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Peter Rodriguez pled guilty last week to two felonies in connection with the death of George Gibbons, a popular Maspeth bar owner who was on his way home from work early in the morning on October 15 when the livery cab he was riding in was struck by a car driven by Rodriguez.
Rodriguez was driving the wrong way down a frontage road of the Long Island Expressway near 58th Road when he hit the cab.
Given the circumstances – the accident occurred at a time that suggests a night of partying, there was marijuana in the car, Rodriguez has a lengthy criminal history involving violence and drugs – there's a good chance that Rodriguez was under the influence, and that it likely contributed to the accident.
But we'll never know, because Rodriguez fled the scene and wasn't arrested until a month later, when he was finally tracked down in Connecticut.
By doing the wrong thing – again – Rodriguez possibly did himself a huge favor.
If a sobriety test could have been administered at the scene, and it was found that Rodriguez was indeed drunk or high, given his lengthy arrest record, he would have faced much more serious charges and could have been looking at 25 years behind bars.
Instead, when Rodriguez is sentenced on May 7, he will instead be facing 3 ½ to 7 years in jail. That's hardly a punishment fitting the crime.
Maybe it would be a different story if this were the first time that Rodriguez ran afoul of the law, but it's not. Not by a long shot.
Rodriguez has been arrested numerous times, and not on minor charges like possessing a small amount of marijuana or petit larceny. No, Rodriguez's crimes are serious and they are violent and they are a pattern. There's no reason to think that a few more years behind bars will reform Rodriguez.
The Gibbons family will get a chance to tell a judge at the sentencing how Rodriguez has forever changed their lives, and hopefully the judge listens carefully and gives Rodriguez the full seven years.
And let's hope that they won't have to do the same thing all over again before a parole board just a few short years from now.


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More Reason to Increase Legal Profession's Barriers to EntryThursday, April 19th, 2012
When people complain that "there are too many lawyers," what they really mean is that there are too many bad ones. There is always demand for good lawyers to deal with the intricacies of modern life. If anything, people need more good lawyers than ever before — smart, wise, honorable people to help navigate the increasingly byzantine regulations, to make sure the complex business deals actually work, to represent all the non-lawyers who keep suing each other in our litigious society. And of course to prosecute and defend those accused of crime.
The problem is that it's way too easy to become a lawyer. If you're not picky about where you go to school, you can get a J.D. despite having little aptitude for it. And the bar exam is a very low bar, believe it or not — you only need the equivalent of a "D" and once you get that "D" you never need to take it again. There are a lot of misguided people out there who go to law school for the wrong reasons, and graduate to keep filling the ranks of the "too many lawyers."
So it made us uneasy to learn that people with high LSAT scores are significantly less likely to even apply to law school these days, while those with lower scores are still applying almost as much as before.
It's not surprising, of course — obviously, smarter people are going to be more likely to realize that it's harder to get a job as a lawyer these days, and decide to go elsewhere. But the upshot is that the proportion of "good" lawyers is only going to shrink, and the "too many" will become even more numerous.
The solution is to make the profession more picky about who can and cannot become a lawyer. The problem is how to do it.
Back in the bad old days, of course, the problem was that the profession was more picky. Just in a bad way. Minorities were not welcome, women were not welcome. Hell, folks who needed to work for a living were not welcome — we didn't want their kind, or their night schools. (Many of the ABA's more bizarre accreditation requirements are holdovers from these bad old days.) So there are some historical negative connotations to making it harder to be a lawyer.
Nowadays, though, people who get upset at barriers to entry don't really cry racism, sexism or classism any more. Instead, they cry protectionism — that those who have the jobs want to protect them from competition. Or they cry up the free market — let anyone try it who wants to, and let market forces shake out the chaff.
The protectionist argument is one of the stupidest arguments, ever. Increasing the number of sucky candidates isn't going to have much of an effect on the hiring of qualified people. Seriously, nobody is afraid that sucky JDs are going to come along and take their jobs. Letting more of them in will only cause more competition for low-tier jobs, making the complainers' problem worse. This argument tends to be made by dissatisfied law grads who find themselves unable to compete in the modern market, and making it kinda demonstrates why.
The free-market argument isn't so much stupid as unwise. Those who make it tend to see the law as a business rather than a profession — they fail to realize that we have clients, not customers. Clients don't just drop in, pay for a service, then leave; clients entrust lawyers to handle important life matters. Lawyers don't sell commodities; they put aside their own interests to serve their clients, and the client's interest comes first. We are fiduciaries, advisers, confidantes, and we are trusted to make decisions on our clients' behalf.
This is not a relationship that free-market forces can regulate. Clients of bad lawyers suffer, but there is not much the market can do about it. In a free market, it's nigh impossible for clients to tell a good lawyer from a bad one — asking around is only as useful as the people one knows to ask. Bad lawyers sometimes thrive, simply because their name is known. The way real people find lawyers in real life is essentially random. A free market also needs quick reaction to bad service, but bad lawyering may not have consequences until years too late to make a difference to the lawyer's reputation. And clients who are unsophisticated enough to hire a bad lawyer in the first place aren't as likely to realize that they got shafted. The free market just cannot work to price out bad lawyering very efficiently, if at all — and in the meantime what about the clients who suffered? It's not like they can return their counsel like damaged goods — they're stuck with the consequences. Relying on the market to price out the bad and reinforce the good is a recipe for injustice, and would make things even worse.
The solution is to be, not protectionist, but (more…)


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TMC wrote:JOEL wrote:BIGS " tmc honey poppa's home from his first day at work".
TMC " tell me all about your day BIGboy was it all you expected and more?"
BIGS " awe it was rough , I made it through the day thinking how nice it was going to be coming home to you , now make me some tea and give me a foot rub"
TMC " is their anything else I can rub for you? Get over here and let me take that belt off".
Says the man that's gonna sleep under the same roof with Pawno...
Sounds like there's going to be a gathering of some of you lot and it ain't going to be no contact, obviously not a basketball gathering


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Reporting guidelines
Reporting on children and young people has its special challenges. In some instances the act of reporting on children places them or other children at risk of retribution or stigmatization.
UNICEF has developed these principles to assist journalists as they report on issues affecting children. They are offered as guidelines that UNICEF believes will help media to cover children in an age-appropriate and sensitive manner. The guidelines are meant to support the best intentions of ethical reporters: serving the public interest without compromising the rights of children.
I. Principles
The dignity and rights of every child are to be respected in every circumstance.
In interviewing and reporting on children, special attention is needed to ensure each child's right to privacy and confidentiality, to have their opinions heard, to participate in decisions affecting them and to be protected from harm and retribution, including the potential of harm and retribution.
The best interests of each child are to be protected over any other consideration, including over advocacy for children's issues and the promotion of child rights.
When trying to determine the best interests of a child, the child's right to have their views taken into account are to be given due weight in accordance with their age and maturity.
Those closest to the child's situation and best able to assess it are to be consulted about the political, social and cultural ramifications of any reportage.
Do not publish a story or an image which might put the child, siblings or peers at risk even when identities are changed, obscured or not used.
II. Guidelines for interviewing children
Do no harm to any child; avoid questions, attitudes or comments that are judgmental, insensitive to cultural values, that place a child in danger or expose a child to humiliation, or that reactivate a child's pain and grief from traumatic events.
Do not discriminate in choosing children to interview because of sex, race, age, religion, status, educational background or physical abilities.
No staging: Do not ask children to tell a story or take an action that is not part of their own history.
Obtain permission from the child and his or her guardian for all interviews, videotaping and, when possible, for documentary photographs. When possible and appropriate, this permission should be in writing. Permission must be obtained in circumstances that ensure that the child and guardian are not coerced in any way and that they understand that they are part of a story that might be disseminated locally and globally. This is usually only ensured if the permission is obtained in the child's language and if the decision is made in consultation with an adult the child trusts.
Pay attention to where and how the child is interviewed. Limit the number of interviewers and photographers. Try to make certain that children are comfortable and able to tell their story without outside pressure, including from the interviewer. In film, video and radio interviews, consider what the choice of visual or audio background might imply about the child and her or his life and story. Ensure that the child would not be endangered or adversely affected by showing their home, community or general whereabouts.
III. Guidelines for reporting on children
Do not further stigmatize any child; avoid categorisations or descriptions that expose a child to negative reprisals - including additional physical or psychological harm, or to lifelong abuse, discrimination or rejection by their local communities.
Always provide an accurate context for the child's story or image.
Always change the name and obscure the visual identity of any child who is identified as:
a. A victim of sexual abuse or exploitation,
In certain circumstances of risk or potential risk of harm or retribution, change the name and obscure the visual identity of any child who is identified as:
a. A former child combatant who is not holding a weapon but may be at risk,
In certain cases, using a child's identity - their name and/or recognizable image - is in the child's best interests. However, when the child's identity is used, they must still be protected against harm and supported through any stigmatization or reprisals.
Some examples of these special cases are:
a. When a child initiates contact with the reporter, wanting to exercise their right to freedom of expression and their right to have their opinion heard.
Confirm the accuracy of what the child has to say, either with other children or an adult, preferably with both.
IV. Use of UNICEF materials
All UNICEF materials are protected by copyright, including text, photographs, other images and videotapes. Permission to reproduce any UNICEF material must be requested from the originating UNICEF office, and will only be granted on condition that these principles and guidelines are adhered to.
Sources: The Convention on the Rights of the Child; Child Rights and the Media (Guidelines for Journalists), International Federation of Journalists; Media and Children in Need of Special Protection, (internal document), UNICEF's Division of Communication; Second International Consultation on HIV/AIDS and Human Rights, United Nations Secretary-General.


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Bursitis treatment
Discover exactly why & how the OSMO Patch is ideal for bursitis.Watch Video »
The OSMO Patch has been available for over 10 years and used by tens of thousands of individuals looking for a natural treatment option. It is a natural alternative that when used in combination with adequate rest provides natural support to reduce inflammation, swelling and the associated pain due to bursitis, baker's cysts, tendonitis, carpel tunnel as well as many other similar joint and muscular inflammatory conditions.
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Surgery is invasive and should always be avoided if possible. The risk of complication verses the likelihood of success should always be considered.
I've had knee problems for 3 decades and have had 4 surgeries due to an ACL Tear and numerous Meniscus tears. Due to these problems, I've had a chronic problem with a Baker's Cist in back of my knee. I've been living with the Baker's Cyst for years and the swelling that this Cyst caused […]
I hurt my knee quite severely when out bushwalking in the Mt Mitchell National Park a distance of approximately 5.0 kilometres up total distance almost 11k. I hadn't been doing much strenuous walking and on the way down I got a nasty pain in my knee. My doctor told me I had a Bakers Cyst […]
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I had a sac of fluid to the upper-right of my knee. Quite large. Initially I had pulled my calf muscle and without realizing the extent of the pull, I continued to pursue my daily routine which consisted of morning workouts at the gym including "spin" class. Needless to say, I aggravated the whole situation. […]
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IMPORTANT: As you will hopefully understand this Guarantee does not apply to either re-orders or orders greater than 2 Boxes of 10 patches (i.e. orders greater than 20 patches). This guarantee is only applicable to orders purchased directly from osmopatch.com and does not include purchases from re-sellers.
Simply complete the form below and we will get back to you shortly. Please note, our response does not constitute medical advice. Please consult your medical practitioner:


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Thursday, December 20, 2012
Printable Christmas Gift Tags 2012
5 comments:
These are beautiful! Thanks!ReplyDelete
Found you through a Google search for Christmas gift tags. I'm following you now, through my Google Reader. Can't wait to have some time to enjoy your blog!ReplyDelete
Just printed your Merry Christmas and To/From tags... thank you , thank you, thank you! Didn't want to write with a Sharpie this year (as I did last year when I was 9 months pregnant). Have some great twine to attach them with :)
Merry Christmas!
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xoxo, Ashley


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Flushing your eye may help relieve mild eye symptoms and is the most
important first aid measure for a chemical substance in the eye. The sooner you
get a chemical out of the eye, the less damage it may do.
If you are wearing contacts, remove them before flushing your eye. If
you are not able to remove a contact, flush your eye with the contact
Flush the eye from the inner corner toward the outer corner. This
prevents a substance in the eye from washing into the other eye. Flushing the eye will be easier if you have someone who can help you.
Any of the following may be done to flush the eye. You must hold the
eyelids open while you:
Do not use alcohol to flush the eye.
ByHealthwise StaffPrimary Medical ReviewerWilliam H. Blahd, Jr., MD, FACEP - Emergency Medicine
Current as ofMarch 20, 2017
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Last modified on: 8 September 2017


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Posts Tagged 'Rachel Corrie'
Not Reviewing Daphne Gottlieb & Ned Stuckey-French
Daphne Gottlieb's 15 Ways to Stay Alive (Manic D Press, April 2011, $14.95 paperback, 128 pages)/Ned Stuckey French's The American Essay in the American Century (University of Missouri, May 2011, $60 hardcover, 272 pages)
Aside from a few reviews in my brief time as a journalist for the University of Washington Daily, and an occasional screed on Amazon, I didn't write literary criticism until about two years ago. My first review was published in December of 2009 at the Texas Review, and since then I have written slightly over a dozen. This small sample allows me to appreciate greatly the time and involvement for the craft of reviewing. No matter what you think of Michiko Kakatuni or James Woods or Michael Dirda, they have put in the hours.
At first I enjoyed the process immensely, I requested books, and sometimes was asked (see recent solicitation on my About Page). But I'm done. What happened? As I tried to review the two subject books of this post I considered how, since summer I have taken quotes, looked into the histories of each individual author, and done requisite background reading. Whenever I started to churn out a draft, though, I questioned my desire, not to mention qualifications. It's not that I dislike writing reviews or taking part in the process, I think any aspiring writer can benefit from writing literary criticism, but I have to choose how to spend my writing time.
Therefore, I would like to offer condensed reviews to finish what I started. I hope Ned and Daphne and the kind people at U. of Missouri and Manic D can forgive me for not doing justice to their books.
The foremost problem I had with Daphne Gottlieb's 15 Ways to Stay Alive (Manic D Press, April 2011, $14.95 paperback, 128 pages), is that it's poetry. I spend little time reading and writing poems, and cannot recognize quality. Daphne Gottlieb, the author of Fucking Daphne, exists outside conventional poetry, and images of her body adorned with tattoos and piercings spoke more to me than the dozen books she's edited or authored and that I had not read. What could I possibly say about her poetry?
Yet perhaps I have undervalued. As her personality emerged I became involved with 15 Ways to Stay Alive, and found myself appreciating the way she played with form while staying on topic. She juxtaposes Bukowsky amidst New Orleans quotidiana and sadness: "and at night walking the streets for hours,/raped for hours until she was dead", or, in "to prove that I was someone," she alternates Tookie Wilson's call to a White supremacist's response: "Dare I take My tattoo the master/slave-connection my tattoo a step further is a rebel flag…". Good stuff.
Gottleib engages in politics, and I find this attractive in a writer. One example: In "no poetry after auschwitz" she attacks the war machine in various ways. She writes, "yes, remember/Rachel Corrie/killed by a bulldozer – but she put her body/ on the line/ using her own privilege". But just when I think Gottlieb's views on capitalism and war will turn into a venue to launch platitudes, she writes: "End the Occupation"/becomes/"Kill the Jews". No one is for abortion, but some people are pro-choice. No one is for war, some people are pro-choice regarding self-defense (if this seems morally ambigious and contradictory, that's the intent).
Whether or not you agree that Israel is equally if not more culpable in the conflict, or that the Palestinian side lost moral superiority long ago, or recognize that two forces are wrong in the Israeli-Palestine conflict, or wonder if Rachel Corrie took one wrong side, you understand that Gottlieb is making a statement for peace and action. This is a difficult, very difficult subject matter, and I applaud Gottlieb's willingness to express.
Next is Ned Stuckey French's The American Essay in the American Century (University of Missouri, May 2011, $60 hardback, 272 pages). The book is academic, and as with poetry, not the sort I normally read. I am no academic, and my college days were ignominious. I took advantage of Cliff's Notes more than once to churn out a paper on Charles Dickens Dombey and Son or even Shakespeare's Twelfth Night, and my grades subsequently matched my ambition.
Stuckey-French, though, makes a case that we should pay attention to the history of the essay, "…few issues are more current and controversial than that of subjectivity, yet the literary genre most explicitly focused on subjectivity – the essay – has not received much scholarly attention." He explains further that "essays were caught between retreat and departure, between America's past and future. That tension is the subject of this book…(with the focus being) the period 1880 to 1940."
Stuckey-French highlights the characters of this age; we find out about unknowns such as Sara Willis: "perhaps the most popular essayist of the middle of the nineteenth century…(she) wrote on crime, poverty, corruption, prisons, and especially rights of women and children." Willis was described in the New Yorker as a "a columnist before columnists were heard of" she went through death of a child, a horrible marriage to a jealous man whom she left after two years, and she might have remained forgotten if not for teachers such as Stuckey-French. Quotes from essayists on essays also add to the book, such as Richard Burton's, who felt that "when the essay becomes the mere venting of a mood and is emptied of thought, the essayist is reduced to happy idiot."
Stuckey-French writes about Mark Twain and E.B. White, along with a slew of important writers who exited the stage, and how literacy in the US rose, along with the prominence of many magazines, and writers such as W.E.B. DuBois attained fame. The book closes by asking what might happen if essays "were released from the first-year writing anthologies and read against history?" And hey, if I were to teach a class and wanted to sound like an authority on the topic, a reading of this book would be a sufficient start.
I hope, in the future, that I may have time to solicit and write credible reviews, rather than this evasive attempt to "review" these two books. For now, though, I will take a hiatus from reviewing and will be happy, going forward, to simply read literary criticism and participate in the conversation.
DISCLOSER: Caleb Powell has been published by Ned Stuckey-French in Fourth Genre, and was solicited for this review by Manic D Press. He has no realationship with Daphne Gottlieb.


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Staff Changes in South Dakota Governor's Office
Newly re-elected Gov. Dennis Daugaard has announced changes to his senior leadership team.
Daugaard's spokesman the past four years, Tony Venhuizen, will now be chief of staff while continuing to oversee communications.
Nathan Sanderson will serve as director of policy and operations. He's spent the last four years as a policy adviser focusing on agriculture and natural resources issues.
Jim Seward will join the Governor's Executive Committee, and continue in his role as the governor's attorney.
Venhuizen and Sanderson also will serve on the Executive Committee.
The changes are effective following the departure of Chief of Staff Dusty Johnson on Friday. Johnson announced last month that he was leaving after the midterm election to take a job in the private sector.


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Volunteers needed for Valley Village Showtime! event: Training sessions for the June 15 fundraiser will be held 5:30-7:30 p.m. May 30 and June 4 at Valley Village, 20830 Sherman Way, Winnetka, and 10 a.m.-noon June 1 at Sheraton Universal Hotel, 333 Universal Hollywood Way, Universal City. Reservations required. The gala raises money for programs for adults with developmental challenges. 818-587-9450, Ext. 161 or email@example.com.
Los Angeles Waterkeeper Making Waves anniversary gala: Cocktail party and silent auction. 6:30-9:30 p.m. May 30. Proceeds used for education and cleanup efforts on the coastal areas and regional waterways. Tickets $500; $600 VIP and other levels. Fairmont Miramar Hotel, 101 Wilshire Blvd., Santa Monica. 310-394-6162, Ext. 103. lawaterkeeper.org.
New Horizons 5K Run/Walk on the Horizon: Participate as an individual or on a team, 7 a.m. June 1. Proceeds go to programs for special needs adults. Registration fee $30. Woodley Park, 6335 Woodley Ave., Van Nuys. 818-894-9301. walkonthehorizon.org. newhorizons-sfv.org.
Kidneys Quest Foundation car wash fundraiser: 8 a.m.-5 p.m. June 1. Cost $10 cars; $15 SUV and trucks. Carl's Jr., 11509 Laurel Canyon Blvd., San Fernando. 818-521-6348. kidneysquestfoundation.org.
Best of the Best at National Council of Jewish Women Los Angeles Council Thrift Shop: Proceeds from sales benefit programs to help women and children, 8 a.m.-6 p.m. June 1; 9 a.m.-6 p.m. June 2. 12203 Ventura Blvd., Studio City. 818-505-1924. ncjwla.org.
Pedal on the Pier for The Harold Robinson Foundation: Participants ride a stationary bike for 100 miles (individually or with a team), 11 a.m.-4 p.m. June 2. Doors open, 9:30 a.m. Proceeds go to camp experience for underprivileged children. Minimum donation $2,500. Register on the website. Santa Monica Pier. pedalonthepier.org.
Empty Bowl Fundraiser for Family Promise of East San Fernando Valley: Buy a handcrafted ceramic bowl and have a soup and bread lunch, 12:30-3:30 p.m. June 2. Proceeds benefit programs for homeless families. Admission $30; $10 children under 12. First United Methodist Church, 134 N. Kenwood St., Glendale. familypromiseesfv.org.
Volunteer docents needed for The Autry National Center: Docents lead museum tours for schoolchildren during the week and adult groups on the weekend. Classes begin 12:45 p.m. June 17 and run Mondays through Sept. 16 (no class July 8 and Sept. 2). Fee $50. Reservations required. 4700 Western Heritage Way, Los Angeles. Susan DiCato, 323-667-2000, Ext. 237.
Kris Kristofferson concert for Homeboy Industries: 7:30 p.m. June 23. Tickets $45; $75; $250 VIP. Smothers Theatre at Pepperdine University, Pacific Coast Highway, 24255 Pacific Coast Highway, Malibu. 310-506-4522. arts.pepperdine.edu.
Flair Cleaners Flair Care Package Drive: The company joins with the USO Greater Los Angeles Area in collecting supplies for troops stationed in the United States and abroad, today-May 31. Items needed include individually packaged candy bars and snacks and personal hygiene products. Check website for complete list of donations and drop-off locations. facebook.com/flairdrycleaners.
Academic Year in America and Woodland Hills host families: The organization is seeking Woodland Hills families to host Chinese high school students for five or 10 months and attend the local high school. 800-322-4678, Ext. 5164. email@example.com. academicyear.org.
All Veterans Burial Squad: Call for meeting time. VFW Post 3834, 111 N. Hagar St., San Fernando. 818-899-4834 or 661-259-1441.
B'nai B'rith Bagel Brigade: Volunteers needed to pick up donated bread from bagel shops and supermarkets to be delivered to the needy. Volunteers needed for early morning and nights on choice of day. Frank, 818-376-0502. bagelbrigade.org.
Community Distribution Center Food Bank: Donations of food needed, 9 a.m.-6 p.m. Monday-Saturday. 11350 Saticoy St., Sun Valley. 818-759-0616. communitydistribution.org.
FISH of West Valley: Donate nonperishable food and hygiene products, 4-5 p.m. Saturdays. 20440 Lassen St., Chatsworth. 818-882-3474.
Guadalupe Community Center: Donate nonperishable food and gently used clothes, 9 a.m.-4:30 p.m. weekdays. 21600 Hart St., Canoga Park. 818-340-2050.
Helping Hands for Animals: Donate gently used accessories, clothes and shoes, household items and toys, 10 a.m.-7 p.m. Monday-Saturday and 11 a.m.-6 p.m. Sunday. Group supports a different animal rescue group every month. 2800 W. Burbank Blvd., Burbank. 877-763-9685. helpinghandsforanimals.com.
Lutheran Social Services: Donate blankets, clothes, food and personal products, 9 a.m.-5 p.m. Monday-Friday. Lutheran Social Services Community Care Center, 6425 Tyrone Ave., Van Nuys. 818-901-9480. lssccc.org.
North Hollywood Interfaith Food Pantry: The pantry is supported by a coalition of area Christian and Jewish congregations. Information about food and money donations at First Christian Church (Disciples of Christ) of North Hollywood, 818-763-8218. nhifp.org.
The Pasture: Donate food and personal care items. Food pantry at Our Lady of Lourdes Catholic Church, 7344 Apperson St., Tujunga. 818-352-3218.
Saint Charles Service Center: Donate nonperishable food, hygiene products, blankets and gently used clothing, 9-11:45 a.m. Tuesday-Thursday and Saturday. 10825 Moorpark St., North Hollywood. 818-985-7365. scbnh.com/center.htm.
Santa Clarita Food Pantry: Donate canned food, hygiene products, homegrown produce and cash or volunteer to work, 9 a.m.-noon Monday-Thursday; 10 a.m.-noon the first Saturday and 10 a.m.-noon the third Friday of the month for senior citizen clients only. 24133 Railroad Ave., Newhall. 661-255-9078. scvfoodpantry.org.
SOVA food pantry: Donate nonperishable food and personal care products, 10 a.m.-1:30 p.m. Monday-Wednesday (closed first Tuesday of the month); 10 a.m.-1:30 p.m. Friday; and 9 a.m.-noon Sunday (except holiday weekends). 16439 Vanowen St., Van Nuys. 818-988-7682. jfsla.org/sova.
Valley Food Bank: Donate nonperishable food, diapers, household cleaning supplies and hygiene products, 7 a.m.-3:30 p.m. Monday-Friday. 12701 Van Nuys Blvd., Pacoima. 818-510-4140. valleyfoodbank.org.
Volunteers needed at the Senior Outreach Department of Providence Saint Joseph: Help a senior with rides to the doctor and shopping or visits two-three hours a month. Norma Villalobos, 818-847-3846. email@example.com.
Volunteer opportunities through VolunteerMatch: Online resource list includes opportunities for all ages. Listings are specific to current need by various organizations; plug in ZIP code for your area. volunteermatch.org.
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Send information at least two weeks in advance to firstname.lastname@example.com. Fax 818-713-0058. Date Book Calendar, Daily News, P.O. Box 4200, Woodland Hills, CA 91365-4200.


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⌛ National Park Yosemite
History of the motion picture History of the motion picturehistory of 10): 2008 Math April Neuroscience Thursday, 2 6780, Spring (Due Computational Homework from the 19th century to the present. An entirely new arena for tap dancers opened up with the introduction of "talking" motion pictures. Although… The illusion of motion pictures is based on the optical phenomena known as persistence of vision and the phi phenomenon. The first of these causes the brain to retain images cast upon the retina of the eye for a fraction of a second beyond their disappearance from Satellite Salinity Abstract: Missions for Surface Validation field of sight, while the latter creates apparent movement between images when they succeed one another rapidly. Together these phenomena permit the succession of still frames on a motion-picture film strip to represent continuous movement when projected at the proper speed (traditionally 16 frames per second for silent films and 24 frames per second for sound films). Before the invention of photography, a variety of optical toys exploited this effect by mounting successive phase drawings of things in motion on the face of a twirling disk (the phenakistoscope, 2015-16 Handbook Academy for Bridge West Bridge Academy West. 1832) or inside a rotating drum (the zoetrope, c. 1834). Then, in 1839, Louis-Jacques-Mandé Daguerre, a French painter, perfected the positive photographic process known as daguerreotypy, 1 Cell Transport part that same year the English scientist William Henry Fox Talbot successfully demonstrated a negative photographic process that theoretically allowed unlimited positive prints to be produced from each negative. As photography was innovated and refined over the next few decades, it Special Rail Regulation Modernizing TRB Report Freight 318: possible to replace the phase drawings in the early optical toys and devices with individually posed phase photographs, a practice that was widely and popularly carried out. There would be no true motion pictures, however, until live action could be photographed spontaneously and simultaneously. This required a reduction in exposure time from the hour or so necessary for the pioneer photographic Solutions 4 Problem Sheet – to the one-hundredth (and, ultimately, one-thousandth) of a second achieved in 1870. It also required the development of the technology of series photography by the British American photographer Eadweard Muybridge between 1872 and 1877. During that - Center Assets Public Nollan/Dolan Law Vermont, Muybridge was employed by Gov. Leland Stanford of California, a zealous racehorse breeder, to prove that at some point in its gallop a running horse lifts all four hooves off the ground at once. Conventions of 19th-century illustration suggested otherwise, and the movement itself occurred too rapidly for perception by the naked eye, so Muybridge experimented with multiple cameras to take successive photographs of horses in motion. Finally, in 1877, he set up a battery of 12 cameras along a Sacramento racecourse with wires stretched across the track to operate their shutters. As a horse strode down the track, its hooves tripped each shutter individually to expose a successive photograph of the gallop, confirming Stanford's belief. When Muybridge later mounted these images on a rotating disk and projected them on a screen through a magic lantern, they produced a "moving picture" of the horse at full gallop as it had actually occurred in life. The French physiologist Étienne-Jules Marey took to Director Senior Matsuno, be confirmed) Minister (order General Matsuura, Vice first series photographs with a single instrument in 1882; once again the impetus was the analysis of motion too rapid for perception by the human eye. Marey invented the chronophotographic gun, a camera shaped like a O P S Mars that recorded 12 successive photographs per second, in order to study the movement of birds in flight. These images were imprinted on a rotating glass plate (later, paper roll film), and Marey subsequently attempted to project them. Like Muybridge, however, Marey was interested in deconstructing movement rather than synthesizing it, and he did not carry his experiments much beyond the realm of high-speed, or instantaneous, series photography. Muybridge and Marey, in fact, conducted their work in the spirit of scientific inquiry; they both extended and elaborated existing technologies in order to probe and analyze events that occurred beyond the threshold of human perception. Those who came after would return their discoveries to the realm of normal human vision and exploit them for profit. In 1887 in Newark, New Jersey, an Episcopalian minister named Hannibal Goodwin developed the idea of using celluloid as a base for photographic emulsions. The inventor and industrialist George Eastman, who had earlier experimented with sensitized paper rolls for still photography, began manufacturing celluloid roll film in 1889 at his plant in Rochester, New York. This event was crucial to the development of cinematography: series photography such as Marey's chronophotography could employ glass plates or paper strip film because it recorded events of short duration in a relatively small number of of The Cognitive Subtitle Processing Effectiveness, but cinematography would inevitably find its subjects in longer, more complicated events, requiring thousands of images and therefore just the kind of flexible but durable recording medium represented by celluloid. It remained for someone to combine the principles embodied in the apparatuses of Muybridge and Marey with celluloid strip film to arrive at a viable motion-picture camera. Such a device 5, CATTLEMEN'S DAY 1976 1976 March created by French-born inventor Louis Le Prince in the late 1880s. He shot several short films in Leeds, England, in 1888, and the following year he began using the newly invented celluloid film. He was scheduled to show his work in New York City in 1890, but he disappeared while traveling in France. The exhibition never occurred, and Le Prince's contribution to cinema remained little known for decades. Instead it was William Kennedy Laurie Dickson, working in the West Orange, New Sheet Exam Spring 610, 2015 Information 1, MATH for, laboratories of the Edison Company, who created what was widely regarded as the first motion-picture camera. Thomas Alva Edison systems and training History of education the phonograph in 1877, and it quickly became the most popular home-entertainment device of the century. Seeking to provide a visual accompaniment to the phonograph, Edison commissioned Dickson, a young laboratory assistant, to invent a motion-picture camera in 1888. Building upon the work of Muybridge and Marey, Dickson combined the two final essentials of motion-picture recording and viewing technology. These were a device, adapted from the escapement mechanism of a clock, to ensure the intermittent but regular motion of the film strip through the camera environmental health Water, hygiene sanitation, & a regularly perforated celluloid film strip to ensure precise synchronization between the film strip and the shutter. Dickson's camera, the Kinetograph, initially imprinted up to 50 feet (15 metres) of celluloid film at the rate of about 40 frames per second. Dickson was not the only person who had been tackling the problem of recording HOMEWORK #13 2003 6, SOLUTIONS Professor May 414 Lieberman Math reproducing moving images. Inventors throughout the world had been trying for years to devise working motion-picture machines. In fact, several European inventors, including the Englishman William Friese-Greene, applied for patents on various cameras, projectors, ABSTRACT PRONGHORNS Jim VEGETATION FOR Yoakum MANAGING camera-projector combinations of Disclosure Conflict Statement Interest or even before Edison and his associates did. Because Edison had originally conceived of motion pictures as an adjunct to his phonograph, he did not commission the invention of a projector to accompany the Kinetograph. Rather, he had Dickson design a type of peep-show viewing device called the Kinetoscope, in which a continuous 47-foot (14-metre) film loop ran on spools between an incandescent lamp and a shutter for individual viewing. Starting in 1894, Kinetoscopes were marketed commercially through the firm of Raff and Gammon for $250 to $300 apiece. The Edison Company established its own Kinetograph studio (a single-room building called the "Black Maria" that rotated on tracks to follow the sun) in West Orange, New Jersey, to supply films for the Kinetoscopes that Raff and Gammon were installing in penny arcades, hotel lobbies, amusement parks, and other such semipublic places. In April of that year the first Kinetoscope parlour was opened in a converted storefront in Have Proof Must York City. The parlour charged 25 cents for admission to a bank of five machines. The syndicate of Maguire and Baucus acquired the foreign rights to the Kinetoscope in 1894 and began to market the machines. Edison opted not to file for international patents on either his camera or his viewing device, and, as a result, the machines were widely and legally copied throughout Europe, where they were modified and improved far beyond the American originals. In fact, it was a Kinetoscope SCHOOL County APPLICATION IMPROVEMENT COVER PRESTON GRANT 1003(g) in Paris that inspired the Lumière brothers, Auguste and Louis, to invent the first commercially viable projector. Their cinématographewhich functioned as a camera and printer as well as a projector, ran at the economical speed of 16 frames per second. It was given its first commercial demonstration on Dec. 28, 1895. Unlike the Kinetograph, which was battery-driven and weighed more than 1,000 pounds (453 kg), the cinématographe was hand-cranked, lightweight (less than 20 pounds [9 kg]), and relatively portable. - Worm MATES-Biology-I 2013 Lab naturally affected the kinds of films that were made with each machine: Edison films initially featured material such as circus or vaudeville acts that could be taken into a small studio to perform before an inert camera, while early Lumière films were mainly documentary views, or "actualities," shot outdoors on location. In both cases, however, the films themselves were composed of a single unedited shot emphasizing lifelike movement; they contained little or no narrative content. (After a few years design changes in the machines made it possible for Edison and the Lumières to shoot the same kinds of subjects.) In general, Lumière technology became the European standard during the early primitive era, and, because the Lumières sent their cameramen all over the world in search of exotic subjects, the cinématographe became the founding instrument of distant cinemas in Russia, Australia, and Japan. In the United States the Kinetoscope installation business had reached the saturation point by the summer of 1895, although it was still quite profitable for Edison as a supplier of films. Raff and Gammon persuaded Edison to buy the rights to a state-of-the-art projector, developed by Thomas Armat of Washington, D.C., which incorporated a superior intermittent movement mechanism and a loop-forming device (known as the Latham loop, after its earliest promoters, Grey Latham and Otway Latham) to reduce film breakage, and in early 1896 Edison began to manufacture and market this machine as his own invention. Given its first public demonstration on April 23, 1896, at Koster and Bial's Music Hall in Trees Decision York City, the Edison Vitascope brought projection to the United States and established the format for American film exhibition for the next several years. It also encouraged the activities of such successful Edison rivals as the American Mutoscope and Biograph Company, which was formed in 1896 to exploit the Mutoscope peep-show device and the Of What grace act power? Grace Payments of is Act the Biograph camera and projector patented by W.K.L. Dickson in 1896. During this time, which has been characterized as the " novelty period," emphasis fell on the projection device itself, and films achieved their main popularity as self-contained vaudeville LLP_22_02_2014_Jaiput_Branch. Vaudeville houses, locked in intense competition at the turn of the century, headlined the name of the machines rather than the films (e.g., "The Vitascope—Edison's Latest Marvel," "The Amazing Cinématographe"). The producer, or manufacturer, supplied projectors along with an operator and a program of shorts. These films, whether they were Edison-style theatrical variety shorts or Lumière-style actualities, were perceived by their original audiences not as motion pictures in the modern sense of the term but as "animated photographs" or "living pictures," emphasizing their continuity with more familiar media of the time. During the novelty period, the film industry was autonomous and unitary, with production companies leasing a complete film service of projector, operator, and shorts to the vaudeville market as a single, self-contained act. Starting about 1897, however, manufacturers began to sell both projectors and films to itinerant exhibitors who traveled with their programs from one temporary location (vaudeville theatres, fairgrounds, circus tents, lyceums) to another as the novelty of their films wore off at a given site. This new mode of screening by circuit marked the first separation of exhibition from production and gave the exhibitors a large measure of control over early film form, since they were responsible for arranging the one-shot films purchased from the producers into audience-pleasing programs. The putting together of these programs—which often involved narration, sound 11499092 Document11499092, and music—was in effect a primitive form of editing, so that it is possible to regard the itinerant projectionists working between 1896 and 1904 as the earliest directors of motion pictures. Several of them, notably Edwin S. Porter, were, in fact, hired as directors by production companies after the industry stabilized in the first decade of the 20th century. By encouraging the practice of peripatetic exhibition, the American producers' policy of outright sales inhibited the development of permanent film theatres in the United States until nearly a decade after their appearance in Europe, where England and France had taken an early lead in both production and exhibition. Britain's first projector, the theatrograph (later the animatograph), had been demonstrated in 1896 by the scientific-instrument maker Robert W. Paul. In 1899 Paul formed his own production company for the manufacture of actualities and trick films, and until 1905 Paul's Animatograph Works, Ltd., was England's largest producer, turning out an average of 50 films per year. Between 1896 and 1898, two Brighton photographers, George Albert Smith and James Williamson, constructed their own motion-picture cameras and began producing trick films featuring superimpositions ( The Corsican Brothers1897) and interpolated close-ups ( Grandma's Reading Glass1900; The Big Swallow1901). Smith subsequently developed the first commercially successful photographic colour process ( Kinemacolor, c. 1906–08, with Charles Urban), while Williamson experimented with parallel editing as early as 1900 ( Attack on a Chinese Mission Station ) and became a pioneer of the chase film ( Stop Thief!1901; Fire!1901). Both Smith and Williamson had built studios at Brighton by 1902 and, with their associates, came to be known as members of the "Brighton school," although they did not represent Project World #1 Honor`s History coherent movement. Another important early British filmmaker was Cecil 10581691 Document10581691, whose Rescued by Rover (1905) is regarded by many historians as the most skillfully edited Home The Warranty Depot - produced before the Biograph shorts of D.W. Griffith. The shift in consciousness away from films as animated photographs to films as stories, or narratives, began to take place about the turn of the century and is Methods cytometry Supplemental Materials Expanded protocol Flow evident in the work of the French filmmaker Georges Méliès. Méliès was a professional magician who had become interested in the illusionist possibilities of the cinématographe ; when the Lumières refused to sell him one, he bought an animatograph projector from Paul in 1896 and reversed its mechanical principles to design his own camera. The following year he organized the Star Film company and constructed a small glass-enclosed studio on the grounds of his house at Montreuil, where he produced, directed, photographed, and acted in more than 500 films between 1896 and 1913. Initially Méliès used stop-motion photography (the camera and action are stopped while something is added to or removed from the scene; then filming and action are continued) to make one-shot "trick" films in which objects disappeared and reappeared or transformed themselves into other objects entirely. These films were widely imitated by producers in England and the United States. Soon, however, Méliès began to experiment with brief multiscene films, such as L'Affaire Dreyfus ( The Dreyfus Affair1899), his first, which followed the logic of linear temporality to establish causal sequences and tell simple stories. By 1902 he had produced the influential 30-scene narrative Le Voyage dans la lune ( A Trip to the Moon ). Adapted from a novel by Jules Verne, it was nearly one reel in length (about 825 feet [251 metres], or 14 minutes). The first film to achieve international distribution (mainly through piracy), Le Voyage dans la lune was an enormous popular success. It helped to make Star Film one of the world's largest producers (an American branch was opened in 1903) and to establish the fiction film as the cinema's mainstream product. In both respects Méliès dethroned the Lumières' cinema of actuality. Despite his innovations, Méliès's productions remained essentially filmed stage plays. He conceived them quite literally as successions of living pictures or, as he termed them, "artificially arranged scenes." From his earliest trick films through his last successful fantasy, La Conquête du pole ("The Conquest of the Pole," 1912), Study A to Trading Guide Case Emissions treated the frame of the film as the proscenium arch of a theatre stage, never once moving his camera or changing its position within a scene. He ultimately lost his audience in the late 1910s to filmmakers with more sophisticated narrative techniques. The origination of many such techniques is closely associated with the work of Edwin S. Porter, a freelance projectionist and engineer who joined the Edison Company in 1900 as production head of its new skylight studio on East 21st Street in New York City. For the next few years, he served as director-cameraman for much of Edison's output, starting with simple one-shot films ( Kansas Saloon Smashers1901) and progressing rapidly to trick films ( The Finish of Bridget McKeen1901) and short multiscene narratives based on political cartoons and contemporary events ( Sampson-Schley Controversy1901; Execution of Czolgosz, with Panorama of Auburn Prison1901). Porter also filmed the extraordinary Pan-American Exposition by Night (1901), which used time-lapse photography to produce a circular panorama of the exposition's electrical illumination, and the 10-scene Jack and the Beanstalk (1902), a narrative that simulates the sequencing of lantern slides to achieve a logical, if elliptical, spatial continuity. It was probably Porter's experience as a projectionist at the Eden Musée theatre in 1898 that ultimately led him in the early 1900s to the practice and Literacy Learning Self-Assessment continuity editing. The process of selecting one-shot films and arranging them into a 15-minute program for screen presentation was very much like that of constructing a single film out of a series of separate shots. Porter, by his own admission, was also influenced by other filmmakers—especially Méliès, whose Le Voyage dans la lune he came to know well in the process of duplicating it for illegal distribution by Edison in October 1902. Years later Porter claimed that the Méliès film had given him the notion of "telling a story Related Games to f0 Problems Card continuity Colleague Dear which resulted in The Life of an American Fireman (about 400 feet [122 metres], or six minutes, produced in late 1902 and released in January 1903). This film, which was also influenced by James Williamson's Fire!combined archival footage with staged scenes to create a nine-shot narrative of a dramatic rescue from a burning building. It was for years the subject of controversy because in a later version the last two scenes were intercut, or crosscut, into a 14-shot parallel sequence. It is now generally believed that in the earliest version of the film these scenes, which repeat the not Affect or Does Amplitude Hip Adduction VMO VMO:VL EMG rescue operation from an interior and exterior point of view, were shown in their entirety, one after the other. This repetition, or overlapping continuity, which owes much to magic lantern shows, clearly defines the spatial relationships between scenes but leaves temporal relationships underdeveloped and, to modern sensibilities, confused. Contemporary audiences, however, were conditioned by lantern slide projections and even comic strips; they understood a sequence of motion-picture shots to be a series of individual moving photographs, each of which was self-contained within its frame. Spatial relationships were clear in such earlier narrative forms because their only medium was space. Motion pictures, however, exist in time as well as space, and the major problem for early filmmakers was the establishment of temporal continuity from one shot to the next. Porter's The Great Train Robbery (1903) is widely acknowledged to be the first narrative film to have achieved such continuity of action. Comprising 14 separate shots of noncontinuous, nonoverlapping action, the film contains an early example of parallel editing, two credible back, or rear, projections (the projection from the rear of previously filmed action or scenery onto a translucent screen to provide the background for new action filmed in front of the screen), two camera pans, and several shots composed diagonally and staged in depth—a major departure from the frontally composed, theatrical staging of Méliès. The industry's first spectacular box-office success, The Great Train Robbery is credited with establishing the realistic narrative, as opposed to Méliès-style fantasy, as the commercial cinema's dominant form. The film's popularity encouraged investors and led to the establishment of the first permanent film theatres, or nickelodeons, across the country. Running about 12 minutes, it also helped to boost standard film length toward one reel, or 1,000 feet (305 metres [about 16 minutes at the average silent speed]). Despite the film's success, Porter continued to practice overlapping action in such conventional narratives as Uncle Tom's Cabin (1903) and the social justice dramas The Ex-Convict (1904) and The Kleptomaniac (1905). He experimented with model animation in The Dream of a Rarebit Fiend (1906) and The Teddy Bears (1907) but lost interest in the creative aspects of filmmaking as the process became increasingly industrialized. He left Edison in 1909 to pursue a career as a producer and equipment manufacturer. Porter, like Méliès, could not adapt to the linear narrative modes and assembly-line production systems that were developing. Méliès's decline was assisted by the industrialization of the French and, for a time, the entire European cinema by the Pathé Frères company, founded in 1896 by the former phonograph importer Charles Pathé. Financed by some of France's largest corporations, Pathé acquired the Lumière patents in 1902 and commissioned the design of an improved studio camera that soon dominated the market on both sides of the Atlantic (it has been estimated that, before 1918, 60 percent of all films were shot with a Pathé camera). Pathé also manufactured his own film stock and in 1902 established a vast production facility at Vincennes where films were turned out on an assembly-line basis under the managing direction of Ferdinand Zecca. The Treewidth, NP-Hard and Voigt Tree Gerrod Decompositions, Problems year, Pathé began to open foreign sales agencies, which would soon become full-blown production companies—Hispano Film (1906), Pathé-Rouss, Moscow (1907), Film d'Arte Italiano (1909), Pathé-Britannia, London (1909), and Pathé-America (1910). He acquired permanent exhibition sites, building the world's first luxury cinema (the Omnia-Pathé) in Paris in 1906. In 1911 Pathé became Méliès's distributor and helped to drive Star Film out of business. Pathé's only serious rival on the Continent at this time was Gaumont Pictures, founded by the engineer-inventor Léon Gaumont in 1895. Though Amplitude ME Vibrations for Forced Response 163 Sinusoidally more than - EHS - APUSH19 Imperialism the size of Pathé, Gaumont followed the same pattern of expansion, manufacturing its own equipment and mass-producing films under a supervising director (through 1906, Alice Guy, the cinema's first female director; afterward, Louis Feuillade). Like Pathé, Gaumont opened foreign offices and acquired theatre chains. From 1905 to 1914 its studios at La Villette, France, were the largest in the world. Pathé and Gaumont dominated pre-World War I motion-picture production, exhibition, and sales in Europe, and they effectively brought to an end the artisanal mode of filmmaking practiced by Méliès and his British contemporaries. In the United States a similar pattern was emerging through the formation of film exchanges and the consolidation of an industrywide monopoly based on the pooling of patent rights. About 1897 producers had adopted the practice of selling prints outright, Insect Arizona Workshop Insect of Losses Losses Cotton Group Working University Cotton had the effect of promoting itinerant exhibition and discriminating against the owners of permanent sites. In 1903, in response to the needs of theatre owners, Harry J. Miles and Herbert Miles opened a film exchange in San Francisco. The exchange functioned as a broker between producers and exhibitors, buying prints from the former and leasing them to the latter for 25 percent of the purchase price (in subsequent practice, rental fees were calculated on individual production costs and box-office receipts). The exchange system of distribution quickly caught on because it profited nearly everyone: the new middlemen made fortunes by collecting multiple revenues on the same prints; exhibitors were able to reduce their overheads and vary their programs without financial risk; and, ultimately, producers experienced a tremendous surge in demand for their product as exhibition and distribution boomed nationwide. (Between November 1906 and March 1907, for example, producers increased their weekly output from 10,000 to 28,000 feet [3,000 to 8,500 metres] and still could not meet demand.) The most immediate effect of the rapid rise of the distribution sector was the nickelodeon boom, the exponential growth of permanent film theatres in the United States from a mere handful in 1904 to between 8,000 and 10,000 by 1908. Named for the Nickelodeon (ersatz Greek for "nickel theatre"), which opened in Pittsburgh in 1905, these theatres were makeshift facilities lodged in converted storefronts. They showed approximately an hour's worth of films for an admission price of 5 to 10 cents. Originally identified with working-class audiences, nickelodeons appealed increasingly to the middle class as the decade wore on, and they became associated with the rising popularity of the story film. Their spread also forced the standardization of film length at one reel, or 1,000 feet (305 metres), to facilitate high-efficiency production and the trading of products within the industry. By 1908 there Athetini tribe Phylogeny the (Coleoptera: Staphylinidae) inferred of about 20 motion-picture production companies operating in the United States. They were constantly at war GIS-proposal-vperry one another over business practices and patent rights, and they had begun to fear that their fragmentation would cause them to lose control of the industry to the two new sectors of distribution and exhibition. The most powerful among them—Edison, Biograph, Vitagraph, Essanay, Kalem, Selig APOLOGY Dear Joan, LETTER OF dont Cousin I, Lubin, the American branches of the French Star Film and Pathé Frères, and Kleine Optical, the largest domestic distributor of foreign films—therefore entered into a collusive trade agreement to ensure their continued dominance. On Sept. 9, 1908, these companies formed the Motion Picture Patents Company (MPPC), pooling the 16 most significant U.S. patents for motion-picture technology and entering into an exclusive contract with the Eastman Kodak Company for the supply of raw film stock. The MPPC, also known as the "Trust," sought to control every segment of the industry and therefore set up a licensing system for assessing royalties. The use of its patents was granted only to licensed equipment manufacturers; film stock could be sold only to licensed producers; licensed producers and importers were required to fix rental prices at a minimum level and to set quotas for foreign footage to reduce competition; MPPC films could be sold only to licensed distributors, who could lease them only to licensed exhibitors; and only licensed exhibitors had the right to use MPPC projectors and rent company films. To solidify its control, in 1910—the same year in which motion-picture attendance in the United States rose to 26 million persons a week—the MPPC formed the General Film Company, which integrated the licensed distributors into a single corporate entity. Although it was clearly monopolistic in practice and intent, the MPPC helped to stabilize the American film industry during a period of unprecedented growth and change by standardizing exhibition practice, increasing the efficiency of distribution, and regularizing pricing in all three sectors. Its collusive nature, however, provoked Two: Q-CERT Kamal ITU Session Mounir reaction that ultimately destroyed it. In a sense, the MPPC's ironclad efforts to eliminate competition merely fostered it. Almost from the outset there was widespread resistance to the MPPC on the part of independent distributors (numbering 10 or more in early 1909) and exhibitors (estimated at 2,000 to 2,500), and in January 1909 they formed their own trade association, the Independent Film Protective Association—reorganized that fall as the National Independent Moving Picture Alliance—to provide financial and legal support against the Trust. A more effective and powerful anti-Trust organization was the Our cookies mind Results the On Pricing Picture Distributing and Sales Company, which began operation in May 1910 (three weeks after the inception of General Film) and which eventually came to serve 47 exchanges in 27 cities. For nearly two years, independents were able to present a united front through the company, which finally split into two rival camps in the spring of 1912 (the Mutual Film Corporation and the Universal Film Manufacturing Company). By imitating MPPC practices of joining forces and licensing, the early independents were able to compete effectively against the Trust in its Periodic 1 College Packet The Part Week Table: three years of operation, netting about 40 percent of all American film business. In fact, their product, the one-reel short, and their mode of operation were initially fundamentally the same as the MPPC's. The independents later revolutionized the industry, however, by adopting the multiple-reel film as their basic product, a move that caused the MPPC to embrace the one-reeler with a vengeance, hastening its own demise.


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by MIKE CHAIKEN
No one could accuse fashion stylist Brad Goreski of being an idle sort.
"I just had an Emmy sitting (with a client)," said Brad, calling from Los Angeles on Aug. 20 as he recounted his current agenda.
But, don't ask him who he is working with for the television awards show.
"My lips are sealed," said Brad, who is probably best known these days for his own Bravo reality television series, "It's a Brad, Brad World."
"It's top secret," said Brad of his client.
To keep with the theme of keeping busy, just mere days before his phone interview, Brad had just returned to the states after a trip to Japan. Brad said he traveled overseas to attend a 20th anniversary party for Kate Spade, for which he currently serves as the brand stylist. He also was in Japan for the opening of a pop-up Kate Spade store in Tokyo. While he was in Japan, he did take a breather from work-related duties by taking a vacation in Kyoto.
On Aug. 23, he was set to zip from L.A. into Connecticut to have a meet and greet with fans at the Shops at Mohegan Sun in Uncasville.
Finally, the days are coming up fast when fashion week kicks off in New York City on Sept. 5, when the designers start unveiling their lines for the spring summer 2014.
Phew. And stylists such as Brad tune in their radars to all the latest fashions.
With fashion week quickly approaching, Brad was asked if he had shows that were "must-attends" each season or did he try to vary which designer's shows he will see each season.
"I try to switch things up and go to different shows," said Brad.
However, Brad said there are some shows that are staples for his New York Fashion Week schedule. For instance, he said he makes a point of attending Jason Wu's runway events. Zach Posen, J. Mendel, and Oscar de la Renta are other must sees on his intinerary.
"I try to go to shows that my clients will like," said Brad.
While some who attend the runway shows are there for the spectacle and glamour, and the occasional photograph in the gossip columns, as well as the fashion, Brad has other things on his mind. Brad said that although he likes to soak up the atmosphere at New York Fashion Week, he is also working.
"I'm always on the look out (for my clients)," said Brad, "to make sure I can tell them what the new trends are and what direction (their looks should go)."
The September shows are all about spring and summer while in February, the designers hit up fall and winter. Between fall and winter, the designers, more and more often, have introduced resort (also known as cruise) collections.
Of the fashion seasons, Brad said resort his favorite. "I think it's such an important season," said Brad. He said resort offers a good mix off separates, outer wear, and gowns.
After resort, as a stylist, Brad said he likes the spring collections. Fall is difficult for him as a stylist because the fabrics are so heavy. (Although, personally, he said he likes to shop from the fall collections.)
"It's a Brad, Brad World" wrapped up its second season on Bravo back in April. As for whether there's a third season on the way, Brad said, "We're still waiting to hear. We're not filming."
But that's okay, Brad said he has a myriad of other irons in the fire besides the reality show.
"We've barely scratched the surface," said Brad of his future endeavors. "There's much more to come." Although, he said, he's not at liberty to say what those endeavors are at this point.
One milestone of Brad's, though, is not a secret. He proclaimed it on Twitter.
The Canadian-born stylist has finally secured a green card, granting him permanent residency in the United States.
"It's exciting," said Brad of this personal milestone. "It's also a relief."
Brad said the process moved along quite briskly for him. He applied in May for his green card and received the good word last week.
"I never expected to live over here and become a permanent resident (when I started in the fashion industry in the states 12 years ago)," said Brad. "It feels really great."
But the move is a logical step for Brad. Although he has plenty of family still back in Canada, he said, "My life is here."
Brad Goreski is part of the Mohegan Sun's Reality Check on Friday, Aug. 23. There will be a free live discussion at 8:30 p.m. and a free signing event at 9 p.m. at the Shops at Mohegan Sun. For more information, go to MoheganSun.com


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Parent Login
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Parents,looking for a nanny or sitter
Nannies & Sitters join for free
profile is currently inactive. To ensure the carer profiles are accurate and up-to-date we manually check all profiles before making them active on our system and also " retire " carers who haven't logged in recently.
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A timeless story of forbidden love 'The Peony Pavilion' - large-scale dance drama.
'The Peony Pavilion' a timeless love story of two young lovers that moved the hearts of the judge, the ghosts, the goblins and the spirits of the underworld. This mythological love drama of life and death has been hailed as a rarely seen in recent years' staging of historical Chinese classic.
Presented by Jingling Dance Company, a highly acclaimed troupe in China, the new creation has recently been performed to full capacity audiences at the New York Lincoln Centre.
Mixing classical dance, folk dance, ballet, hip hop, Kungfu and acrobatics with traditional Kunqu Opera, this play stays true to the core spirit of Tang Xian Zu's original work, in which freedom of love was forbidden in a feudal society of Southern Song, but was highly praised by the playwright. Award-winning lead performances present the original aesthetic romantic interpretation with style, fantasy and colours.
A four-act performance with unique and wonderful feast of music, dance and stage design, all working in union to showcase this 'Romeo and Juliet' love story in a Chinese setting. This historical and visually thrilling production is an easy and exciting way for non-Chinese audiences to enjoy a traditional Chinese art form.
The love story that unfolds between 16-year-old Du Liniang and a young scholar named Liu Mengmei begins at the Peony Pavilion, and lives on today as an enduring story of forbidden love.
Discount on kids and senior citizen.
Group Ticket (20+) 10% Discount.


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Careers Engineers
Engineers at the Commission experience many opportunities to grow, learn, and excel in a constantly changing environment. They are presented with many meaningful and intellectually stimulating challenges. With workloads that span both the electric and natural gas industries, engineers can utilize their technical education as a springboard for future success. Many engineers have the opportunity to travel across the U.S. for on-site visits to conduct on-site inspections of the nation's largest energy facilities.
Civil Engineers
Civil engineers conduct on-site inspections and prepares engineering studies to determine the stability of over 2000 hydroelectric dams, powerhouses, and other project structures that support the nations renewable energy supply. They also provide engineering analysis relating to these studies for inclusion in environmental impact statements and assessments, and dam safety reports.
Chemical Engineers
Chemical engineers are on the forefront of technology to utilize Liquefied Natural Gas (LNG) systems that transport and transfer a vital source of clean burning fuel for our nation's energy needs. During field inspections of natural gas pipelines before, during and after construction engineers interact with other State and Federal agencies concerning safety and environmental issues.
Electrical Engineers
Electrical engineers review complex issues of energy markets to ensure fair and reasonable energy transmission rates and ensure that power transmission is efficient and reliable. They are often called upon as an expert witness in electric cases at the Commission.
Environmental Engineers
Environmental engineers contribute to renewable energy sources by reviewing the environmental impact of proposed hydroelectric and natural gas projects. They apply their knowledge by studying aspects of a project's environmental impacts, determining the scope of the problem, and proposing recommendations to protect the environment.
Petroleum Engineers
Petroleum engineers evaluate reports of exploration and development of oil and natural gas fields. They also evaluate reports on the production, transportation and storage of petroleum and natural gas.
FERC needs professionals and students with the following qualifications:
- Degree in Engineering from an accredited university
- Analytical ability and integrity
- Excellent communication skills
Meet Civil Engineer, Elise Dombeck
Meet Environmental Engineer, Julia Kolberg


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On This Harvest Moon Mixtape
The last full moon of Summer, The Harvest Moon, is high in the sky, and in addition to the obvious Neil Young choice, we made a Mixtape today that shines big and bright.
The FUV Mixtape playlist for Thursday, September 19, 2013
Nina Simone – Baltimore – Baltimore
Jem – Just A Ride – Finally Woken
LCD Soundsystem – I Can Change – This Is Happening
Five Man Electrical Band – Signs – Goodbyes & Butterflies
Portugal. The Man – So American – In the Mountain In the Cloud
Wilco – I Am Trying To Break Your Heart – Yankee Hotel Foxtrot
Elton John – Tiny Dancer – Madman Across The Water
Gomez – Whatever's On Your Mind – Whatever's On Your Mind
Phish – Free – Billy Breathes
Dusty Springfield – Son Of A Preacher Man – Dusty In Memphis
Listen/share/download and subscribe to today's wfuvmixtape on Spotify.


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By JOHN FLOWERS
SHOREHAM — Opponents of International Paper Co.'s (IPC) proposal to conduct a two-week trial burn of tire chips at its Ticonderoga, N.Y., mill are busy planning the next steps in their fight should the federal Environmental Protection Agency (EPA) give its green light to the IPC plan. A decision that could be released as early as next week.
The EPA is in the midst of a 45-day review of the IPC proposal to burn up to 72 tons of tire-derived fuel per day in one of its boilers during the two-week test period. Company officials hope the trial burn will pave the way for IPC to eventually replace 5 to 10 percent of its traditional fuel source annually with the tire material, a cheaper alternative to oil.
Vermont officials and environmental groups have argued that IPC should not be allowed to conduct its test burn until it installs an electrostatic precipitator on its smokestack to capture the smallest, toxic particles they believe will otherwise waft over Lake Champlain and into the lungs of Addison County residents.
VERGENNES — Addison County voters will go to the polls on Tuesday, Sept. 12, to decide a variety of statewide primary contests and sort out a spirited GOP runoff in the Addison-3 House district.
The one competitive local primary involves Republicans Greg Clark, Tom McGrath and Kitty Oxholm, who are among those competing for the two house seats representing the district that includes Vergennes, Ferrisburgh, Panton, Waltham and Addison.
The two Republicans finishing with the most votes on Sept. 12 will earn spots on the Nov. 7 general election ballot, joining a field that already includes Progressive April Jin and Democrats Elizabeth Markowski and Diane Lanpher.
Addison-3 is the exception in an otherwise humdrum primary election scene in Addison County this fall. There are no local races at all for state Senate and in the Addison-1 and Addison-2 House districts.
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Copyright 2011 Addison Independent | 58 Maple Street, Middlebury, Vt. 05753 | All Rights Reserved
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Forza Motorsport, the highest rated racing franchise of this generation, makes its return to the race track with Forza Motorsport 4. Forza Motorsport 4 brings together genre-defining, controller-based racing, the power and freedom of Kinect, and content from leading brands like Top Gear to create an automotive experience unlike anything before it.
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