attractions such as the Southbank Center and London Wetland Center hosted special events in honor of Totally Thames, with something for everyone.
For many people, urban rivers are polluted wastelands which simply bisect our busy lives, but there is a growing movement toward reclaiming waterways and regenerating riverfront areas. Totally Thames is one way of working toward that goal by making people appreciate the possibilities of waterfront areas.
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Cardinals 15, Raiders 13
TEMPE, Ariz. (AP) _ Faced with a desperation march to get into field-goal range, Jake Plummer envisioned success.
``I'd picture being back in a college game,″ the rookie said Friday night after driving the Arizona Cardinals 37 yards for Kevin Butler's fifth field goal, a 42-yarder with 14 seconds to play and a 15-13 win over the Oakland Raiders. ``You were out there feeling comfortable and in control and everything.″
It was easy in Sun Devil Stadium, where Plummer generated a half-dozen exciting comeback victories for Arizona State.
The win was the Cardinals' first in four exhibition games, but Plummer, who completed eight of 25 passes in three games before going 8-of-18 against the Raiders, still doesn't know if he or third-year pro Stoney Case will be Kent Graham's backup in the regular season.
``I thought Jake did all right,″ coach Vince Tobin said. ``He was a little bit spotty, like I'd anticipate.″
Tobin said Graham, a sixth-year veteran who started eight games last season, would play better. The Cardinals finished the preseason with 19 points out of the first-string offense.
``I do think we've made a little bit of improvement every week in this preseason,″ Tobin said. ``I'm not sure offensively that we improved today.″
Butler's kicks came from 25, 38, 50, 43 and 42 yards. The last capped a drive that began after Cole Ford gave the Raiders a 13-12 lead with a 36-yard field goal with 1:47 to play. Third-stringer Donald Hollas took the Raiders (2-2) 81 yards in 13 plays for Ford's second field goal.
Joe Aska, who had 111 yards on 16 carries, had a 36-yard run to the Arizona 16 to set up the field goal.
Plummer led the Cardinals from behind twice in the final quarter, the first time when Butler's fourth field goal gave Arizona a 12-10 lead 1:32 into the period.
Until then, the Raiders held the lead on Larry Brown's 38-yard interception return, the only touchdown of the game.
Brown, playing in the stadium where he had two big interceptions for the Dallas Cowboys in the 1996 Super Bowl, made it 10-6 when he picked off a pass by Graham and ran through Leeland McElroy's goal-line tackle for the TD with 3:33 left in the first half.
``It felt good that I could make a difference,″ Brown said.
Ford had a 43-yard field goal in the first period.
Raiders coach Joe Bugel, fired by the Cardinals in 1993, was pragmatic about the loss in 103-degree heat.
``I was disturbed about the (six) turnovers,″ Bugel said. ``That's very uncharacteristic of us. We can't do that, and I'm glad that we got this out of our system. I think playing in the heat helped a lot, too, for next week (opener at Tennessee).″
Butler made two field goals in the first quarter, but missed one early in the second.
The Raiders stalled on their next possession when Jamir Miller sacked Jeff George for a 6-yard loss, and Terry Irving stymied the next Raiders drive with an end-zone interception off David Klingler.
But the Cardinals couldn't move, and Graham, hit as he threw, put up the interception by Brown.
The Cardinals cut it to 10-9 before halftime, but fans booed Graham when he took the field to start the second half. Moments later, he threw his second interception, a deflection to Perry Carter.
The stadium rocked when Plummer took the field, and he got a first down with a vintage 4-yard scramble, then another with a 20-yard throw to Anthony Edwards.
But he threw into double coverage on the next play, and former Cardinal Lorenzo Lynch silenced the crowd with an interception.
``He came back and made up for it,″ Lynch said. ``Jake `The Snake' made up for it, he had a little comeback.″
Carter stopped the next drive with a fumble recovery, but Michael Bankston sacked Klingler, and Matt Darby recovered Klingler's fumble on the Oakland 43 with 56 seconds left in the third quarter.
After the exchange of field goals, Kevin Bouie returned the kickoff 35 yards for Arizona, and Plummer took over at his 39, beating fourth-and-10 with a 14-yard pass to Fred Brock to get the march started.


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Library Leadership
Muskingum County Library System is governed by a seven-member Board of Trustees appointed to staggered 7-year terms. The Muskingum County Commissioners appoint four of the positions on the Board… click here to learn more.
Board meetings are on the third Thursday of each month at 7:30 AM. If you would like to contact a Board Member or attend a meeting, please contact Sue Danhauer at 740-453-0391 ex. 126 or firstname.lastname@example.com


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The Mighty Book Of Boosh
There are strong links between the surreal TV show and the world of design, as showcased in the Mighty Book Of Boosh
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China resident named to financial stability oversight council
Eric A. Cioppa, a resident of the Neck Road, in China, has been appointed to a two-year term as the Financial Stability Oversight Council's state insurance commissioner representative.
Officials said Cioppa, who serves as superintendent of the Maine Bureau of Insurance and also president-elect of the National Association of Insurance Commissioners, will represent the interests of the nation's state insurance regulators on the council.
"State insurance regulators will be well-served by Eric, whose expertise makes him an excellent selection to continue the NAIC's tradition of providing thoughtful insight to FSOC's proceedings," Julie Mix McPeak, NAIC president and Tennessee commissioner of Commerce and Insurance, said.
"Given the importance of FSOC's work in protecting the financial sector from systemic risk we are fortunate to have someone of Eric's caliber willing to take on this responsibility," said McPeak.
Cioppa, whose selection was ratified by and NAIC Plenary earlier this month, replaces Peter L. Hartt, director of New Jersey's Insurance Division.
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Home Mutual Funds Vanguard Total International Bond Index Fund Mutual Funds Best Fixed Monthly Income Plan Fidelity Performing Corporate Bond Producing Etf Top
Mutual Funds Offer Transparency. Mutual fund holdings are publicly available (with some delays in reporting), which ensures that investors are getting what they pay for. Investors can also see the underlying securities (stocks, bonds, cash, or a combination of those) that the mutual fund portfolio holds. All of the information you need to know, plus some you don't need for investing, will found in the mutual fund prospectus, which can easily be found on the mutual fund company's website.
However mutual funds can be significantly less expensive. A mutual fund manager will place all the necessary trades to maintain the mutual fund portfolio but the investor may only be responsible for one low expense. But if investors are not careful, investing in mutual funds can be more expensive than buying individual stock securities. To keep costs low, mutual fund investors are wise to buy no-load mutual funds with low expense ratios. Costs can also be minimized by investing with one of the best no-load mutual fund companies like Vanguard, Fidelity or T. Rowe Price, all of which have a diverse selection of no-load funds with low expense ratios.
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Since most investors are buying mutual funds for the long-term, and most are moderate investors that want to take some risk to get higher returns (but not a high level of risk) we'll focus on building a portfolio for this investment objective (long-term, medium risk). Here are some of the best funds to start a long-term portfolio:
How Do I Select a Mutual Fund? This is where you'll want to laser focus your attention and become an amateur sleuth while doing your research. The number of mutual funds available to investors right now rivals the number of stocks on the North American exchanges. Each one of these funds is unique but can be categorized based on the type of underlying securities held within it. At the broadest level, a fund falls into one of three categories: equity (which is stocks), fixed income (which are bonds), and money markets (similar to cash).
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Approbation and implementation of research outcomes in dissertation
Approbation and implementation of research outcomes in dissertation
Among the parts of the introduction to your dissertation may be theapprobation of the extensive research outcomes. Approbation literally means "approval, establishment of qualities". Presently, the definition of Approbation is comprehendedas being a critical evaluation by the clinical community of systematic research of a job candidate. Furthermore, not merely the last outcomes of the ongoing work are Evaluated, but also the extensive research techniques and intermediate link between the work.
Kinds of approbation of link between systematic research?
Approbation encourages the applicant to reconsider their clinical research, their much much deeper refinement, assists the writer verify or comprehend the need certainly to revise the provisions that are scientific. It really is apparent that the approbation of use desire to of timely getting objective assessments associated with phases of this research, conclusions and practical suggestions should be started through the beginning of work with the dissertation research.
The most typical methods of bringing the dissertation work materials into the clinical community are:
- the involvement for the applicant in medical seminars, symposia,
- speeches at division conferences,
- involvement in several kinds of systematic community activities,
- preparation and giving proposals to different figures on the subject of research,
- magazines of this applicant in the shape of publications,
- abstracts of reports at seminars,
- depositing parts of systematic research.
It must be noted that the product presented for approval must be in the type of the writing regarding the report, draft, message. You should hold a conversation of use peers, with scientists and faculty during the host to planning associated with dissertation.
How can you compose Approbation area?
The good point of approbation of dissertation work on different clinical discussion boards is not just the synthesis of the applicant as being a scientist, but additionally the ability of planning reports and speeches, performing clinical talks, that may permit the applicant to confidently and without the difficulty protect their dissertation at a gathering of the dissertation council.
Whenever writing the area Approbation of this research outcomes, the next wording can be used:
– the primary link between the write my college essay dissertation research had been presented in the scientific-practical conference …., symposium …., conference ….
– on the subject associated with the thesis posted a monograph, 2 textbooks, 5 articles, which reflected the theoretical concepts and outcomes of the work.
– the outcome of this dissertation work are contained in the Research Report….
Dissertational research applied and partially theoretical in general are utilized in different sectors associated with the economy. Furthermore, these total outcomes may be used also before protecting a dissertation or a thesis. Such usage of research results is named introduction into practice, which can be mirrored into the text associated with introduction towards the dissertation.
The utilization of the outcomes is documented because of the company, which In its activities and applied these total outcomes, which in turn brought our company an economic, social or other impact.
the potency of the utilization of research outcomes in training is based on the elaboration within the dissertation of theoretical and methodological conditions, which within the work are delivered to particular suggestions, and that can be presented in the shape of techniques, directions, requirements, etc. These could be as particular suggestions for enhancing the manufacturing framework, criteria time expenses, directions for Using the scheduled system, etc.
the development of the total link between clinical scientific studies are additionally their used inthe process that is educational including into academic, training and methodical manuals and textbooks. That is, the introduction may be the transfer of research leads to the customer of medical items in a convenient type for the customer, ensuring the rise within the effectiveness of this consumer's work, drafted because of the documents that are relevant.


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Erik is the main antagonist in Joel Schumacher's 2004 The Phantom of the Opera.
In the original novel, few details are given regarding Erik's past, although there is no shortage of hints and implications throughout the book. Erik himself laments the fact that his mother was horrified by his appearance and that his father, a master mason, never saw him. It is also revealed that "Erik" was not, in fact, his birth name, but one that was given or found "by accident", as Erik himself says in the novel. In the novel, Leroux sometimes calls him "the man's voice;" Erik also refers to himself as "The Opera Ghost," "The Angel of Music" and attends a masquerade ball as the Red Death from Edgar Allan Poe's short story.


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Knowing the difference between faints, fits, convulsions and collapses
Gareth Mallon
April 2013
Classification of common heart conditionsCommon heart conditions can be separated into two main categories: structural, which are detectable both in life and post-mortem, and chemical, which are detectable only in life. Examples of heart conditions within these categories are as follows:
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