text:
FromThe Entertainment and Sports Lawyer, Fall 1995.
The international coproduction, despite its complexity, was once thought of as providing the domestic motion picture industry with great opportunity: eligibility for financial support in the forms of loans, government grants and subsidies, and tax benefits; below the line and facilities deals; greater intrinsic value in the motion picture in countries abroad; and the spreading of financial risk, among other things. It was also understood that such arrangements allowed a U.S. based producer to exceed film and television quotas in certain countries, where the project might then qualify as a "local" film. This latter consideration was especially important in Europe, long a lucrative market for the U.S. film industry, and drove many European coproductions with domestic motion picture producers in the late 1970s and 1980s.
The rules appeared to be changing with pending international trade agreements, and the once unassailable assumptions supporting resort to international coproduction were, briefly it seems, in question. Then the European Economic Community (EEC) forced the withdrawal of audiovisuals from the Uruguay Round of the General Agreement on Tariffs and Trade (GATT), enabling the EEC's protectionist audiovisual trade policies to remain intact, indeed to flourish. 1 The U.S. and EEC, in effect, agreed to disagree on major entertainment industry issues.
Without resolution of the audiovisuals dispute, and with GATT ratified by the U.S. Senate, the raison d' etre for international coproduction appears safe, for now. International funding continues to be available, even as the EEC broadens its trade restrictions, adversely affecting U.S. control over these projects and U.S. access to European markets. The continued viability of European coproduction for the domestic motion picture producer depends, however, in large measure on the willingness of the U.S. to live with several unresolved issues in this area as they pertain to EEC trade policies and GATT, and the EEC's and its member states' actions on audiovisual content and broadcast. 2
European Countries and the EEC
Europe, the U.S. film industry's best customer, is an enigma. U.S. produced works currently account for 72 percent of the European film market (while in turn, European works account for only 1 percent of the U.S. market). 3 Already a lucrative export market, Europe appears to present even greater opportunities since the trade barriers between certain European countries have been broken down by the EEC treaty. 4 In addition, various countries' broadcast media have been privatized, leading to increased demand for audiovisual media, both American and otherwise.
Following GATT, U.S. producers continue to address and resolve two levels of exclusionary measures that are presented by both the EEC as a whole and member states individually. The EEC measures relate to the transmission of broadcasts. The individual state measures affect what coproductions may receive in the way of government subsidies and tax breaks. While broadening audiovisual possibilities within the European Community, the EEC has also enacted measures severely limiting U.S. entry into their newly liberalized marketplace. As a result, individual member states have enacted or further restricted non-European entry into their individual marketplaces, even as coproducers. The U.S./EEC film industry conflict stems basically from two European measures (the Broadcasting Directive and the Convention on Transfrontier Broadcasting) and remains unresolved following the Uruguay Round of GATT negotiations, while bickering continues over what TV is: a service or a product.
For Europe, U.S. dominance of the motion picture and television industries has become a cultural nuisance. Although films are shot and produced in Europe, those films are far less widely received around the world than U.S. productions. Further, Europe lacks the level of audiovisual production resources of the U.S. Aside from money, European governments fear that U.S. broadcast and film industries push a homogeneous "American" view of culture and politics onto European viewers.
Thus, during the decades the U.S. has profited from free access to the European film market, Europe has become increasingly dissatisfied. As a result, individual countries as well as the EEC have enacted harsh protective measures. EEC countries must transmit only a certain percentage of foreign programming, and European works must consist of a certain percentage of European investment and service. Worse, individual countries are restricting the amount of coproductions U.S. producers may take part in and still be counted as eligible for subsidies under national standards. 5
The connection between the EEC directive and individual countries' standards is that the EEC has required member states to reconcile their national laws with the directive. As a result, the directive represents only a minimum set of quotas. It is likely that member states will devise even tighter and stricter quotas for outsiders (read: the U.S.) to meet, in the absence of bilateral negotiations regarding the legitimacy of the directive or action under GATT.
The Broadcasting Directive
The EEC first enacted the Broadcasting Directive, an extension of the EEC treaty, in 1989. 6 The Broadcasting Directive encourages a free internal flow of European audiovisual products and services among the member states, liberalizing broadcast freedom and competition. While the Broadcasting Directive deals nominally with television, it implicates the U.S. film industry because of the broadcast of films on television.
Article VI of the Broadcasting Directive states: "Member States are to ensure, where practicable, that broadcasters within their jurisdiction reserve a majority proportion of their transmission time (excluding time appointed to news, sports, games, advertisements, and telex services) to European works." 7 For a coproduction, the test of a "European work" is that the work:
- originates in Europe;
- is "mainly made by authors and workers residing in Europe;" and,
- "contribution of coproducers established in one or more states to the total coproduction costs is preponderant and the coproduction is not controlled by one or more producers established outside those states." 8
Works which do not meet this definition are foreign works subject to the quota limits, though works which are mainly made by European residents are exempted from the quota to that degree of contribution. 9
The officially intended and idealistic effect of the transmission quotas is to consolidate European national legal frameworks to allow for European broadcast diversity which remains distinctively European. A coproduced work is not European unless the "contribution of [European] coproducers... is preponderant and the coproduction is not controlled by... producers established outside [member] states," or, mathematically speaking, at least 51 percent of the input into and control over a production must belong to the EEC member states. 10
The Broadcasting Directive ultimately works to weed out outside influences and investments, including those with U.S. origins. Europe is fighting U.S. eminent domain over worldwide television culture (take that, MTV). The European majority requirement limits both the amount of investment and the degree of control which U.S. producers may have in the European audiovisual market. U.S. motion picture interests have labeled the requirement as a "maimed, disabled theory ... alien to the very objective of GATT, which is to reduce trade tension and break down trade barriers. 11
The European Convention on Transfrontier Broadcasting
The Council of Europe initiated the Convention on Transfrontier Broadcasting around the same time as the EEC passed the Broadcasting Directive. 12 The requisite number of states ratified the Convention on May 1, 1993. 13 The convention closely mirrors the directive in intent and uses similar if not exactly the same language throughout. Like the directive, the convention imposes quotas on outside input. The difference between the two is that the council is comprised of all twelve EEC member states plus thirteen additional European countries. 14 Therefore, it serves to exclude the U.S. from twice as many potential markets. However, the convention leaves open the possibility for adaptation, and may prove flexible, although it remains to be seen just how flexible.
Regulations of Individual European Countries
The Broadcasting Directive seems bad enough but things get worse at the member states level. The directive has charged its member states with bringing their national laws up to par with the directive, with the directive as a minimum quota from which to start. France is the worst example of how individual countries have taken the directive and run with it. France requires 60 percent of its transmissions to be European and 50 percent of its transmissions to be in French. Its definition of a European work is stricter than the directive:
- the producer must be headquartered in a member state and be controlled by member state citizens;
- at least 50 percent of the total production cost must be financed by member states or companies headquartered in member states;
- two-thirds of the total production cost must he incurred in the EEC;
- two-thirds of the directors, producers, cast, and crew must be EEC residents; and
- two-thirds of the technical services must be performed in EEC studios and laboratories.
U.S. producers cannot exploit European film resources merely by incorporating a production company in France or Germany; access is severely restricted. 15
In Europe, Movies Are Services, Not Products
An intermediate EEC move which concerns the U.S. film industry was the passage of "Council Regulation of 8 June 1993 Concerning Access to Public Contracts for Tenderers from the United States of America. 16 This regulation memorialized the EEC decision to treat the coproduction of a film as a service, not a product, so as to attempt to exclude it from the GATT agreement forbidding trade barriers between the EEC and the U.S.
GATT: U.S. vs. EEC at the 1993 Uruguay Round
Article IV of GATT expressly mandates if any participating country "maintains internal quantitative regulations relating to exposed cinematographic films, such regulations shall take the form of screen quotas. 17 Numerous countries possessing more than a de minimis amount of television industry supported this measure. GATT thus allows for the establishment of regulations favoring domestic film productions over foreign film productions.
Article IV further provides that any such quotas imposed by a country may favor only films of "national origin" and must be quantifiable and negotiable. 18Most important, the regulations must not favor one foreign country's films over another's. While the Broadcasting Directive and the Convention on Transfrontier Broadcasting appear to directly conflict with this provision of GATT, an important caveat to Article IV is that a country which is part of a union may favor other countries that are part of that union. Nonetheless, the U.S. has protested nonmember states being given preferential treatment.
Television is treated differently than film in GATT. For the United States, a point of contention is that television was not included in the GATT Article IV regulations dealing with film. The U.S. has maintained that television, like film, is a product. Opponents to this view argue that television is a service and maintenance of their national cultures depends on a cultural exception to GATT. 19 The United States counters that television as a medium is too definitively multicultural to be used to maintain a single culture. 20 The battle continues without resolution.
How International Coproductions Work
Coproductions make it possible for two or more countries to contribute to the financing and production of a film or television program. More than just agreements to work together, coproductions enable partners to benefit from the national subsidies and taxbreaks available for film productions in each partner's nation. 21 In practice, a specific coproduction can be one of several different arrangements, with coproducer relations ranging from in name only to all the risk, control, and gain.
The term "coproduction" originally denoted that the coproducers controlled creative and practical aspects of the film production according to their respective financial contributions. 22 Coproduction also connotes a mere co-financing arrangement, where coproducers share the financial burden but not the control. Last, coproduction may refer to an agreement between producers that their "two equivalent national productions should be treated as coproductions, thus qualifying the two films for financial benefits available in both countries." 23 This creative interpretation, foiled by the directive, is also called "twinning."
Because of the politics involved, international coproduction is more complicated than a mere contract dividing responsibilities between parties. The agreement may involve multinational treaties and complicated regulations. Most countries in Europe provide government subsidies for "local" productions. If a U.S. producer wants to take advantage of such subsidies, he or she must jump through the appropriate hoops. Additionally, if the U.S. producer's film does qualify as local, it will not count toward the EEC or country's quota for foreign films. 24
Why Coproduce Internationally?
The U.S. stranglehold on film industry is slipping. Because European audiences provide enormous revenues to the U.S. film industry, U.S. film producers' access to this market is crucial. The European market is not just a key film industry moneymaker: Films are a mainstay of U.S. export revenue in general. 25
Coproduction, operating effectively, can provide the U.S. with continued revenues, financial support for its works, and the ability to sell media works to its most important export market. 26 In return, coproductions can provide the European market with works that perpetuate European ideals and cultural representation; enable European competition with the U.S. products; advance European technical proficiencies and opportunities; and provide revenues for the European film community. On its face, coproduction is a winning situation for the parties involved.
Coproduction is not simply a byproduct of increased U.S./EEC cooperation and creativity. For the U.S., coproduction has become a practical necessity. Film production has always been synonymous with uncertainty. The business presents constant risks, beginning with the initial investment of millions of dollars with absolutely no guarantee that film goers will show up. This uncertainty alone provides the motivation for most film producers to want to spread the risk, a desire compounded by the imminent loss of EEC profit potential presented by the EEC directive. Even more influential than the practical uncertainty are production costs. The cost of producing a U.S. blockbuster starts at $30 million. The decline of the U.S. dollar has produced an increasing demand and supply for foreign contributions to U.S. film projects: Such contributions have almost doubled from 20 percent to the 30-40 percent range. 27
U.S. producers often find it costs less to shoot in a foreign location. If that country already possesses the technical equipment and qualified personnel, the cost has already dropped even without the tax benefits and other government subsidies which may exist in that country. Many U.S. producers shoot in England, where there are experienced technical crews capable of creating the effects and structure that a U.S. blockbuster requires.
U.S. film producers must compete not only among themselves but with U.S. television networks as well. The enlargement of media options such as home video, cable, and payperview shrank the film audience and film industry profit while promoting television networks' interests in producing their own films for initial broadcast on television. U.S. film producers now have more national, international and intranational competition than ever before. The need to coproduce works if that is the only way into a markets is clear.
The Mechanics of International Coproductions
European film productions have, to a noticeable degree, been successful results of international coproduction agreements. Europe is the center of international coproduction. In fact, about one third of European productions are coproduced with other countries. 28 Just in the last few years, even attention deficit disordered Americans may recall the international coproductions that have become sleeper hits in the U.S. (at least among independent film aficionados): Priscilla, Queen of the Desert; the Academy Award winning The Crying Game, Louis de Malle's Damage, and film fest fave Orlando. 29Ironically, U.S. producers need to get involved in coproductions with Europe more than ever before, just as the EEC is closing its banks' doors to coproductions with outsiders.
European and British Empire countries have typically organized their international coproductions through coproduction treaties. For EEC Member States, those treaties are supplemented and may be eclipsed by the EEC Directives. If a U.S. producer has a hold of a foreign coproducer, he or she should examine the particular country's and the EEC's requirements in order to exploit any national finance resources. Aside from the EEC Directive regulations, each country typically has its own rules for giving grants, subsidies, and tax breaks. Some nonmember European countries with more depressed economies than ours welcome location shoots with financial rewards because the shoots bring jobs for their citizens.
The major EEC funding sources are: Eurimages in France, the European Coproduction Fund, MEDIA Programme, and the European Script Fund all in London. These groups all offer enticing grants, but be aware: the member state coproducer must typically be the main contributor, up to 70 percent in some cases. (Helpful descriptions of these funding sources as well as their addresses are available in a pamphlet entitled Sources of European Feature Film Funding by Brown Cooper Solicitors.) 30
When two countries have a coproduction treaty, the film is eligible for funding from both countries as if they were a separate production of each country. If a U.S. filmmaker wants to attempt to qualify her film for multiple foreign funding with a foreign coproducer, that could mean twice as many quotas to meet or half as many contributions and decisions the U.S. producer has to or can make.
If a U.S. filmmaker does not already have a foreign/E.E.C. coproducer and wants to pursue that angle, there are a number of European production-distribution companies who are available to be coproduction partners. They range from the familiar Merchant Ivory to the obscure (for Americans) UGC in France. 31
That European coproduction with U.S. film industry interests survives in an environment that is, by definition, hostile to it is a measure of its resilience. Ultimately, large motion picture projects benefit from the funding opportunities and the ability to spread risk that coproduction affords. Whether U.S. interests decide to take on the European quota system remains to be seen. In the meantime, domestic producers should continue to explore the funding available for coproduction projects, ever mindful that the rules are difficult, complex, and subject to change.
David M. Given practices law in San Francisco, and is the editor of the Entertainment and Sports Lawyer. Mr. Given wishes to thank Melanie Jones and Karen Mandel for their research and editorial assistance.
- Lisa L. Garrett, Commerce Versus Culture: The Battle Between the United Stares and the European Union Over Audiovisual Trade Policies, 19 N.C.J. INT'L & COM. REG. 553 (Summer 1994).
- Id.
- Howard M. Endelman, Regulating Culture: The Audiovisual Controversy in the GATT Accord, 18 B.C. INT'L & COMP. L. REV. 443, 445 (1995).
- Anne Moebes, Structuring Media Joint Ventures in the European Community, 14 HASTINGS COMM/ENT L.J. 1, 2 (1991). Member countries are: Belgium, Denmark, France, Germany, Greece, Ireland, Italy, Luxembourg, the Netherlands, Portugal, Spain, and the United Kingdom.
- Charles Moore & David St. John White, European Television in the 1990s: Tuning out American Producers?, ENT. & SPORTS LAW., Fall 1990), page 8.
- Council Directive of October 2, 1989), on the Coordination of Certain Provisions Laid down by Law. Regulation or Administrative Action in Member States Concerning the Pursuit of Television Broadcasting Activities, 89/552, 1989 O.J. (L 2C98) 23 [hereinafter Broadcasting Directive].
- Broadcasting Directive, supra note 6, Art. 4.
- Id., Art. 6.
- Id.
- Id.
- Review of the Uruguay Round. Commitments to Open Foreign Markets: Hearings before the Senate Comm. on Finance, 102d Cong., 1st Sess. 150 (1991) (statement of Jack Valenti, President of the Motion Picture Association of America).
- Jon Filipek, "Culture Quotas": The Trade Controversy over the European Community's Broadcasting Directive , 28 STAN. J. INT'L L. 323, 324 (1992), citing COUNCIL OF EUROPE, EXPLANATORY CONVENTION ON TRANSFRONTIER TELEVISION (1990).
- Commission of the European Communities, Report on Application of Directive 89/552/EEC (1995)
- Filipek, supra note 12, at 324.
- Moore, ct al., supra note 5, at 12 (citing JOURNAL OFFICIEL DE LA REPUBLIQUE FRANCAISE of January 18, 1990, 757.).
- Council Regulation 1461/93, 1993 O.J (L. 146) 1.
- General Agreement on Tariffs and Trade, Oct. 30, 1947, 55 U.N.T.S. 187, art. IV (Special Provisions Relating to Cinema Films)
- Id.
- Filipek, supra note 12, at 333
- Id.
- Margaret Moore, International Film CoProduction Tax and Subsidy Mechanisms, 16 HASTINGS COMM/ENT L.J. 287, 289 (1994).
- Id.
- Id.
- John W. Cones, 43 WAYS TO FINANCE YOUR FEATURE FILM: A COMPREHENSIVE ANALYSIS OF FILM FINANCE (1995)
- Endelman, supra note 3, at 445.
- Id.
- Review of the Uruguay Round, supra, at 149.
- Moore, supra note 21, at 289.
- Moore, supra note 212.
- 7 Southampton Place, London WC1A 2DR England.
- See Sources of European Feature Film Funding, supra text, for names and addresses.


text:
We're so excited to be the next stop on the Furniture Makovers blog tour. And we're particularly proud of the woman who made it possible---our hometown girl, Barb Blair of Knack Studios. Not only is Barb an indispensable part of the Greenville, SC arts community, but also she is a long time friend of Indie Craft Parade. Since our beginning Barb has served as both a board and jury member, lending her wisdom and advice. This past February Barb contributed to our very first Makers Summit by serving on a panel session giving advice to young businesses and creative startups. We can't say enough about how she's helped make our organization a success.
But we're here to talk about Barb's personal work:
What started as a kitchen cabinet makeover, slowly and organically grew into the full blown furniture design business that Knack is today. Barb has created a name for herself through her furniture makeovers with designs that are original, fresh, playful, and full of character.
It's been five years since Barb started her endeavor as an entrepreneur, and now, she's launched a book---a great book! With gorgeous photos, thoughtful tutorials, before and afters, helpful resources, and tons of inspiration, this is one you need to add to your collection. The best part is that Barb has something in here for everyone. Whether you're a newbie, wanting to try your hand at repurposing furniture for the first time, or an old pro, looking to expand your style, Furniture Makeovers will help you create something beautiful.
Next time you visit Greenville make a point to visit Barb's studio and retail space. Not only will you see her work for sale, but also you'll find paper, home, and kitchen goodies that you probably can't live without. Can't make it to her space? Check out Barb's online store.
Now for the super exciting part...we're giving away a special book & tote set, thanks to Chronicle Books. You could be the lucky recipient of a signed copy of Furniture Makeovers and accompanying tote bag...yes you! All you have to do is check out Barb's online furniture store and tell us which piece is your favorite. Leave your thoughts in the comments below. The winner will be chosen at random and contacted on Wednesday, July 24. This giveaway will ship anywhere in the USA.
Good Luck!
Photos by Barb Blair and J. Aaron Greene, used with permission from Chronicle Books.

subset: commoncrawl


text:
Make a Mini Living Wall
All materials provided (including a mimosa if you're so inclined): from $55
These tiny living walls are a signature Articulture creation. Here's a chance to learn how to make your own. All materials provided.
Articulture mini living walls have been featured on KXAN, Central Texas Gardener, FOX 7, and more. Here's a chance to learn how to make your own, and take home your wonderful creation!
All materials will be provided, including:
picture frame
plants and mosses
natural embellishments
plus mimosas!
Design, technique, composition, and care guidance provided by Monique Capanelli.
All class registrants will receive 10% off any purchases in the Articulture boutique and nursery during the day of this class. So....spoil yourself with some home decor or living art you crave, or pick up a unique gift while saving a trip.
On the fence? Here are just a few reviews from past Articulture DIY class attendees from our FB page :
"Soooo much fun! And I love the piece I created."
- I. St. Clair
"The products are amazing and original. And the classes are such a fun date night."
- P. Ell
"Fantastic place, great fun, very cool and relaxing."
- D. Langol
"This is the coolest thing I've done in Austin."
- J. Xia


text:
Spring 2015
Top photo: "Re-Enacting Isadora Duncan mit Roberta Lima II, 2009" by Austrian photographer Anja Manfredi
Dear readers,
The pleasant though demanding task of Editor-in-Chief of our long-standing magazine Austrian Information comes with the job of any Director for Press and Information at the Austrian Embassy in Washington, D.C.
Therefore, this first issue under my supervision gives me an opportunity to thank my versatile team as well as my predecessors, who have taken the magazine from strength to strength over the last 60 years. Regrettably, it is also an occasion to wholeheartedly thank and bid farewell to our editor and colleague Anja Mayer, who has been appointed spokesperson of the Österreichischer Wirtschaftsbund, the conservative Austrian Employer's association, and returned to Vienna in March – we wish her success for the challenging tasks ahead!
For the present issue of Austrian Information, gender matters were chosen as a Leitmotif: From the landmark achievement of women's suffrage after World War I to the developments in gender policy over the last decades. These developments are illustrated by the fates of women from all walks of life - from the first female Nobel Peace Prize laureate 110 years ago, Bertha von Suttner, to the Austrian scientist of the year, Verena Winiwarter, you will discover a wealth of interesting stories, also lesser known ones, mirroring the invaluable contribution of women to humanity.
This issue also takes up the sad duty to offer an obituary for the late Speaker of the Austrian House of Representatives, Barbara Prammer, written by her Chief of Staff, Helfried Carl. Finally, as May 2015 marked the 70th anniversary of the end of World War II in Europe, including the liberation of the infamous Nazi labor and death camp Mauthausen in Upper Austria, alas one of many atrocious sites of industrial mass murder, we bow to the memory of the victims, the survivors and their families – LEST WE FORGET!
Thorsten Eisingerich
Director, Austrian Press & Information Service


text:
Today, a woman messaged me on FB to tell me she loved my book Coming Around Again. She mentioned how much she loved the character development of the group of friends and the ups and downs of everyone over a lifetime.
Related to this – authors go through ups and downs, just like our characters. Of course, I can only speak for myself, but I have moments when I wonder if I'm in the wrong career. I have times when a bad review will send me spiralling. I have times when I recognize my books aren't selling or I haven't been nominated for an award and I start to feel that I'm wasting my time writing.
I should qualify this by saying there are times when I absolutely love writing, when I can't imagine doing anything else, when I know in my heart of hearts that I write for the sanity of my own soul and it doesn't matter what anyone else thinks.
And still, I have those days when I wonder if I simply suck too much to ever make it.
And then someone messages out of the blue to tell me they couldn't put down my book, that they fell in love with my characters, that they feel as if they haven't left my fictional world even though they finished the book days ago. Continue reading "Tell a Writer You Love Them"


text:
I had just lost my job, Tonya was in Zimbabwe, and a promised position was pulled from under me. So I left for a weekend to Bowman Lake up past the Yuba Gap. The only things I brought with me were a tent, a journal, a Bible, The Return of the Prodigal Son by Henri Nouwen, a bit of food, and a six pack of beer. I had no idea what was going on in my life. I found my last journal entry from that trip... Interesting how these things are perfect encouragement today as well.
June 6 (Sunset…THE LAST BIG ONE…WHEN GOD SPEAKS)
I climbed up on the rock face behind my site to watch the sunset over the lake. Well, actually, the sun sets behind the mountain in front of my site, but I can still experience the sunset if I don't see the sunset. I climbed up on top of the rock face and looked out over the lake at the mountains that spring up on the other side. I watched as the shadow cast from the mountains in front crept up the mountains behind my site. I just sat and watched for a while. It kind of reminded me of a canary being put to sleep. It was as if God were putting the mountains to sleep for the night.
You look at these mountains and they even LOOK old and tough. They look like they have put in a long day's work. All day long I have watched these mountains in amazement. To amaze a guy in the 21st + century is a pretty daunting task. We need to be entertained by bigger and better things, and for years to this day, mountains have been bigger and better. Even now they are bigger and better than most things. They have succeeded in amazing me all day long, and that is no easy task. So they deserve the sleep and rest. So God put the mountains to sleep like a little canary.
You see the blanket draped over the cage, but you know there's a bird in there. This is why after the shadow covers the mountains entirely, the moon will come up and cast its special light upon them to make them silhouettes. They just look like big black masses beyond the deep blue space of water, but you know there are mountains over there. They're just sleeping!
While God was putting the mountains to sleep, he spoke to my heart words I needed to hear. I just sat and listened for a while. He sounded a bit like a conversation a friend of mine had with Brennan Manning a few years ago over cigarettes and coffee at the Anderson, IN Waffle House. My friend and I (along with others) had been digesting Brennan's words for a couple years at that point. My friend had established a comedy/drama team based heavily on the writing of Brennan Manning and the songs of his 'soul mate', Rich Mullins. My friend asked Brennan for any advice to offer a group of young guys who wanted to serve God and spread his love through comedy and drama.
This man who we all were pretty convinced could walk on water with Jesus, whose words we had sucked all we could from said a rather unexpected thing. He said, "Get a job!"
God spoke a similar message into my heart tonight. A bit more tenderly, but the same idea! He said:
"I know you're worried and you're scared. I know you are questioning why you left a profession you love to follow a path that had not lead back to that profession. I know you are scared about what you are going to do, and that you feel like your passion has been removed. I know all of this, but I have a new and different plan for you. You are going to do bigger and better things for me, but you are not ready yet. You have some passions in your heart you have not paid attention to. You have passions you do not know about yet. I will show those to you when you are ready, but you are not ready right now. In the time being, while I am preparing you and raising you up, get a job. Get a job, pay your bills and support your family. This job does not need to be a career or even something you are passionate about; I am preparing you for that and remember you are not ready yet. You will find what that is in time, but go on looking hard after me. I have bigger and better things for you outside student life. You will reach more people for me. You will bring glory to me through new things in the future, but for now you need to work and support your family. You need to pay your bills and continue learning. Look further for those passions you have ignored and the ones I will reveal to you in time.
I love you PC!


text:
The School of Architecture invites you to join us this week for the Fundamentals of Computational Design (FCD) Final Review on Tuesday 8 May at 3:00pm in MMCH 320 and 321. The exhibition of student work is on display through Friday 11 May.
This year, the FCD course collaborated with the American Composite Materials Association (ACMA) to explore the potential of composite fibers and resins in architecture. As part of this collaboration, the best FCD projects will participate in the Composites Challenge, a national competition between architecture schools (including UCLA, Pratt, SciArc, among others) investigating applications of composite materials in building design. Selected projects will be exhibited at the AIA conference in New York City this June.


text:
Two Travel Contests Worth Mentioning
People all around the world dream of traveling to exotic destinations. Even those who live in enviable places—such as Hawaii, Paris, New Zealand, and Costa Rica, just to name a few—probably long to see other cities and landscapes that are markedly different from their own. For instance, I might be from New Orleans—a town that many people include on their travel wish lists—but while I appreciate the uniqueness of this place, that certainly doesn't keep me from dreaming of other locations, from Ireland to Japan.
So, it's no wonder that the Internet is rife with travel contests, sweepstakes, and giveaways of all kinds. In fact, just this afternoon, a random Google search netted several disparate results, from Virginia's "I'd LOVE to Go There!" Vacation Sweepstakes to the Cook Islands' "Win a Romantic Week for Two" offer to the Travel Channel's Trip of a Lifetime.
On any given day, the list of available travel contests could go on and on. I recently discovered two, however, that I thought my fellow explorers my appreciate.
NASA's "Why Space Matters?" Video Contest
It's no doubt that space exploration has inspired and challenged the human race for more than five decades, spawning everything from satellites to medical devices to better versions of Velcro. To celebrate this fact—and the possibility of space exploration in the future—the Coalition for Space Exploration and the NASA Visitor Centers Consortium have launched an expanded version of the Coalition's existing "Why Space Matters to the Future" video contest. In essence, the contest urges U.S. residents (who are 13 years or older) to envision what life would be in like 10, 25, or 50 years if humans continue to explore the vast unknown and push the boundaries of space travel.
"Some people think the U.S. space program is ending," said George Torres, chairman of the Coalition, "which couldn't be further from the truth. This contest engages the public during an important time, giving them a powerful voice to our nation's leaders." After all, according to the Coalition's website, "NASA and the space industry are currently developing technologies, systems, and strategies to explore space beyond Earth's orbit."
To enter the contest, you simply need to submit a short video (of one to two minutes) that encapsulates your reasons for why space exploration matters and how it will benefit future generations, from the ability of humans to migrate onto other planets to the development of as-yet-unseen technologies. In other words, consider how space has influenced or inspired you, outline the values and benefits of space exploration, and justify our continued efforts to explore the endless vastness beyond Earth's orbit.
Entrants can upload their videos and share them online from now until April 7. Public voting will then occur April 8-14, so it's important that entrants ask their friends and relatives to vote. A panel of judges will use several criteria, including the number of votes accrued, to determine three winners on April 17. Beyond the fact that the winning videos will be shared with the public as well as national leaders, the three winners will each receive a VIP trip for four people to one of three of NASA's visitor centers: the Kennedy Space Center Visitor Complex in Florida, the U.S. Space & Rocket Center in Alabama, or the Space Center Houston in Texas. The prize includes travel and accommodations—not too shabby for a die-hard space lover.
My Destination's Biggest, Baddest, Bucket List
As the name indicates, this is one doozie of a contest. Dubbed the "ultimate travel competition," My Destination's Biggest, Baddest, Bucket List invites travel lovers of all shapes and sizes to vie for a chance to venture around the world for a whopping six months (from June to December 2013), during which the lucky winner will experience more than 25 destinations (of his or her choosing) on six continents. Not only is this "trip of a lifetime" of the all-expenses-paid variety (meaning that all flights, accommodations, food, and activities will be taken care of, up to $50,000, which, incidentally, includes $10,000 of spending money), but the winner will also receive a $50,000 cash prize once the trip is over. As a bonus, it was recently announced that 10 lucky finalists will enjoy an all-expenses-paid, weeklong trip to the United Kingdom, where they'll meet the My Destination team as well as guest judge Ben Southall (the winner of Tourism Queensland's 2009 "Best Job in the World" campaign). From this pool of fortunate finalists, the grand-prize winner will be chosen.
To enter the contest—which, besides My Destination, is co-sponsored by Hotels.com, Travelex, and Viator—you simply have to prepare a short video (of up to three minutes and with you featured) about a destination for which you're passionate (whether you live there or not), write a brief tale (between 200 and 500 words) about a memorable travel experience, and provide three photos to accompany said tale—and do all that by March 31. For all of the above, passion, enthusiasm, and originality happily matter more than technical prowess. The only "catch" is that the winner will be required to write blog posts, take photos, and film short videos about his or her experiences in each destination, from riding in an Austin rodeo to learning to surf in Bali to visiting a Bollywood movie set in Mumbai; lots of Tweets and status updates are also encouraged.
But, seriously, that's more than a fair price to pay for such a once-in-a-lifetime adventure, and what's even cooler is that the winner doesn't have to travel solo. Besides the fact that he or she will be meeting new friends along the way, it's also possible for the winner to bring along a partner or spouse—whose accommodations will be taken care of and whose other expenses (such as food and local transportation) can be covered, in part, by the $10,000 spending money and/or the $50,000 post-trip cash prize.
As I said, the application process closes on March 31, after which 10 finalists will be selected by April 8. In what I consider to be a pretty fair method, five of these finalists will be chosen by the contest judges and five will be based on the most top-rated videos—so there's a chance that people could win a finalist spot even if they don't rally votes from every person they've ever met. The finalists' week in the U.K. will begin on April 20, and the grand-prize winner will be announced on April 26, after which he or she will start planning their own personal "biggest, baddest, bucket list."
Both contests, while obviously very different, could lead to some amazing experiences. If you're interested in entering either or both, just check out the websites noted above for more details and caveats. Seriously, what are you waiting for?


text:
Children's Hospital is part of the UPMC family.
Our Sites
Be safe anytime, anywhere.
To find a pediatrician or pediatric specialist, please call 412-692-7337 or search our directory.
A resource for our network of referring physicians.
For more information about research, please call our main office at 412-692-6438.
Ranked #8 Nationally by U.S. News & World Report.
UPMC Allied Health Medical Staff
Listens Carefully
Spends Enough Time with You
Recommend This Provider to Family/Friends
Shows Respect to Patients
Provides Information
Explains in a Way You Understand
BA, University of Delaware Office of Registrar Newark, DE MS, Nova Southeastern University Fort Lauderdale, FL Psy D, Nova Southeastern University Fort Lauderdale, FL PsyD
UPMC Children's Hospital of Pittsburgh
Dr. Tormey provides evaluations of children with developmental concerns, including the use of the Autism Diagnostic Observation Schedule ; Second Edition (ADOS-2). He also provides evaluations through the Center for Independence (CFI) and co-leads a social skills group through CFI. He sees some clients for therapy, which primarily involves children and adolescents with Autism Spectrum Disorder or behavioral health issues that coexist with medical conditions.
Patient comments are gathered from our Press Ganey Patient Satisfaction Survey and are displayed in their entirety. Patients are de-identified for confidentiality and patient privacy.
Total Comments:
Children's Hospital's main campus is located in the Lawrenceville neighborhood. Our main hospital address is:
UPMC Children's Hospital of Pittsburgh
One Children's Hospital Way
4401 Penn Ave.
Pittsburgh, PA 15224
In addition to the main hospital, Children's has many convenient locations in other neighborhoods throughout the greater Pittsburgh region.
With myCHP, you can request appointments, review test results, and more.
For questions about a hospital bill call:
To pay your bill online, please visit UPMC's online bill payment system.
Interested in giving to Children's Hospital? Visit Children's Hospital of Pittsburgh Foundation's website to make a donation online.


text:
This was first time in year I didn't go to Taiteiden Yö with intention to shoot videos. Few years ago there were many events out doors to shoot. Last years there have been more events but almost everything has been indoors. I made this choice after trying to figure out what to shoot and finding only one which would work as video. Next year I probably just go there to enjoy the events and forget video and stills. This is what I got this year.
Lunar eclipse behind clouds
We would have had long lunar eclipse if it didn't happen behind clouds. Here are some shots I took instead of lunar eclipse. To be honest I had wrong camera gear with me to shoot moon so it wasn't such a loss for me. I only missed the experience.
Merihaka and Hakaniemi from frozen sea
I went back to frozen sea yesterday. It was really cold and windy. Today should be even colder. After tomorrow it should get bit warmer. Not to normal temperatures of this time of the year but warmer. I don't remember walking on ice after I moved to Helsinki before Saturday. When I moved here I didn't live close to see. When I moved closer to sea there haven't been real winters.
Here are some photos I took yesterday evening.
My Christmas Tradition
Shooting Christmas lights at Christmas eve night is becoming my new Christmas tradition. I did that last year and this year. I spend about three hours at center of Helsinki. I had to get back bit earlier because I forgot to take spare batteries. I started to get bit cold but battery running out was the reason I left early. I had another camera with me but I didn't want to shoot video with it. I wanted to shoot the whole video with same camera.
Here are couple shot I couldn't shoot to this week's video due battery running out.
How To The Public Transportation
I have nothing to do with these videos. I found them informative and funny enough to share here. And I didn't anything interesting to talk or show. It is darkest time of the year and everything is dark and cold. I wanted my own content to the post so picture below is taken by me few years ago before I started to make videos. It is topic related.
Dark December Night
Without Climate change we would have snow by now. We have had snow couple days but no more that two days at the time. I don't want snow that much but if it is going to be cold it could have snow too. This is winter in Finland. So there were almost nobody around. If you have followed me on Instagram you have seen these places couple times before.


text:
Thursday, October 3, 2013
on a birthday party for prosciutto.
last week brian and i went to the best birthday party we've ever been to - a 50th birthday party for prosciutto. chefs from around nyc made little bites that incorporated prosciutto for the event. from pizza to ice cream to breakfast sausage, they had it all. and it was all amazing.
the setting of the party was beautiful as well - a patio filled with twinkling lights on one of the last mild nights of the year (although this warm october week is making me quite happy).
and finally there was this guy, who we watched all night long. he hand-sliced very thin pieces of prosciutto throughout the party, and he kind of amazed me. he explained that it takes about five to six years to learn how to slice prosciutto in that manner, and he was about three years in. he was, however, complaining that the prosciutto had gotten too soft and he just wasn't cutting it well. i told him it still impressed me and he said...are you ready...please prepare for awesomeness...i'm just glad none of the PROSCIUTTO GUYS are here because they would be laughing at me. dudes. there are apparently prosciutto guys in new york, like just a bunch of prosciutto cutting experts that hang out in this city. WHAT?! could you be any cuter AND badass AND amazing?
next mission: find the prosciutto guys. infiltrate their group. become their best friend. who's with me?
9 comments:
Great birthday party or greatest birthday party?!ReplyDelete
I am pretty sure that sounds like the best kind of birthday party ever. Now I'm craving salty pork parts!ReplyDelete
YUM. Looks like so much fun. And also, you met the guy who knows the prosciutto guys, so you basically know them too, right??ReplyDelete
this looks so delish!!! what a fun night :)ReplyDelete
Maaaaaaaaaaan. OM NOM NOM! Best party ever indeed, heh heh. Prosciutto is just...OOF, amirite? Hee!ReplyDelete
I'm so jealous! This sounds amazing. I'll be on the lookout for those prosciutto guys!ReplyDelete
Sounds amazing!! Lucky gal you are! Also you look fantastic in glasses! Love! xoReplyDelete
Subscribe to: Post Comments (Atom)


text:
Updated at Wednesday, 03 Jan 2018, 17:07 The Hanoitimes – Hanoi's authorities have ordered the city's inspectors to inspect enterprises with long overdue social insurance premiums. The inspections will be conducted next month at 284 enterprises that are late in paying their social insurance premiums by seven to 35 months. The total debt owed by these companies amounts to 100 billion VND (4.3 million USD). Among those being inspected are bridge cooperative No.18 under Civil Engineering Construction Corporation 1 (owing over 10 billion VND or 435,000 USD); Quang Trung Construction Investment Joint Stock Company (owing over 1.9 billion VND or 82,600 USD); Thang Long Construction Mechanical Corporation (owing nearly 1.5 billion VND or 65,200 USD); Infrastructure Construction Investment Joint Stock Company (owing more than 1.4 billion VND or 60,900 USD); A Dong Construction Investment Corporation and Hong Nam Mechanical Joint Stock Company (owing 1 billion VND each or 43,500 USD). Many enterprises on the inspection list were previously inspected but continue to delay paying their debts. Deputy Chief Inspector of the city Nguyen Anh Tuan said the inspection will not interfere with the businesses' operations. After receiving the inspection plan, if the company pays the debt and Hanoi's social insurance agency approves the payment, the inspection will be discontinued, he said. According to Hanoi's Social Insurance, more than 2.8 trillion VND (122 million USD) in premiums for social insurance, unemployment insurance and health insurance are owed as of November this year, making up 8.47 percent of the collections plan.…
Hanoi: social insurance payments to be inspected have 238 words, post on hanoitimes.com.vn at 2018-01-03 10:07:42. This is cached page on VietNam Breaking News. If you want remove this page, please contact us.
Link http://news.c10mt.com/search/label/vietnambreakingnews and http://news.c10mt.com
Links Topics : https://news.c10mt.com/2018/01/hanoi-social-insurance-payments-to-be.html


text:
Maker's Tool Works has announced a new 3D printer kit, the Fusematic. It succeeds MTW's previous model, the MendelMax 2 by being "smaller, faster, and more affordable".
MTW simplified assembly by including assembly guides on the case, using linear rails, preassembling and pre-loading the electronics and keying the connectors.
After assembly, you'll find the Fusematic performs well as it encloses all electronics, which were exposed on the MendelMax, prints faster with a lighter Bowden extruder and it's easier to calibrate.
The device actually has a smaller print volume than the MendelMax 2: 200 x 225 x 200mm, still quite reasonable.
The base machine is set up for printing PLA plastic only; if you want to print ABS and other "hotter" and warpy materials MTW recommends purchasing their optional heated bed. You also get a choice of 1.75 or 3.00mm filament capability.
For now you can pre-order a Fusematic kit for only USD$799 (add USD$50) for the heated bed option. Shipping is expected mid-January. We think this could be a good choice for an inexpensive yet well-designed 3D printer.


text:
Fillerbunny #3
Jhonen Vasquez rose to cult status with one among a slew of absurd cartoons on Nickelodeon, Invader Zim. Unfortunately, that show was ultimately cancelled due to its sick and twisted content. The trouble is that sick and twisted is Vasquez' art form, as epitomized in such comics as Johnny the Homicidal Maniac, Squee and the ever delightful I Feel Sick.
Now we have a third installment of Vasquez' Fillerbunny. While the first comic was created within a 24-hour period, and the second over the course of two sleep-deprived days, Fillerbunny's "worst book yet!" took much longer to find fruition. It follows the further horrific adventures of the adorable laboratory bunny genetically engineered to fill page space.
Fillerbunny starts off his third comic book tale in a context far removed from its predecessors, flying heroically into battle against "Slorrgh," the leader of a demon realm bent on overtaking the Earth. Our bunny saves the day by deftly lopping off the head of his long-winded adversary with a broadsword. By the second page, the bunny cheerfully bids his fans farewell only to learn that his job is far from over.
Having been thoroughly amused by the first ultra-weird creation, I was not terribly impressed by the rehash at first. This latest chapter, however, is self-referential and covers a wide field in its own disjointed way, with the miserable Vasquez interacting with a vile-tempered boss who wants the artist to produce corporate-friendly cuteness for the enjoyment of the fans. There's less of things like "Aborto," a grotesque floating fetus that is supplied as Fillerbunny's new friend, eventually inspiring the bunny to hurl in one of many vomiting sequences.
This installment includes an android bunny designed to ensure maximum performance from our hero, named "Killerbunny." There are also amorous fan letters from a transgendered clergyman, "Father Enrique Trueheart," and a hilarious foray into the fleeting possibility of Vasquez cashing in with spooky, yet cute T-shirts. (Picture a smiling cartoon kitty above the catchy slogan: "I'm a fucking moron!") Best of all, there's also lots and lots of violence.
There is a simple profundity in the juxtaposition of cuteness and the grotesque in Vasquez' world. In a tirade against his demanding boss, the artist makes the point quite eloquently that he is not a fan of rape and abortion, but that anything can actually be humorous, no matter how horrible it is in real life.
I share Vasquez's view of creative freedom, and enjoyed his little sermon about the fact that suffering and humor are close cousins. My only real complaint would be that Fillerbunny should maybe include a content warning. Then again, it's no worse than the dehumanizing crap slopped out every day on "Jerry Springer."


text:
**UPDATE: THIS EVENT IS SOLD OUT! To join the waitlist, get an early heads up on the next pop-up or book your own portrait session email: firstname.lastname@example.com.
The Portrait Pop-Up is heading to Dogpatch WineWorks, an urban winery and beautiful tasting room in San Francisco's Dogpatch district. A ticket to The Portrait Pop-Up at Dogpatch WineWorks includes:
- One-on-one mini portrait photography session
- Five hi-res, lightly edited digital photos
- A selection of Dogwatch WineWorks' delicious wines
You are welcome to join for only your mini portrait session, or stick around for the length of the event to enjoy wine in the beautiful tasting room!


text:
Hey there, we see that you're running an ad-blocker and may be blocking ads on AnimeLab. By simply adding AnimeLab to your ad-blocker's whitelist you'll be ensuring that we can keep streaming free anime.
Alternatively, why not get rid of ads forever by upgrading your account to Premium? You'll also get to watch dubbed shows, in HD and with no delays. It's a no brainer!


text:
When star player El Hadji Baye Oumar Niasse travelled to Norwegian outfit SK Brann on a loan deal, US Ouakam had to find a replacement. It turned out that the right player was already in their squad, namely youngster Matar Moussa Diagne. I believe it is fair to say that Diagne has been one of the revelations of the Senegalese Ligue 1 2011-2012.
Diagne has been described as a "playmaker" and as the "leader" of the attack at US Ouakam. He can play as an attacking midfielder, as a winger or as a striker – basically the same positions as Niasse. Diagne is a creative player with an eye for a goal.
Diagne is a product of the so-called Collège Africain Sports Etudes (CASE). The ambition of the college is to offer African youth the opportunity to realize an academic background while practicing a variety of sports, including football.
Diagne played approxiately 14 matches for US Ouakam when the club won the Senegalese Ligue 1 2010-2011 last season. Diagne scored one goal during the season, on 01.08.2011 against US Gorée.
The current season has been a breakthrough for Diagne. He has played regularly, most likely 12 of the 17 matches played at the time of writing. Diagne has scored four goals so far.
In February / March 2012, Diagne played for US Ouakam in the qualifying round of the 2012 CAF Champions League, gaining experience.
During the season, in April 2012, Diagne was named in the squad of the Senegal U-23 national football team. Later the same month, Diagne was also picked for the Senegal U-20 national football team.
The birthdate of Diagne is not known. I have previously written that Diagne is born in 1992 but I have doubts about my sources. He could possibly be even younger.
Niasse was no success at SK Brann and will now return to US Ouakam – perhaps in a different role as Diagne seems to be the new kid on the block.
The picture of Diagne was found on carrapide.com.


text:
On the 4th March this year I had the absolute privilege of photographing Cat & Rich's wedding at Upwaltham Barns. Cat and I have known each other for about 12 years so to be asked to photograph her wedding was a real honour. Upwaltham Barns really suited their style and theme and when they told me that was their chosen venue I knew instantly that it was the right choice!
I met Cat there as she was getting ready in the bridal suite so we got some gorgeous shots of her, as well as her utterly stunning dress and her Jimmy Choo's which were AMAZEBALLS! Cat is such a natural beauty and looked effortlessly dazzling.
The ceremony was just lovely, I loved that as we approached the ceremony room all the staff were lined up by the doors so that no one would get a sneak peek before she was ready to make her grand entrance!
It was quite a chilly day and as we were about to do their couple shots we did get a little bit of rain so we did some in and around the barn. In true classic British weather style, though, the rain didn't last for long. Once they sat down for their wedding breakfast the sun came out and the clouds cleared, so I grabbed them in between courses so we could get a few photos outside.
Cat & Rich had made so much effort with all their décor, the venue looked absolutely stunning! From lots of bunting, to little wooden signs. I loved their table numbers, all with things that were really meaningful to them. They had even adorned the chandelier in the centre of the wedding breakfast room with pretty yellow flowers and gypsophelia. And as the sun went down, there were lots of candles lit outside making it look truly magical.
It was an amazing day and an utter pleasure to photograph! Wishing Cat & Rich sooooo much happiness as they start their married life together.
And a big shout out to my other half, Dave, who was second shooter for me for the first time! He did sooo well and got some fantastic shots; I better watch my back! (Sneaky selfie of us working at the end!)
Venue - www.upwalthambarns-weddings.co.uk
Dress - www.isabellagracebridal.com
Flowers - www.spriggs-florist.co.uk
Hair & Make Up - arabellahewitt.co.uk


text:
Can you afford to buy here? If you like, we can get one of our mortgage experts to tell you exactly how much you can borrow, which is the best mortgage for you or how much they could save you right now if you have an existing mortgage. Click here to get help choosing the best mortgage rate
When looking across the province, Camrose County is the 25th most expensive in Alberta.
With Camrose County's median house price at $626,950 in Aug , it is high priced compared to the rest of Alberta.
According to our stats, Camrose County is the neighbourhood that has the 149th most properties available to real estate investors in Alberta.
As one of Alberta's many potential real estate investment neighbourhoods, Camrose County needs to be carefully researched before investing in – and remember to check especially the locations within an area before spending - the old estate agent's mantra of location, location, location has never lost its importance.
Over the last three months in Camrose County, housing stock available seems to be falling – this could mean that homes values might increase faster.
Can we guarantee how well Camrose County is going to do next year? No, but we can look at the data we have and use it as a starting point before doing research.
Because the amount of real estate listed for sale has stayed the same it looks like housing market forces in neighbourhood are likely to not necessarily affect house prices.
Just fill in a few details, and we'll arrange for a Mortgage adviser to help you find the best mortgage for your needs


text: If you're thinking about doing Camp America then come along and meet the team, chat to past participants and get all of your questions answered. We'll show you videos, tell you more about our experiences and we'll even have some American candy! Our Info Sessions last JUST ONE HOUR, it is commitment free, and everyone is welcome to attend!


text:
To Yuen Che-hung (nicknamed Uncle Hung by his fans), life is story.
A storyteller since 1994, he wanders freely, everywhere from schools, streets and city centers to villages, telling stories about himself and others.
This month, Uncle Hung will give a performance that centers on the problems of housing in Hong Kong faced by the previous and current generations, leading in with the experiences of his own grandmother.
"In the 1950s, my grandma made her escape from China to Hong Kong," Yuen told the Hong Kong Economic Journal.
"There were quite a lot of street sleepers, but they could hope to move into real homes.
"However, many years after the economic boom, people are, in fact, doing worse rather than better.
"Everyone works so hard, not daring to secure a home but simply a dwelling place where they can rest comfortably after work.
"Not only do I see elderly people staying overnight in McDonald's but also people dressed in a suit and tie.
"They are not homeless guys, but it is very likely they live far away, in places like Tuen Mun or Yuen Long, so instead of rushing to and fro between home and office on Hong Kong Island, they stay in the fast food shop."
Yuen is not Hong Kong's only storyteller, but he is one of a kind in the range of venues where he performs and his audiences, which are made up of young kids, schoolchildren and adults.
"Instead of creating stories, the stories find me," he said.
He was first inspired by the stories told by his teachers in primary school.
"Those were the days we had story lessons," Yuen said.
"Teachers would tell fables like 'The Three Little Pigs' or 'The Boy Who Cried Wolf'.
"All we had to do was to listen, and we didn't need to write book reports.
"It took me less than 30 minutes to finish my homework, and then I would go out and play."
As the fifth child out of seven, Yuen enjoyed much of his happy, carefree childhood in Sham Shui Po.
His uncle taught him storytelling tricks when Yuen was as young as four.
One Mid-Autumn Festival, they were walking in Pei Ho Street.
His uncle suddenly stopped and pointed at the bright full moon, warning Yuen not to tell lies, or else the moon would follow him always.
Street artists Yuen encountered were magical, too.
They performed kung fu and told stories such as Journey to the West — one of the four great classic novels of Chinese literature.
Their goal was to attract bystanders to buy a salty dried plum and stay around for the story.
During his high school years in the 1970s, which was the prime of students' activism, Yuen, like many other teenagers at that time, read Karl Marx and took part in social movements in pursuit of an ideal society.
In the end he was caught by the police.
"It was 1974," Yuen recalled.
"After my father heard the trial, he stroked my back and urged me not to show up at any more protests.
"I was reminded of his gesture when I retold this story to my son, who asked me if Grandfather did it the same way like when I stroked him.
"Emotions we are unaware of will show up all of a sudden as the stories unfold."
In the streets, people come and go. How does Yuen retain the attention of his audience?
He said his definition of failure is when it is one man doing all the talking without hearing from the audience.
Or if storytelling is done in too slick a way, like an entertainment production.
Yuen sees storytelling as a means for him to raise awareness of social issues and improve the lives of the people around him.
And creating new works is, for him, the greatest joy of all.
The performance — The Second Solo by Uncle Hung: Habitat Enigma — will be held on Nov. 20 and 21 in the multimedia theatre at the HKICC Lee Shau Kee School of Creativity.
This article appeared in the Hong Kong Economic Journal on Nov. 2.
Translation by Darlie Yiu
[Chinese version中文版]
Uncle Hung: 50 years of Sham Shui Po, in Autobiographical Cultural Tour Theatre 2014:
(Cantonese only)
– Contact us at [email protected]


text:
Tuesday, January 7, 2014
Listening to Hope
14 comments:
- TexWisGirl said...
really glad. :)
- January 7, 2014 at 9:33 PM
- Chatty Crone said...
A woman of courage for sure - so tell me - is this hopefully her last?
- January 7, 2014 at 10:41 PM
- Mimsie said...
That is wonderful new and renewed hope indeed. More positive thoughts flying to your sister and to you as well. Good start to the new year for all of you.
- January 7, 2014 at 11:04 PM
- valerietilsten59.blogspot.com said...
Dear JP. Your sister is brave.. I feel through your words she is strong. She continues in my prayers. I was thinking of her the other day..Mr.M's C. was what they call galloping ..it came quickly and he went quickly.
Hope and faith and your love as her sister.. giving her support.
friends and family.
It was great to read that she is a little better..
sending you love.. stay strong for her.
val x x x x x
- January 8, 2014 at 4:52 AM
- eileeninmd said...
I am so happy for your sister and you, what a relief. Enjoy you day and week ahead!
- January 8, 2014 at 5:10 AM
- Sandra said...
happy dance... this is great news...
- January 8, 2014 at 7:36 AM
Thank God it's over. Now she can start building up her strength again. I think it makes such a difference for patients when they are surrounded by family love and she most definitely has a strong support system in you.
- January 8, 2014 at 8:03 AM
- Betty said...
Part of it might be because she doesn't have to dread going for the next treatment. I think it must be such a relief to be done because you know it's uphill all the way now. No more feeling a little better and then back for another treatment and feeling awful again. Hopefully, this is it! No more chemo...ever again.
- January 8, 2014 at 1:06 PM
- Ann said...
That is awesome. Best thing I've heard all day
- January 8, 2014 at 5:18 PM
- Lisa @ Two Bears Farm said...
So glad to hear she is doing well!
- January 8, 2014 at 5:28 PM
- Rambling Woods said...
Oh lovely that she is at the end.... Michelle
- January 8, 2014 at 6:27 PM
- Florida Farm Girl said...
Oh, I'm so glad they're heading off the dreaded post-chemo effects. I'm hoping that this will be the end of her treatment for this devil disease. Hugs for you and Sis.
- January 8, 2014 at 9:19 PM
- Nancy Hoffmann said...
I hope she continues to improve!
- January 8, 2014 at 9:46 PM
- Tiggeriffic said...
Praying for you and your sister.. Chemo is not fun~! Never had it and don't want it.. I've been around enough people that have had it and they are very brave.. Now that she is on her last chemo~ Victory will come and she will be walking on the trails with you...
Have a blessed day~! ta ta for now from Iowa:)
- January 8, 2014 at 10:42 PM


text:
Support WFWP International
Your generous support enables us to provide women and families the opportunities they need to thrive.
Our schools in Africa have provided thousands of children a quality education. Vocational training in the Middle East and Southeast is empowering women to have financial independence. Young women around the world are developing valuable skills through our volunteer program and leadership training.
WFWP International is a registered 501(c)(3) non-profit organization.
Donations are tax deductible.


text:
What do you get when you cross an intimate wedding atop Seattle's Queen Anne Hill with the quintessential the 'Father of the Bride' house's garage basketball court with the most beautiful couple of which the bride is a very talented artist?
You get Sarah and Matt's wedding, that's what! I wish that I could put into words the amount of amazing that I witnessed the day of their wedding, but I honestly can't. It was an absolute dream wedding to photograph, and I feel so honored to have been a part of it!
Nothing was overlooked and every detail was perfectly executed (and the weather wasn't too shabby either) as Matt and Sarah said 'I do' in front of family and friends. Guests were treated to a delicious backyard bar-b-que dinner, an epic dance party, and a hand-painted one of a kind wedding favor that was painted by Sarah ... absolute perfection!
Thank you Sarah and Matt for sharing your day with me, I couldn't have asked for a more beautiful occasion to cap off my wedding season!


text:
Aki Ra, the story of a former child soldier from Cambodia
Nadine Bateman
The former child soldier from Cambodia tells Nadine Bateman about his anti-landmine campaign and the children who benefit
WAR GAMES I know I was born in 1970 but I don't know what month or day. I have never celebrated my birthday. My parents were killed by the Khmer Rouge when I was five years old. I never knew anything about my life before that. I was brought up in the jungle with many other orphaned children and we became child soldiers for the Khmer Rouge. We weren't scared; we thought it was fun shooting guns. It was like a game. We did not know any different kind of life. We were told that we must fight the Vietnamese because they were very bad. They were like an evil giant.
BOMB BABIES I learned how to lay landmines while I was in the Khmer Rouge army. I laid my first one when I was five years old. I planted them in the ground, put them in the trees and the water - everywhere. I don't know how many but there were very, very many. In one day I would lay 100 mines. More than 10 million landmines were laid [during Pol Pot's regime, from 1975 to 1979]. I never went to school. I didn't learn how to read or write, only about bombs and guns and fighting. Some of my friends were blown up when they were learning how to lay landmines. Others died of disease - usually malaria - and not enough food. The soldiers said: 'Never mind, you can find other friends. Don't cry.'
FORCED TO FIGHT When I was about 10 years old, the Vietnamese army came into the villages and the jungle in Cambodia because they needed people to help them fight. They took away women and children. They forced me to join the army. Me and my friend tried to run away but they caught us. They hit us with sticks until we did what they said. They would make us walk in front of them to check if there were mines. We walked in front so they stayed safe. I was fighting my own people. One day I was fighting the Khmer Rouge with my friend and I almost shot a soldier who was fighting us, then I saw he was my uncle. I shouted at him to stop. I said: 'Please don't shoot, it's me.' But he couldn't hear me. He was too busy fighting. He shot my friend and killed him.
UNITING NATIONS The United Nations gave me the idea that I could help make peace in Cambodia. They asked me to help clear landmines and gave me training. But the first time I saw a foreigner I ran away. Then they told me I could go to school and have food. I liked that idea. I would use my bare hands, a knife and a sharp stick to clear the landmines. I did not have any protection. I found 99 per cent of the mines that way. But I no longer do that. Now I find them with a metal detector and I wear a protective helmet, jacket and shoes. Life is much better. I have a salary and I train the Cambodian army to demine. Between 1993 and 2005, I cleared 50,000 mines. Some months I will spend 25 days demining. I am not afraid. I am very happy to do this good thing for my country. There are about 1,000 people clearing landmines in Cambodia.
SAVING THE CHILDREN In 1997, I opened the landmine museum. It is not just for exhibitions, it is also a school and a refuge for 25 children who have been injured by landmines. They live in huts near the museum and they get food, lessons and medical care. They have arms or legs missing, sometimes both, and most of them are orphans. We have 10 staff to look after them and help run the museum. Also, my own family helps: my uncles and aunts. We try to make it nice, like a home, for the children.
Earlier this year, my first wife died in her sleep after a long illness. I married my second wife five months ago. I have three children. I called one of them Mine [pronounced 'mini'] because he was always playing with the [defused] mines at the museum.
The Cambodia Landmine Museum is one of the non-governmental organisations I set up. There is also the Landmine Relief Fund, which includes a safety and education programme in the jungle and rural areas. These places are very dangerous because there are about five million landmines in Cambodia still. Both organisations are self-funding and we depend on donations.
SIGN THE TREATY I wish the Chinese, American and Russian governments would sign the Mine Ban Treaty. It would make a big difference. There are still 100 million landmines around the world and the demining is not happening fast enough. I think it will take about 20 or 30 years just to clear Cambodia. I will keep demining for as long as it takes. My wife is happy for me to do that. We want a safe country for our children.
To find out more about Aki Ra and his work, visit www.cambodialandminemuseum.org. To make a donation, call 9732 8883.
log in register or Login with facebook


text:
How to Streamline Your Closet if You Can't Handle a Capsule Wardrobe
The blogging world is definitely abuzz with the minimalist trend lately. Gone are the days of hording makeup and enter ones filled with less things and more purpose. I'm definitely so on bored with decluttering and have shared my two cents on Marie Kondo's book to boot. Yet a capsule wardrobe of only a few shirts and things each season just isn't doable no matter how hard I try. So if you want to get on board with less is more but can't hack a 37 piece wardrobe, here's how to streamline your closet.
- Go Marie Kondo and empty everything out of your closet. Literally everything. Throw it into a large pile and decide what stays and what goes. You can be as strict as Kondo demands, or your own version. Just as long as you're being honest about what should say and what should go.
- Pretend you are making a capsule wardrobe, but don't limit yourself on pieces. Seriously consider what you wear most often and fill in wardrobe gaps where you see them.
- Organize your closet based on categories so you can really see what types of clothes you have more of than others. I personally have at least 10 different colored cardigans. For some that would seem nuts, but I love wearing them over tank tops or blouses. This method could also help you realize you have way too many tshirts and you need to get rid of some more.
- Keep clothes that reflect your lifestyle and get rid of those that don't. If you have dozens of formal dresses but never go to anything formal, they're no longer needed in your closet. I have a lot of office casual clothes that I recently parted with now that I work at home. Sure I might find the need for them one day, but if that time ever comes around I'll just buy new ones as my current ones will be worn out and moth ridden by then.
- Try the hanger trick and flip all your hangers around backwards. When you wear something, put it back the hanger with the hanger turned back the normal way. After three months see which clothing items you haven't worn and say goodbye to them. You can't argue with a clear visual representation of what you do and don't wear.
These are a few quick ways to streamline your closet if you just can't muster the courage to try a capsule wardrobe. You'll feel so much better with a cleaner closet, feel a part of the minimalist trend, but still keep your sanity.
xoxo Kayla


text:
Murray, Craig D. and Wilde, David and Murray, Joanne (2009) Finding Meaning in Near-death Experiences. In: Psychological Scientific Perspectives on Out-of-body and Near-death Experiences. Nova Science, New York. ISBN 978-1-60741-077-5Full text not available from this repository.
Near-death experiences (NDEs) have become a topic of increasing interest to medical and psychological researchers over the last 35 years. During the course of this research agenda, several studies have focused on the phenomenology of the experience and its after-effects, mostly from a nomothetic stance. This chapter reports on the experience of having an NDE and the meanings attributed to that experience and its resultant after-effects by taking an idiographic, phenomenological approach. Here we detail how individuals may choose elements of an experience which are most personally meaningful for them and how this is incorporated into their later lives. Of particular interest here is how participants came to new understandings of their lives as a result of their NDE. A process of integration is helped or hindered by physical and psychological factors concomitant at the time of the NDE. Also evident are the challenges the NDE, or elements therein, have on the individual's sense of self and how they maintain and develop that self in the years following the event.
|Item Type:
|Contribution in Book/Report/Proceedings
|Uncontrolled Keywords:
|ID Code:
|Deposited By:
|Dr Craig Murray
|Deposited On:
|11 Mar 2009 14:52
|Last Modified:
|28 Aug 2019 05:47
Actions (login required)
|View Item


text:
Set up more checklists in the screen builder or compare the expert models below...
Sales growth shows the increase in sales over a specific period of time. The CAGR formula is the following: (current year's value / value 5 years ago) ^ (1/5) - 1
NOTE: If the starting year's figure is zero, the CAGR is not defined.
Sales growth is important because, as an investor, you want to know that the demand for a company's products or services will be increasing in the future.
It is important to distinguish however between organic sales growth and acquisitive growth. Growth rates differ by industry and company size. Sales growth of 5-10% is usually considered good for large-cap companies, while for mid-cap and small-cap companies, sales growth of over 10% is more achievable.
This shows how many years consecutively the company has managed to grow its topline revenues (sales). i.e. Sales Streak = 3 shows that the company has grown its sales for the last 3 consecutive fiscal years.
Sales Growth is a very positive sign for growth investors and is a criteria in the Phillip Fisher screen that we have modelled.
Also known as Return on Sales, this value is the Net Income divided by Sales for the same period and expressed as a percentage. This is one of the best indicators of the company's efficiency because net profit takes into consideration all expenses of the company. Investors want the net profit margin to be as high as possible.
This is one of the best indicators of the company's efficiency because net profit takes into consideration all expenses of the company. Investors want the net profit margin to be as high as possible. Rising margins are seen as a positive signal although high margins do tend to attract the interests of competitors.
The PEG is a valuation metric used to measure the trade-off between a stock's price, its earning, and the expected growth of the company. It was popularised by Peter Lynch and Jim Slater. In general, the lower the PEG, the better the value, because the investor would be paying less for each unit of earnings growth.
A PEG ratio of 1 is supposed to indicate that the stock is fairly priced. A ratio between .5 and less than 1 is considered good, meaning the stock may be undervalued given its growth profile. A ratio less than .5 is considered to be excellent.


text:
Kevin Durant leaves Thunder: there goes our hero
Basketball Superstar Kevin Durant created a lot of buzz for basketball fans this week.
Durant's contract with the Oklahoma City Thunder expired July 1 and he decided to take his talents to the Golden State Warriors, where he has signed a 2‐year $54.2 million contract, with a player option on the second year, according to ESPN.
Durant, a small forward for the team, said, "Leaving Oklahoma City (OKC) was the hardest thing I ever had to do."
However, in an interview with the Players Tribune, Durant asserted that he felt excited about the opportunity he would have with his new team.
Many OCCC students, were reacting with feelings other than excitement, last week.
Shabab Chowhury, an electrical engineering major said he was shocked by the news of Durant's departure.
"I feel betrayed. This is a big heartbreak in my sport," Chowhury said.
He said he felt Durant had failed the state.
"I think it's bad because, I understand he wants to win rings and stuff but what I felt like makes it worse is that he (Durant) could have won with us (Thunder)," he said.
"He was like the leader of our team but he took the easy way out to go win with Golden state" Chowdhury, said.
Other students thought there was an overreaction to his leaving.
Benjamin Taylor, broadcasting major said he moved past the disappointment toward Duran't decision quickly.
"I think it's ridiculous that people were burning jerseys. I don't think it was that serious. It's just sad to see him leave because he helped build the OKC Thunder to where they are now," Taylor said.
"It sucks for the city, it's really not that great, but I kind of got over it," he said.
While many were in mourning, some students claim to remain completely unaffected.
Juan Piedra, a mechanical engineering major said Durant's choice to go with the Thunder's rival team doesn't affect him.
"I like sports but it doesn't bother me that much," he said.
Piedra said that he thinks Durant should have stayed loyal to OKC but he can understand his reasoning for leaving.
Despite negative attitudes surrounding his departure, the memories of Durant may remain positive for those he helped, especially for the 2013 Moore tornadoes.
According to Jesse Dorsey of the Bleacher report, Durant assisted victims in sorting through what was left of their homes after the tornadoes to help them find anything still intact. Durant also donated $1 million to the American Red Cross Tornado Relief Fund at the time.


text:
Emma Willis
Black Superior Cotton Shirt - Bespoke Pattern
Hand cut and finished in our Gloucester Factory using single needle stitching and real mother of pearl buttons, our luxurious 2-fold 100 Black Superior Swiss Cotton Shirt.
A smooth and long lasting two fold 100's Swiss poplin woven and yard dyed using the finest Egyptian raw cotton. The ideal cotton for your every day white work shirts as it will last longer than the very fine cottons, but still luxuriously soft.
Orders above £350.00 entitles you to free shipping.
Standard UK delivery - £10.00
Standard International delivery - £20.00
Bespoke online and Bespoke Pattern shirt orders will be made in our Gloucester workrooms and will take 3-4 weeks for delivery, if you need the order by a specific date please email email@example.com


text:
Drs Dawid Myszka, A. Wieczorek and Tadeusz Cybula from the Warsaw University of Technology, Poland investigated the influence of microstructure on the dynamic mechanical properties of austempered ductile iron using Taylor impact testing. Austempered dictile iron means it's a cast iron, so has graphite particles in a matrix heat treated to become bainite!. Taylor impact testing means you fire cylinders of the material at an immovable object and see how the material gets squished.
Deforming Austempered Ductile Iron
Shattering Austempered Ductile Iron
The heavily deformed volume which faced the impact has resulted in hardening and in transformation to martensite — both hardness and magnetic measurements have been used. Hardening was due to mostly strain induced austenite-to-martensite transformation, and also due to cold-work.
D. Myszka, L. Cybula and A. Wievzorek
Influence of heat treatment conditions on microstructure and mechanical properties of austempered ductile iron after dynamic deformation test
Archives of Metallurgy and Materials
V59, Issue 3, 2014
Filed under: Bainite, Impact, Mechanical Properties, metallurgy, Metals, microstructure | Tagged: ADI, Austempered dictile iron, Austempered Ductile Iron, dynamic mechanical properties, dynamic properties, impact properties, irons, Mechanical Properties, Warsaw University of Technology |


text:
2017 "Artist Picked Flicks" film series launches January 25th at SDAI with screening of The Holy Mountain on Wednesday, January 25th from 6pm-8pm. The screenings will take place at San Diego Art Institute, 1439 El Prado, San Diego, CA 92101. General admission is $5, free for Members
Cinema has offered an infinite number of inspiring moments to artists of all types. Be it writing, directing, cinematography, or acting, film and its elements are often referred to as a source for contemporary artists to draw from. Through 2017, SDAI has invited artists and curators t o share one film that has directly inspired their individual practices.
The series will commence with renowned director and mystic Alejandro Jodorowsky's seminal film The Holy Mountain. Introduced by SDAI Executive Director Ginger Shulick Porcella, The Holy Mountain is described by Porcella as "required viewing for every MFA candidate". Prior to the screening, Porcella will discuss why The Holy Mountain holds significance to her and her curatorial practice.
Each screening will commence with a brief discussion, and adult beverages will be available for purchase.
Additional films in the 2017 "Artist Picked Flicks" series include:
Welcome to the Dollhouse, Todd Solondz (introduced by Lissa Corona)
Troll 2, Claudio Fragasso, (introduced by Jeremy Zierau)
Women Without Men, Shirin Neshat (introduced by Michelle Montjoy)


text:
- Persona de contacto: Ms. Julia
- Ver detalles de contacto
Pneumatic Stapler - fabricante, fábrica, proveedor de China
Riding stapler wonderful invincibility
In a printing product, paper and postage account for about 75% of the total cost, which forced people to change the post-press processing process, thus saving costs. At the same time, ordinary books...
Stapler machine
Stapler box machine is one of the post processing equipments of the carton. Its principle is the same as the principle of the ordinary stapler, except that the nail box machine uses the tiger tooth...
Pneumatic rivet nut gun rivet nut deformation is not enough how to do
Causes Pneumatic Rivet Nut Rivet Nut Insufficient Deformation Causes: 1. Pneumatic riveting nut gun stroke is not correct: Adjust pneumatic rivet nut gun stroke 2. Low air pressure: Adjust air...
- Lista de Productos( 0 )


text:
Our Story
FACT started in our home a few months after our first son was born. I was researching Endocrine Disrupting Chemicals (EDCs) and found that there was no single website that provided information and straight-forward guidance on how to decrease my family's exposure to these dangerous chemicals. Although there are many informative and useful websites on this subject (many of which I used to develop this website), it took quite a bit of time to find and gather the information I needed. FACT solves this problem by providing consumers with both in-depth information and comprehensive guidance in one place.
The inspiration for FACT began when I first became pregnant. My husband (already aware of the dangers of chemicals in our environment) took inventory of everything that I put on my body and researched alternative products that do not contain EDCs. At first I was surprised that this could even be a problem, after all I had been using many of my personal body products for years, now I am very grateful for his efforts. It took a lot of time to figure out which products were potentially dangerous and look up replacement products. We recognize that not everyone has that time, which is why we developed FACT to be a resource for families to get quick and thorough information on the toxic chemicals present in our everyday products.
Not long after my son was born, my husband and I were watching the news and a segment came on about lead in school drinking water. We were both shocked and furious that a poisonous substance, which has horrible effects on children is present in school drinking water throughout the United States. What also horrified us was the lack of public outrage and publicity surrounding this problem. FACT seeks to educate communities about the dangers of lead in school drinking water and to help develop solutions so that families do not have to fear that their children are being poisoned at school.
Jennifer Mitchell, Founder
Jennifer recently left her position as a Legislative Assistant and Counsel to a United States Senator. She is a licensed attorney and a former active-duty Air Force Judge Advocate (JAG) and current Reservist. Jennifer's passion is public policy and advocacy and while on the Hill was instrumental in moving legislation in the veteran and defense policy space.
Jennifer is currently working on FACT and raising her son. She is eager to use her legal and legislative skills to develop FACT.
David Mitchell, Founder
David is currently an active-duty Air Force Judge Advocate (JAG). David will be serving as an environmental law attorney in his next assignment after going to school for graduate study in environmental law. Learning the environmental laws related to FACT's mission will maximize the difference we can make in the lives of individuals, families and schoolchildren.
David is very concerned about the long-term effects of toxic chemicals and lead in children and the environment. He is excited to work on legislative efforts to further FACT's mission.


text:
Trump: Investors should SUE ABC News after fake Flynn report caused stock market tank
(National Sentinel) Financial Loss: President Donald J. Trump said Saturday that anyone who lost money in the stock market Friday after it fell on an initial report from ABC News regarding former national security advisor Michael Flynn should file suit against the network to recoup those losses.
"People who lost money when the Stock Market went down 350 points based on the False and Dishonest reporting of Brian Ross of ABC News (he has been suspended), should consider hiring a lawyer and suing ABC for the damages this bad reporting has caused – many millions of dollars!" Trump wrote on Twitter.
In what came off as a bombshell report early Friday morning, Ross — citing an anonymous source — reported that Trump directed Flynn to make contact with Russian officials while he was still a candidate.
The claim appeared to support long-standing allegations from many Democrats and former Democratic presidential nominee Hillary Clinton that the Trump campaign was colluding with Moscow against Trump's rival.
The report caused a major stock market drop, though it largely recovered later in the day.
However, Ross was forced to issue a correction later Friday during the network's "World News Tonight" broadcast, saying that his anonymous source changed their story late in the day to claim that Trump asked Flynn to contact Russian officials as president-elect, not as a candidate.
The corrected version of the story is much less impactful because it is customary for incoming administrations to make contact with foreign governments to discuss issues. In this case, Flynn had contacted Russian diplomats, ostensibly on the president-elect's instructions, to discuss ISIS and Syria, other reports stated.
"[A] clarification tonight on something one of Flynn's confidants told us and we reported earlier today," Ross said during last night's newscast. "He said the president had asked Flynn to contact Russia during the campaign.
"He's now clarifying that saying, according to Flynn, candidate Trump asked him during the campaign to find ways to repair relations with Russia and other world hot spots. And then after the election, the president-elect asked him to contact Russia on issues including working together to fight ISIS," Ross said.
The network suspended Ross four weeks without pay, a decision that Trump praised in a later tweet.
"Congratulations to @ABC News for suspending Brian Ross for his horrendously inaccurate and dishonest report on the Russia, Russia, Russia Witch Hunt. More Networks and 'papers' should do the same with their Fake News!" he wrote.
This is not the first occasion where Ross has made a major reporting error. In 2012 he was forced to apologize after suggesting that a member of the so-called Tea Party was responsible for the Aurora, Colorado, shootings.
Advertising disclaimer: Click here
What are your thoughts?


text: 'Privacy Chair' has become a new typology in the open office, offering a place of escape from noisy group settings. This design explores dynamic ways of modulating privacy and comfort while also seeking an appropriate scale. The curved back serves as a 'screen' and the user can shift his spatial relationship to it by moving the backrest cushion. This offers dynamic ways of using the space within the chair, to allow postures that are restful and private, but still professional. Plywood, upholstery, hardware. Prototype.