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Bullying Prevention Video Entry Rules
The video must be your own original creation and must not infringe on any third party rights. No copyrighted music, video, or images may be used in submissions to this contest without appropriate permission. Entrants are responsible for obtaining all necessary permissions in writing. Entrants must provide a copy of such written permission to the City.
If the language is other than English, English subtitles must be included.
If any person appears or is referred to in the submission, you are solely responsible for obtaining consent, prior to submitting your video. Formal submission of your video is a representation that the Entrant has received all required consents.
The video must not contain any personally identifiable information of any person other than yourself. Should you include personally identifiable information about yourself, you acknowledge and agree that such information will be disclosed publicly and you are responsible for any consequences thereof.
You may not be, nor may you work with parties in conjunction with your submission that are: 1) represented under contract (e.g., by a talent agent or manager) that would limit or impair City's ability to display your submission in any media form; 2) subject to an acting or modeling contract that would make your/their appearance in the submission a violation of third-party rights; or 3) under any contractual relationship including but not limited to guild and/or union memberships, that may prevent City from being able to use the submissions worldwide in all media in perpetuity on a royalty-free basis, without any payment or fee obligations.
City reserves the right in its sole and unfettered discretion to disqualify any submission that it believes violates or potentially violates any of the foregoing requirements or otherwise fails to comply with any provision of these rules. The decision of the City on this and all matters pertaining to the contest shall be final and binding with no right of appeal.
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I am at least eighteen (18) years of age and am competent to contract in my own name. I have read the Official Rules before entering this contest, and I fully understand the contents, meaning and impact of the Official Rules.
I am the parent/guardian of the entrant who is under eighteen (18) years of age and I have read the Official Rules before entering this contest and I fully understand the contents, meaning and impact of the Official Rules.
You may enter as an individual or a group. All participants must submit an entry form. If an entrant or member of group is under 18 years of age, a parent's permission is required.
The deadline for video submission is September 15, 2017, no later than 5:00pm.
No late entries will be eligible for consideration by the judges.
The winners will receive cash prizes, and will be formally recognized at a City Council meeting by the Mayor and City Council. Your video may be aired on the City website and may include other City media.
An entrant must be a resident or public, private or home school student in Beverly Hills or affiliated with a business, organization or school that has operated in Beverly Hills for a minimum of one year. You may include people in your video who do not qualify as an entrant.
Please provide one of the following that qualifies you/your group as an entrant.
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(For a group project, please select one spokesperson for us to contact if there are any questions regarding your video submission.)
List all participants in your video project. (Only the group spokesperson needs to list all the participants. If you are completing this entry form as a member of a group, you may skip this step).
Entries will be judged on creativity, educational value and message effectiveness. The winners will be determined by the judges in their sole discretion in accordance with the contest rules.
Please indicate the category below that best describes you or your group. For Group Entries indicate all categories that apply.
The video may not exceed 90 seconds.
Provide a video link.


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Pataki's lavish spending of taxpayer dollars to special interest groups to grease his 2002 reelection for his last term made the late liberal Republican Governor Nelson Rockefeller roll over in his grave! His record deficits, excessive spending and late budgets give real conservative Republicans anguish.
Spending in Patkai's last 2006 budget was twice the rate of inflation. This budget contained $1 billion worth of pork barrel projects known as member items, along with a potential deficit in the billions. Under Governor Pataki's tenure, with bipartisan support of the state legislature, borrowing for quasi-government agencies grew by billions.
The combined budgets for dozens of these agencies runs into the tens of billions. In many cases, these expenditures are tracked off line and not counted as part of the regular budget. Even worse, they are exempt from basic oversight by both the state comptroller and state legislature. Albany's $115 billion budget was greater than most states and many nations.
New York was ranked number two among the 50 states in debt, with each resident responsible for $3,515 of the $50 billion total debt. Under "TaxPaki," state debt grew from $27 billion in 1995 to $50 billion in 2006. Projected future red ink raised this debt to $54 billion by 2009. State public authorities debt is an additional $72 billion. These combined debts plus future interest total $187 billion!
As a lame duck governor, Pataki used tens of millions in taxpayer dollars to run numerous TV commercials. Pataki's smiling face left voters frowning. This media blitz at taxpayer expense was designed to raise Pataki's name identification in preparation for a 2008 presidential campaign, but didn't benefit residents paying the bill.
Pataki reminds me of Nero prior to the collapse of the Roman Empire. His public service announcements kept running while he ran around the country in 2006, positioning himself for a 2008 presidential run. In New York, he left the GOP in ruins.
In 2012, just as in 2008, intelligent Republican primary voters in Iowa, New Hampshire and other early contests would once again look past glitzy campaign commercials to a potential president's past leadership, management style, philosophy and political track record.
No intelligent Republican primary voter want to inflict the Pataki virus on a national level. Native Republicans who know Pataki best, would once again deny him the ability to carry New York as a favorite son candidate. Having been out of office five years, his Pay for Play campaign contributors abandoned him long ago.
As in 2008, with little funding or support, Pataki once again became one of the first GOP candidates to drop out long before the primary process even began. Pataki wrote his own political obituary long ago. Except in his own mind, Pataki is essentially irrelevant in politics today.

subset: commoncrawl


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With the thespian gods obviously smiling down on its efforts, Musical Theatre Guild recently presented the almost never produced Broadway musical "One Touch of Venus" at the Alex Theatre in Glendale.
Director Richard Israel and choreographer Karen Nowicki, with a cast of 17 stage and screen veterans managed in only 25 hours of preparation to produce results rivaling productions afforded far longer rehearsal periods. Though the cast carried scripts in hand throughout the show, the universally knockout performances made one completely forget this was a "staged reading".
Headlining in the title role of the Roman Goddess of Love brought to life from statuary form was the stunningly beautiful Jennifer Shelton. She commanded the stage at every turn, demonstrating a flair for comic timing upstaged only by her sultry and often soaring vocal solos.
From listening to her renditions of "I'm A Stranger Here Myself" and "That's Him," it's easy to understand why these songs were standalone hits following the production's original 14-month run beginning in 1943. But it was Shelton's luscious interpretation of composer Kurt Weill's and lyricist Ogden Nash's introspectively focused, first act ballad "Foolish Heart" that nearly stopped the show.
Matching this true leading lady was Will Collyer's button-cute portrayal of Rodney Hatch, Venus' naïve, puppy love interest. Collyer's tenor range has the perfect lyrical tone for tunes such as "Wooden Wedding," "Speak Low" and a pair of hilarious first act patter songs, "How Much I Love You" and "That's How I Am Sick of Love".
Likewise, Kevin Symons was right on target as he played up the irascibility of Whitelaw Savory, the millionaire modern art aficionado who started the whole show rolling by having added the Venus statue to his collection. Symons ended the first act with a tour de force display of spot-on diction and elocution with his version of a sinister piece titled "Dr. Crippen," which set up Rodney and Venus for a crime they didn't commit.
Comic support was in abundant supply due to the efforts of Diane Vincent as Molly Grant, Savory's acerbic secretary with the heart of gold. Classic motion picture connoisseurs might recall this role was played by screen legend Eve Arden in the 1948 film version, but Vincent brought a true sense of heart to what otherwise might have been just a stock sidekick.
A. Jeffrey Schoenberg's skill as one of Southern California's premier costume designers was on display with vintage apparel that set just the right atmosphere.
A special highlight to cap off the evening was the lush sounds of a full-size orchestra under the baton of musical director Dean Mora, made possible by a generous donation from David Lee, a longtime MTG financial angel.
Dink O'Neal, an actor and member of the American Theatre Critics Assn., resides in Burbank.
What: Musical Theatre Guild's Staged Readings (Next up is "Little Me")
When: 7:30 p.m. April 18
Where: Alex Theatre, 216 N. Brand Blvd., Glendale
Tickets: $30 to $40
Contact: (818) 243-2539 or visit www.musicaltheatreguild.com


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DAME JUDI DENCH left movie mogul HARVEY WEINSTEIN cringing at the British Academy of Film and Television Arts (BAFTA) film awards when she flashed her butt to OPRAH WINFREY in front of him.
The veteran actress repeated a stunt from several years ago, when she had the producer's name inked in a fake tattoo on her behind and flashed it to him during a glitzy Hollywood luncheon.
Weinstein has now revealed Dench did it again during the BAFTA awards ceremony in London on Sunday night (16Feb14) and showed off her inking in front of a shocked Winfrey.
He tells morning show Daybreak, "Judi Dench had another tattoo for me, seriously... She had a tattoo... Last night she had a tattoo with my name and last night she flashed Oprah Winfrey... it's on her butt... So naughty... She's incredible. I'm not kidding... I'm sitting with Oprah and I (nearly) passed out. Oprah said, 'I'm the witness'..."
Dench's drama Philomena landed the Best Adapted Screenplay prize during the ceremony at London's Royal Opera House.


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Trash juggernaut "Fifty Shades of Grey" continues to rake in the dough, and not just through book sales. The classical-music album that was spawned from the racy bestselling trilogy of novels has taken the No. 1 spot this week on the Nielsen Soundscan classical albums chart.
"Fifty Shades of Grey: The Classical Album" features Baroque, choral and operatic pieces that are referenced in the novels. The album was released last week on Capitol Records and includes 15 tracks selected by author E.L. James.
"Fifty" came in at No. 1 on the Nielsen classical-album chart for the week ending Sept. 16. It beat out "Il Volo ... Takes Flight," from the popular operatic-pop group, which came in second place for the week.
The "Fifty" album spotlights the music of Thomas Tallis, the 16th century English composer. His sacred work "Spem in Alium" plays in important role in the novel. The album also includes such familiar classical standards as Pachabel's Canon in D and the "Flower Duet" from Delibes' opera "Lakme."
'Fifty Shades of Grey' spurs sales of Renaissance Tallis work
John Adams lends his music to 'I Am Love,' starring Tilda Swinton
'A Dangerous Method,' 'Melancholia' take cues from Richard Wagner
MORE: CRITIC'S PICKS: Fall Arts Preview TIMELINE: John Cage's Los Angeles QUIZ: The high price of art
CRITIC'S PICKS: Fall Arts Preview
TIMELINE: John Cage's Los Angeles
QUIZ: The high price of art